New Releases

VP’s meticulous remaster of the original Mamba pressing of Flesh Of My Skin, Blood Of My Blood includes three tracks not on that original, plus extensive liner notes from Hudson biographer Vincent Ellis, combining to make this the definitive release of an obscure reggae classic.

Dancehall Anthems is a set of all new recordings bringing fresh perspectives and voices to timeless classics. Some of the compositions have a storied history with VP Records and others are meaningful to the genre as a whole.

The album is produced by dancehall veteran Jeremy Harding (Sean Paul, Beenie Man). Singles from the album included Beenie Man’s “Mad Kings,” his update of Yellowman’s “Zungguzungguguzungguzeng.

”Kabaka Pyramid’s exceptional interpretation of Michigan & Smiley’s “Nice Up The Dance,” followed by Wayne Marshall’s tribute to Tenor Saw’s “Lots Of Sign,” and Runkus’s ode to Papa San’s “Strange.”

Basscomesaveme met Bukkha in winter 2019 on a session with the Basskateers in Jena. Soon it was clear that we gonna work together on a record release for BCSM. Bukkha is well known for his lush bass music productions and soon came up with a heavy steppers riddim. Instantly we imagined some upfront vocals on this one so we called none other than microphone matador Longfingah to ride on the riddim. Longfingah loved the tune and brought some nice lyrics in his
style and fashion to the production. Still Reppin' is made for soundsystem dances, shakin' up everything with his heavy bass and gives a big shoutout to all crews and veterans. Flip the record to explore a version by Plug Dub Soundsystems Toni Wobble,
who is taking the original production to another level by mixing an ultra heavy dub version in a Wobble style.

You are looking for a tune that will mash up any dance? Well, you can't go wrong with this one.

All tracks are mastered by sound expert LXC to guarantee you a fresh bass shower.

As Top Ranking Sound label continue excavating the magnitude of the RAS catalogue we are pleased to bring you the long-awaited reissue of this 1982 iconic and classic 'Rastafari Liveth!' by the late great Peter Broggs. Instantly recognisable it was also to be the first ever release for Doctor Dread's RAS Records still standing the test of times remaining one of the mightiest and undisputed roots reggae albums of all time featuring the Roots Radics at their absolute magical prime. Bursting with killer tracks, 'Rastafari Liveth!' touches down soon with beautifully updated artwork on the back cover.

"1985 was a very tough year in Jamaica" explains Horace L. Buddoo. Rioting erupted without warning and spread with uncontrolled fury on the streets. These were known as the "Gas Riots" of Jamaica which were caused due to a sharp price increase for gasoline and propane gas that paralyzed the country. Demonstrators blocked roads and set fire to piles of tires and junked cars. Police reported many dead. Right at this time Horace Buddoo was managing a Gas station in central Kingston and was in the midst of it all, and at the same time making preparations to migrate to the US to seek better opportunity. Right before migrating Buddoo befriended artiste Michael Levy 

who he'd met from hanging around the Gas station, and knew Levy could sing. Having no prior music production experience or interest in the record industry Buddoo took his chance and booked studio time at Channel One to give Michael Levy a break. Thankfully this generosity resulted in the gem "When I Gonna Get My Freedom".

* Special thanks to SoOWALI Hi-Fi for the studio wizardry and mastering, and shout outs also to Alex Schneiter for the amazing repair work on the horns. The original trumpet tapes were badly damaged in Hurricane Gilbert of 1988 and sadly couldn't be salvaged so the decision was made to redo over some sections which was later mixed by our side kick Naram out of Red Robin Records.

Thompson Sound present a brand new 7" release 

Backed by The Roots Radics 

Produced by Linval Thompson 

Recorded at Channel One Studio, Jamaica

Mixed at A-Lone Ark Muzik Studio by Roberto Sanchez

Release Date: 22/10/2021

Thompson Sound present a brand new 7" release 

Backed by The Roots Radics 

Produced by Linval Thompson 

Recorded at Channel One Studio, Jamaica

Mixed at A-Lone Ark Muzik Studio by Roberto Sanchez

Release Date: 22/10/2021

Brand New Thompson Sound release on the original 'Marijuana' Riddim 

Backed by The Roots Radics 

Produced by Linval Thompson 

Recorded at Channel One Studio, Jamaica

Mixed at A-Lone Ark Muzik Studio by Roberto Sanchez

Release Date: 22/10/2021

Heavy relicks of the classic 'Back Off Ring Craft' Riddim (Johnny Osbourne).

Backed by The Roots Radics 

Produced by Linval Thompson 

Recorded at Channel One Studio, Jamaica

Mixed at A-Lone Ark Muzik Studio by Roberto Sanchez

2021 | NANSA RECORDS / JUDAH LABEL 

> Artist: Linval Thompson
> Band: Lone Ark Riddim Force
> Produced by: Santiagao Villaverde & Roberto Sánchez
> Mixed by Roberto Sánchez
> Studio: A-Lone Ark Muzik
> Format: Single 7inch
credits
released September 17, 2021

✇ ✇ ✇ ✇ ✇ ✇ ✇ ✇ ✇ ✇ ✇ ✇ ✇ ✇ ✇ ✇ 

A-LONE PRODUCTIONS ✇ A-LONE ARK MUZIK STUDIO

Label & Studio based in Santander, Spain.

Having taken the British music scene by storm in 1980 with her classic single ‘I'm So Sorry’, which stayed in the top 10 of the country’s reggae chart for over four months, her breathtaking follow up ‘Hopelessly In Love’ and album of the same name ensured Carroll Thompson’s enduring legacy. The album would go on to sell over 1 million copies, earning her the affectionate title ‘The Queen of Lovers Rock’, having been a driving force in the surge in popularity of this uniquely British genre that's influence continues to be felt today. With its gentle and enticing sonics designed to take you from the dance hall to the bedroom, Hopelessly In Love soundtracked the romance of a generation and has been lovingly dubbed “the album that triggered the baby boom”, as well as recently being voted The Greatest Lovers Rock Album of All Time by readers of MOJO Magazine.

This 40th Anniversary edition is further augmented by newly written sleeve notes and rare imagery from Carroll herself, “Hopelessly In Love” finally receives the deluxe treatment its status and profound influence has long since deserved.

Reissued LP with brand new artwork! ATA have reissued the sought after 2017 debut from Tony Burkill and Work Money Death with brand new artwork for the LP.

A stalwart of the Leeds music scene for the best part of 3 decades, Tony Burkill has so far maintained a low profile nationally, choosing to favour continued study and development of the instrument over the attainment of success or recognition within the music industry. Working as a sideman for hire on the local circuit, he has impressed audiences with his powerful and gutsy approach to improvisation and has been a well-kept secret amongst both musicians and audiences in the north of England since the 1980s.Recently featuring as a guest soloist on the debut album by The Sorcerers, Tony has been on the radar of ATA Records since the inception of the label. Impressed by his exuberant and earthy performance style they decided to embark on the writing and production of what was to become "Work Money Death", choosing to frame his playing in the context of the performers that have helped to shape his sound, most notably the spiritual jazz of the 60s and 70s.

"Work Money Death"explores the foundations laid by the great Tenor players of the 60s & 70s: Gato Barbieri, Pharoah Sanders, John Klemmer and John Coltrane, taking inspiration from their work and using it as a springboard for Tenor Saxophonist Tony Burkill's improvisation. Co-written with Bassist Neil Innes, the album attempts to frame Tony's playing within the context of that which has been most influential to him over the span of a 20+ year long career. Featuring on the record are Drummer Sam Hobbs (The Electric Doctor M and Producer of Matthew Bourne's Moogmemory), Bassist Neil Innes (The Sorcerers, Eddie Roberts' Roughneck), Pianist George Cooper (Abstract Orchestra), Percussionist Pete Williams (The Sorcerers) and features a guest performance from Pianist Matthew Bourne on the track "Beginning and End".

Majical, a wordsmith, undefinable by genre. An MC and a Rastaman that's journeyed through garage, grime, hiphop and reggae to arrive at his own destination he's coined as 'roots hop culture'. Part of the RU1 Fam, a UK hiphop collective who received international recognition for their debut album Otito in 2018.

'Do You Know' started out as a dubplate on the 'King of Grime' instrumental by producer Lewi B. Majical penned this song to exalt the many earthy achievements of 'King of Ethiopia' Emperor Haile Selassie. On hearing this version, Kibir La Amlak approached Majical to make a new version of the track together, that brought it into the world of UK Reggae Sound System he hails from. The track was first recorded in 2017 and then remained as a dubplate, championed by UK sound system 'Iration Steppas' and South African sound system 'Kebra Ethiopia'. It was also performed as part of the Kibir La Amlak live dub show on numerous tours around the world. After countless requests, Majical and Kibir La Amlak both felt that this coming anniversary of the birth of Haile Selassie was due time to release the track for public consumption. Its since been re-recorded, remixed and remastered and is now available on 7inch Vinyl!

Having taken the British music scene by storm in 1980 with her classic single ‘I'm So Sorry’, which stayed in the top 10 of the country’s reggae chart for over four months, her breathtaking follow up ‘Hopelessly In Love’ and album of the same name ensured Carroll Thompson’s enduring legacy. The album would go on to sell over 1 million copies, earning her the affectionate title ‘The Queen of Lovers Rock’, having been a driving force in the surge in popularity of this uniquely British genre that's influence continues to be felt today. With its gentle and enticing sonics designed to take you from the dance hall to the bedroom, Hopelessly In Love soundtracked the romance of a generation and has been lovingly dubbed “the album that triggered the baby boom”, as well as recently being voted The Greatest Lovers Rock Album of All Time by readers of MOJO Magazine.

This 40th Anniversary edition (CD) includes 5 bonus tracks, all of which have been unavailable on any format since the early Eighties and is further augmented by newly written sleeve notes and rare imagery from Carroll herself, “Hopelessly In Love” finally receives the deluxe treatment its status and profound influence has long since deserved.

The enigmatic Manila-via-British Columbia ensemble SeekersInternational returns to Tokyo-based label Diskotopia for the follow up to 2016's Ragga Preservation Society. SeekersInternational Presents Ragga Preservation Society – Worldwide Sound comes after a prolific five-year creative journey exploring different sonic avenues across releases on Future Times, Ossia's No Corner, Bokeh Versions, Berceuse Heroique, ICS Library Records, and Never Sleep, in addition to an acclaimed FACT magazine mix in 2017.

This time the SeekersInternational crew are back with some collaborators—namely, Roger Robinson as Papa Robbie on Kill-A-Milli, Second Woman (Joshua Eustis of Telefon Tel Aviv & Belong's Turk Dietrich), wzrdyAV, and the late DJ Wundrkut, who heartbreakingly passed on to the next world a month before the release.

The direction of Worldwide Sound takes the original Ragga Preservation Society record's Mark Leckey meets Hype Williams approach to jungle dubs, radio rips, and soundclash tape samples—reaping Canada's large ex-pat Jamaican community's rich history of ragga-jungle—and douses it in high-octane rave & hardcore petrol before setting the whole thing alight to create a technicolor soundsystem polymetric fever dream. High-paced and restless, chopped and screwed beyond belief—for those looking to transcend to higher frequencies right now, you cannot afford to sleep on this unparalleled release.

All new versions over the classic Black Uhuru Riddim 'Guess Who's Coming To Dinner' played by 'The Inn House Crew' Band.

All new versions over the classic Black Uhuru Riddim 'Guess Who's Coming To Dinner' .

Dubquake Records start off the season by unleashing O.B.F’s “Fufu Lala”, a dangerous new 12” featuring vocalists Charlie P and Aza Lineage.

Once again the French sound system decide to push the boundaries of Dub, creating a heavy cross-over between modern Roots, Grime, Hip-Hop and Dancehall. On the A side, Charlie P lashes out against the so-called “Fufu Lalas” of the music industry, those higher ups who act without integrity. Rico OBF went IN on the instrumental and the crowd-pleasing “Fufu Dub” mix. Flip the record for a sweet remix of Aza Lineage’s “Rebel Daawtaz” and Charlie P’s “Hustler” on the same riddim.

Both of Charlie P’s tracks are raw and personal, rumor has it that he’s working on a big mixtape project… You’ll hear more about this in the coming months!

In addition to this new 12”, Dubquake Records are dropping the long awaited represses of O.B.F’s first two albums “WILD” and “SIGNZ”.

*Original album release notes

 Six years on from their “Wild” album release, O.B.F. finally return with their new album, “Signz”. During this time the crew hasn’t been idle. whether putting out 12” after 12”, touring or holding their legendary sound system sessions. The rhythm has been relentless, as the hardest working dub sound system in all France have been at the top of their game. Producing in their studio, organising their own nights, burning up dance floors, setting the internet
ablaze: all part of a day’s work for this crew from the French outskirts of Geneva. Looking over the past six years, no one can deny their status as a major player in the worldwide dub scene.

Released in 2014, “Wild” was O.B.F.’s first foray into the album format. It brought together music built for the soundsystem, rugged, high-impact tracks that perfectly fitted the public image of O.B.F. during that era. This new album is a different story, a personal journey that takes in the dancehall, Rico's studio, and everywhere in between. “Signz” was born two years ago, not with music, but with a concept and a name. The idea was to create an album without paying heed to time, allowing space for creativity and letting chance encounters shape the music. A project that would evolve over its lifetime, without being rushed. Letting the signs reveal themselves over time, and taking advantage of opportunities as they presented themselves, whether on tour, during recording sessions or when travelling. This approach, a relationship with the present moment and the feeling more simply known as the “vibe”, defines the album. But beyond that, it’s been the driving philosophy behind O.B.F. since they started making music.
A quick glance at the LP sleeve reveals a staggering list of collaborations, combinations that are as formidable as they are unprecedented. Jamaican, French, Spanish, English… vocalists and MCs from the four corners of the globe take turns in showing off their unique styles. Some are regular contributors to O.B.F. productions, whilst others are new collaborators, but all have deep, historical links to the crew. It’s here that O.B.F. unveils the full breadth and depth of their influences for the first time on record. Already known for their expertise as rubadub and heavyweight dub producers, here they show their talent working with roots, grime and even pop. It’s a testament to the free creative approach exercised by the crew during the recordings that no matter what style
they’re working with, the result is always delivered with flair and finesse. It also speaks to O.B.F.’s desire to rip off, once and for all, the “European dub” label which so many have stuck to them. Here, O.B.F. stands for versatility, openness and daring.

O.B.F.’s identity and style has been built across the globe: from the heights of Alps to the burning sun of Jamaica, between headline performances at Spanish festivals and sets in the barrios of Latin America or the dancehalls of London. Their music is unlike any other. But for the doubters among you, a single listen to “Signz” will provide indisputable proof of that truth.

O.B.F's first album finally repressed on vinyl!
+ the artwork has been remastered for the occasion

Produced by Lee "Scratch" Perry.

Same riddim as Max Romeo - I Chase The Devil.

UK Reissue.

On the same riddim as Lee 'Scratch' Perry - Disco Devil / Croaking Lizard.

Produced by Lee "Scratch" Perry.

UK Reissue

Produced by Henry 'Junjo' Lawes.

Uk Reissue.

Produced by Henry 'Junjo' Lawes.

UK Reissue.

Produced by Henry 'Junjo' Lawes.

UK Reissue

Producer Henry 'Junjo' Lawes.

UK re-issue on Volcano label. Same stamper as the Jah Guidance issues with the same matrix.

Shank I Sheck riddim

‘Jah Garden’ was recorded in 2017 by Idren Natural, and the riddim was produced by Dubolution Sound System from Switzerland. The track was given to Indica Dubs to play as a dubplate – and it was instantly a power play!

After a couple of years, the tune is finally being released! The 10” contains the vocal and dub mix by Idren Natural and Dubolution on Side A, and then 2 extra dubplate cuts mixed by Indica Dubs on Side B! Each mix getting more increasingly militant and deeper, focusing on flying echoes, reverbs, phasers, filters and all things dub! All tracks mastered by Vibronics.

Out now, limited pressing 7" vinyl with full colour picture sleeve, TRS Records presents Larry Maluma with The Lost Zambian Tapes.

🇿🇲 Larry Maluma is an accomplished musician, composer and vocalist and sings a combination of English and his native languages, Nyanja, Bemba and Tonga, adopting styles which he has used to blend his own brand of Roots music. The resulting unique sound has put his singles at the top of the Zambian charts during the height of the Zamrock phenomenon.

Recorded at DB Studios and Multimedia Complex in Lusaka, the songs were recorded between in 1984-85, when Larry invited a few friends into the studio. His younger sister Trinity went with him just for fun and ended up singing the backing vocals on the tracks. Shortly after the recording, Maluma left for Australia in search of better opportunities.

“When I got to Australia, I was going to remix some of the stuff. I tried a bit, but I thought instead of messing around with the recordings from Zambia, we’ll go into some bigger studios and do something fresh. So I packed the tapes in a trunk and I forgot about it, basically until about a year or two ago, I don’t know what happened, something must have reminded me. I went to open the trunk, which was in the garage, and I found the tapes.”

“It was very interesting and I was very curious to hear what was on it. So I tried to look around for someone who had a reel-to-reel player. I didn’t find anyone, I looked around Australia. There was one guy who said the tape was too old, it had been laying for over 30 years, so it would probably wear out while playing it. It might not even play. so I was thinking, this guy who recorded the stuff in Zambia, he might still be around. Let me just make a call. so I did, I called this guy from DB Studios, Peter Msungilo. I called him and he answered the phone, I said, ‘have you go the the machine?’ He said, I've still got it, I haven’t used it in a long time but it still there and it works’. I said, ‘I’ve got this tape which you recorded, I’d like to have a listen to it. I’ll send it, please look after it for me because I’d really like to have it back, and digitize it for me.”

“I sent it to him and I told him to treat it with care, which he did. He said it might take a few weeks to treat it, because he had to store it in a certain room at a certain temperature. I don’t know what he does, maybe he put a bit of charm in there. But he got it playing, and after a couple of weeks he put it on a disc for me and sent it back to Australia. When I got it back I was very very happy… I decided I’d get a couple of old tracks, which no one has ever heard before - and the rest is history”.

‘Ulemu’ is in the Zambian language of Nyanja. It emphasises respect for people in different situations, and a warning that mocking others will one day backfire badly.

Produced by Clive Hylton 
Until this reissue this tune has only been available on Jamaican Pressing from 1984 on the 'Rambo International' label and the original is selling for between £500-£800 . 

Here is a long overdue reissue at a nice price!

It's already the third release from Prince Alla on Abendigo Records. 
He wrote a song talking about the difficulties in ghetto areas.

Written and interpreted by : Prince Alla
Produced by : Sly and Jahlow
Composed and mixed by : Hermit Dubz

Limited edition of 300 copies for this new 7" with Tommy Clarke, mixed by Dub Kazman. The vinyl has a beautiful red gold and green sleve with ethiopian painting on the back side.

Singer/ Author : Tommy Clarke
Composer and mixer : Dub Karman
Voicing at Youthman Promotion Jamaica
Artwork : Le Studio Mouette & Sly Abendigo
Production : Sly & Jahlow

A SIDE
Singer / autor : Vernon Maytone
Production : Sly and Jahlow
Composed and Mixed by : King Alpha
Voicing : Buckley Music Studio, Canada
Mastering : Precise Mastering

B SIDE
Singer : Prince Alla
Produced by Sly and Jahlow
Composed and Remixed by King Alpha
Voiced In Jamaica
Mastered by Precise Mastering

Artwork : Le Studio Mouette.

A SIDE
Singer / Author : Fred Locks
Production : Sly and Jahlow
Composed and Mixed by : Shasha Records for Abendigo Records
Voicing : Jamaica
Backing Vocal by Monique Smith
Mastering : Pressure Mastering

B SIDE
Singer : Earl Sixteen
Produced by Sly and Jahlow
Composed and Mixed by Shasha Records for Abendigo Records
Voiced at Dou Weiss Studio, Toubab Dialaw, Senegal
Mastered by Pressure Mastering

Artwork : Le Studio Mouette , Martinique

Produced and Mixed by Dan Taliras for Echobus Records 2020.

Produced by Nick Manasseh © 1996 / 2020

Produced by Riz All Stars (Nick Manasseh & Gil Cang) © 1995 / 2021

Produced by Riz All Stars (Nick Manasseh & Gil Cang) © 1995 / 2021

G. T. Moore's 'Jerusalem' - Harry J Cut - on 7" vinyl for the first time backed with a previously unreleased dub cut, 'Mount Zion Dub'. 

Recorded at Harry J's recording studio, Kingston, Jamaica, 1980.
Mixed by Dougie Wardrop, London, 2017.

Produced By Alpha & Omega, 1992.

Released as PRTL7005 IN 2013 and until now has been out of press for sometime!

Mastered by Beau Thomas @ teneightseven
10” Hand Stamped Black Vinyl limited to 500 copies.

Mastered by Beau Thomas @ teneightseven
12" Black Vinyl limited to 500 copies

Two Nyabinghi tunes from Brother Joe & The Righteous Brothers, 'Hail The Children' being the first recorded appearance of the legendary Vivian Jackson, aka Yabby U, circa 1972.

Treasure Isle classics back to back discomix business.

Comes housed in an artboard outer sleeve and black inner sleeve. 

Produced by Dennis 'Blackbeard' Bovell

Lead vocal by Junior Delgado

Extended mixes. 

*Please note label misprint, as side A on side B and vice versa.

Reissue on black vinyl.

Remastered by Colin Young

Produced by Stafford Douglas

Written by Tony Tuff

Originally released in 1979 as AC 003.

Info.

Recorded at Ariwa and engineered by Neil 'Mad Professor' Fraser. 

Alborosie is committed to authentic reggae, to honoring and preserving its heritage. His work with Roots Radics band, The Wailers United, King Jammy, Wailing Souls and many of today’s leading artists, is a testament to his study of the origins of reggae, and his contribution to its future. He is unique among non-Jamaican reggae artists in his personal commitment to saturating himself in the culture of Jamaica and reggae music.

The album “For The Culture” was written and produced (by Alborosie) during the darkest months of the COVID 19 Pandemic and gives voice to many thoughts and emotions felt around the world during the period. Like most of the world, Jamaica is blessed (or cursed) with steady, high-speed internet connectivity and it is through this personal (computer) window that many of the songs were conceived. 

Through the music, darkness gives way to light and the finished work conjures a subtle, yet powerful feeling of hope, for the future and for the culture.

20 years after the release of Blood & Fire’s outstanding but now deleted ‘Heart Of The Congos’ reissue, VP Records /17 North Parade release a definitive, 2017 re-mastered 3LP edition, put together with both respect and gratitude to that illustrious antecedent. The vinyl package includes ‘Don’t Blame It On I’ an overlooked, previously unreleased track unearthed, too late to include on the Blood & Fire release, by Steve Barrow and David Katz in 1997. All tracks are re-mastered and subsequent dub and 12" mixes from the historic al-bum are included, making the 40th anniversary edition, the most complete presentation of Heart Of The Congos to date.

Legend of the sound system scene, Vibronics, links up with longtime collaborator Parvez, to deliver a much-needed anthem in the face of Babylon. Bim One deliver remix cuts direct from Tokyo inna future dubwise style. Limited run of 400, pressed to 180g vinyl. Support from King Shiloh, OBF, Don Letts, Dreadzone, Mungo’s Hi Fi, Iration Steppas, Ras Kwame, Charlart58, Blackboard Jungle + more!

Originally released by Trojan Records in 1969, Duke Reid Golden Hits highlights a dozen of the legendary Jamaican producers biggest hits of the rock steady era. 

Although all of the tracks were already oldies by the time the LP saw issue, such was their timeless appeal that the collection became an instant best-seller. 

Almost half a century on, the recordings are still widely considered classics of the rock steady sound, yet despite the significance of the collection, this seminal album has remained out of print for decades. 

Volume 1 of the classic Trojan series, reissued here on vinyl. The now classic Tighten Up was originally a thrown together collection racked in Woolworths and similar stores in 1969. It sold in large quantities and spurned seven more volumes. 

Heavyweight 180gm vinyl.

Volume 2 of the classic Trojan series reissued on vinyl. Like Volume 1 this album was made up of the hottest Trojan 7″s released in the preceding months and sold at a cheap price in Woolworths up and down the land in 1969. 

Includes the massive hit singles Long Shot Kick The Bucket by The Pioneers and Return Of Django by The Upsetters. 

Heavyweight 180gm vinyl.

Legendary Reggae vocalist Cornell Campbell is to release a new E.P entitled ‘Time For Peace’, to mark the 52nd Anniversary of Martin Luthur King Jr’s assassination, 4th April 2021(Digital release! Vinyl released 9/9/21).

Taking its title from Cornell’s lyrical addition to Black Man In A White World, “I want you to understand, I need, I need everyone to hang on, in love, peace and unity”, the new 12” EP features bold interpretations of two of soul music's most iconic songs about race, identity and injustice.

Both Michael Kiwanuka’s ‘Black Man In A White World’ and ‘Outernational Blues’ - a take on the Marvin Gaye classic ‘Inner City Blues’ - evoke the sentiment and spirit of MLK’s peaceful protest, and act as a reminder as to the importance of grace, pride and dignity in difficult times. Capturing a unique combination of vocal vulnerability and wisdom, this is music that demands deep listening. Cornell Campbell’s voice at 75, carries a new found poignancy and depth of emotion; one which feels perfectly suited to delivering an elders perspective on such emotionally loaded topics.

The E.P was recorded and produced over four countries, with the music for all tracks having been recorded in London, England at The Total Refreshment Centre, before being voiced in Kingston Jamaica at Anchor Studios. Additional backing vocals were added at Heritage Recording Co in Burbank, California, before the track was finally mixed and produced by Sergio Lopez, in Andalucia, Spain.

‘Time For Peace’ is the first in a series of four releases from icons of reggae, including ‘Time For Love’ by Tabby Diamond, of The Mighty Diamonds, ‘Time For Change’ by Fred Locks and ‘Time For Unity’ by Big Youth; all to be released on limited 12” vinyl.

Comes with poster.
Side A includes elements of Keith & Tex - Stop That Train
Written by Tex Dixon, Keith Rowe & Derrick Harriott.

Four Classic Upsetter/Lee Scratch Perry albums on 2 Discs at a bargain price!

Probably the most respected and sought-after producer of the European reggae scene of the last ten years, Spanish genius Roberto Sánchez (Willi Williams, Earl Zero, Alpheus, Keith & Tex, Milton Henry,...) takes place behind the microphone to deliver a new album as a singer under his pseudonym LONE ARK. Soberly titled Showcase Vol. 1, this album is a collaboration between Sánchez and Swiss band THE 18TH PARALLEL, whose playing is well known to reggae fans, since its musicians have recently played and produced some remarkable records, including I've Seen by Oku Onuora, Roots I Vision by Micah Shemaiah or Wonderland of Green by The Silvertones and Burro Banton. Faithful to the Jamaican roots reggae tradition, Showcase Vol. 1 offers six vocal tracks followed by their dub counterparts where all the creativity of the sound engineer and the musicians is freely expressed. On instrumentals at the same time heavy and irresistibly dancing, with a modern production but deeply rooted in the roots reggae sound, Lone Ark and The 18th Parallel push their listeners to critical reflection. A strong message + powerful music = a must-have album!

Probably the most respected and sought-after producer of the European reggae scene of the last ten years, Spanish genius Roberto Sánchez (Willi Williams, Earl Zero, Alpheus, Keith & Tex, Milton Henry,...) takes place behind the microphone to deliver a new album as a singer under his pseudonym LONE ARK. Soberly titled Showcase Vol. 1, this album is a collaboration between Sánchez and Swiss band THE 18TH PARALLEL, whose playing is well known to reggae fans, since its musicians have recently played and produced some remarkable records, including I've Seen by Oku Onuora, Roots I Vision by Micah Shemaiah or Wonderland of Green by The Silvertones and Burro Banton. Faithful to the Jamaican roots reggae tradition, Showcase Vol. 1 offers six vocal tracks followed by their dub counterparts where all the creativity of the sound engineer and the musicians is freely expressed. On instrumentals at the same time heavy and irresistibly dancing, with a modern production but deeply rooted in the roots reggae sound, Lone Ark and The 18th Parallel push their listeners to critical reflection. A strong message + powerful music = a must-have album!

F.S.Blumm and Nils Frahm return with their fourth collaborative album: ‘2X1=4’ finds the duo unexpectedly exploring a dub-influenced universe, though in truth it’s one already familiar to both. F.S.Blumm, for instance, is co-founder of Quasi Dub Development, whose 2014 album, ‘Little-Twister vs Stiff-Neck’, featured Lady Ann and Lee Scratch Perry, while Frahm’s music – not least 2018’s ‘All Melody’ – has occasionally betrayed a fondness for the form’s associated studio techniques, though he concedes wryly that his approach has always been “a little bit more German” than his influences. F.S.Blumm, a revered mainstay of the German underground for over two decades, and Nils Frahm first met in the early 2000s. Frahm was a big fan of Blumm’s 2001 album, ‘Mondkuchen’– he refers to his fellow Berlin resident admiringly these days as “a vital brick in the Berlin Wall” – while Blumm was soon dazzled by Frahm’s studio set up. “Compared to mine,” he says, “it was like a space ship!” Soon they were working together on a variety of projects – including theatre pieces and animated films – and by 2010 they’d released their first collaborative album, ‘Music For Lovers Music Versus Time’. A second, ‘Music For Wobbling Music Versus Gravity’, followed in 2013, and a third, ‘Tag Eins Tag Zwei’, in 2016. ‘2X1=4’ is very different to its predecessors, but its final track, ‘Neckrub’, first took shape as they wound up work on ‘Tag Eins Tag Zwei’. “We had a certain sound in the back of our heads,” Blumm recalls, “which was influenced by these 80s rhythm machines, and we suddenly discovered a common love for dub.” Most of the album, therefore, was initially developed in 2016 during improvisation sessions recorded by Frahm to two-track cassette. “It was like we were running a combine harvester,” Blumm laughs, “so we could write our names on a single grain!” Afterwards, they worked on editing and overdubs in Frahm’s new studio at Berlin’s legendary Funkhaus. “We kept on making new songs out of these sessions and starting over and over again,” Frahm smiles. “It was a process that was time consuming but really fun.” Not that either of them is eager to claim a purist approach. “I love ending up somewhere where I’m surprised by myself or the machine or the person with whom I’m making music,” Blumm concludes, while Frahm emphasizes that, “None of this is too serious. The record is only as much of a dub record as the ones before are jazz records…”

"In conjunction with The Disciples, we are reviving the legendary BSL label - with a brand-new double-sided killer 10" release! This label is one of the pillars of UK Dub."