Debut LP of the only - and unique Thurgauer Reggaeband.Musically, Jar modern reggae meets classic rocksteady, experimental influences from the career of the individual members on proven traditional ska. Like the Hammond organ with Leslie amplifier, whose output is distorted, repeated and sensitively enhanced by modern technology; The band's music also enters into the symbiosis between tradition and modernity. And this sound is created that simply does not leave you cold. In summer it fits perfectly and in winter it keeps warm.
Music without frills and (almost only) instrumental recorded can be found on this album by Rico. This is fabulous, straightforward, jazzy, groovy old school reggae, from ska to mento to rocksteady! A great instrumental mix of old classics and own compositions!
Radiation Roots presents a remake of Dennis Alcapone's "Guns Don't Argue", originally released in 1971. Dennis Alcapone was one of the first to cement his reputation as a star toaster with the small but popular El Paso sound system at Waltham Park After U Roy's breakthrough in the late 1960s, DJs became increasingly well-known. Born in rural Culloden, Dennis Smith immersed himself in the sound system culture after settling in the west of Kingston. When El Paso came out big in the sound system scene, Keith Hudson brought him to the studio for his debut recordings, which led to a debut album for Studio One and hit material for Duke Reid. Alcapone's long-standing ties to Bunny Lee led to the excellent album Guns Don't Argue.
Seventh album by the dream team of singer Neil Martin aka Alpheus, who with his warm and unmistakable voice is one of the greatest genre representatives alongside the still active veterans of the golden era, and producer Roberto Sanchez. Together with their gifted "Lone Ark Riddim Force" they give us again their outstanding, traditional reggae/rocksteady sound, which could well have originated from the Kingston of the 60s. Published on Liquidator
Reissue! Sufferer" was one of the classics from the skinhead reggae era of the late sixties. The LP contains a dozen of the group's best-known works Shortly after the album release - the trio collaborated with other well-known Jamaican producers, but could not maintain their popularity and disappeared from the local music scene in the late 1970s. In the meantime, this unique longplayer continued to attract interest and is now considered one of the best records of boss reggae sounds. Original copies are now highly valued, not to mention extremely valuable collector's items.
As the only album ever released by a lead singer of the entire Rocksteady era, One Life to Live is a crucial document of the genre.Dillon spent her entire career recording for Duke Reid's Treasure Isle label. Although One Life to Live was released in 1972, it is a kind of compilation, including material recorded from 1968 to 1972. As such, it includes a number of her solo hits, including Long Time No Nice Time, We Together Belong and the theme tune. For this very first reissue of Stateside-Vinyl, Real Gone Music has remastered this groundbreaking album to make it sound better than ever.
LP repressed in small edition! The singles from his time at the then English reggae imperium Pama/Nu-Beat. Super compilation from the golden era of skinhead reggae '68/ '69, at the same time the highlight of Laurel's work - clearly superior to his ska output * Grover.
The architects of "Dirty Reggae" are in full lane with their 6th album. After the Californians licked blood after recording the 3 songs "Aggro Reggae Party," "Help Man" and "Western Taipan" in 2015, they convince at full length with their irresistible early reggae sound signature.
Reissue! Their self-titled Hellcat album was THE discovery in 2006, because for years no band has brought together what has actually belonged together since 1969: skinheads and the hard, fast reggae of the first generation! The Californians are clearly in the tradition of the original Boss Sounds, especially the organ instrumentals with Dave Barker-like vocal intermezzi refer to the guitar-heavy, super-funky groove of early Lee Perry/Upsetter. And the singing is, as I said, pure soul! It is therefore hardly surprising that the American reggae pope Chris Wilson praises the band on the backcover over the green clover - rightly so! * Pirates Press
Max Romeo was not only a fabulous entertainer, but also proved that he is truly a top representative of the reggae genre. His resounding hit Wet Dream climbed to number ten, and remained in the charts for more than twenty weeks, but was never played by the BBC due to the explicit lyrics. This long-awaited album is full of Romeo's versatility. Whether he sings or writes, Max is always flawless. This album is a must for all reggae lovers.
There is not a single weak note in "Smoke". It is perhaps the best fusion of reggae and jazz of the more recent era. To be more precise, it is actually ska and "samba rock", a very jazzy form of Brazilian pop music from the 1960s. This dictates the structure: Ska-Offbeats lay the steady basis for jazz groves that float freely over it, for swearing-in wind melodies and funky organ playing. The contrast between the stiff beat on the one hand and the free play of the melody instruments on the other hand makes the incomparable appeal. Everything is of course crystal clear produced and virtuosically mixed. (Source: review dubblog.de).
With the fourth album of the Dutch Early Reggae Sensation, the band is breaking new ground! In addition to the typical upsession reggae and ska sound, there are also some Calypso numbers to be heard here. And if that weren't enough they have invited the reggae and dub old master Lee Scratch Perry as support, who enriches the album with brisk sayings and toastings. Unlimited purchase recommendation for every reggae fan!
The Caroloregians are the sister troupe of the magnificent Moon Invaders, the core of both bands is identical, but the Caroloregians do without blowers and orientthemselves to early reggae and classics like the Upsetters or Harry J. Allstars. Just over half of the tunes consist of the instrumental pieces that were often played at that time, of course with a dominant Hammond organ and, as usual in boss reggae, quite decent tempo. And Fat Is Back is also quite funky. There are also a handful of vocalcuts, sung in the Southern Soul twang of New Orleans-born Matt Hardison. Fat Is Back is fun without end and shows a band that adheres quite strictly to the Boss Reggae rule, but builds all sorts of inductions so subtly that it is a single joy.
The title of the disc is the program: skinhead reggae with the usual dominant organ and a certain feverish nervousness and hustle and bustle, which already 40 years ago made records like "Funky Kingston", "Battle Axe" or "Funky Chicken" classics. The Belgians perfect their sound on their now third record and thus emancipate themselves from their largely identical brother band, the MOON INVADERS. Bee-industrious as they are, they have put together an all-round successful package of tradition, as Lee Perry's Upsetters could hardly have done better, back then. And as with the predecessor "Pum Pum Hotel" again a simply beautiful cover.