1981 - The Paragons + The Paragons Dubwise (2015)

 1981 - The Paragons + The Paragons Dubwise (2015) @320

“Featuring”, as the label blurb has it, “the original 1981 Island album, plus the previously unissued accompanying Dub set…” That accurate description sums up this new release from the Paragons, the vocal reggae outfit that gave us the late John Holt and Bob Andy. The year of issue means that these are re-recordings of some of the Paragons’ best known songs, featuring the trio of John Holt, Garth ‘Tyrone’ Evans and Howard Barrett. This collection includes ‘The Tide is High’ (after the versions by U Roy and by Gregory Isaacs, and after Blondie had already fashioned it into a pop/rock hit single), ‘Man Next Door’, ‘Riding on a High and Windy Day’ and (the much-dubbed) ‘Wear You to the Ball’. Engineered by Errol Brown, and recorded at Tuff Gong studio in Kingston, Jamaica, it’s not surprising that the production sound is clear and uncluttered in comparison to the Paragons’ early versions of these songs for Duke Reid’s Treasure Isle records in the 60s. The musicians involved here include Mikey Chung, Sly Dunbar and Robbie Shakespeare, all adding up to an excellent tour of the Paragons’ best tracks, with the vocals mixed up front. As if that were not enough this release also features a dub set of the entire album and that is really where the sound takes off. Sequenced differently from the vocal tracks, the dub set kicks off with ‘Riding in Rhythm’ (an excellent dub take on the vocal track) and then essentially goes from strength to strength, featuring ‘The Version is High’, ‘Wear Out the Dub’ and a dub entitled ‘My Best Rhythm’ (a perfect dub of ‘My Best Girl’). It’s old-time reggae and still sounds great. (Reggae Music)

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2002 - Salif Keita - Moffou

2002 - Salif Keita - Moffou @320

By normal industry standards, waiting until you're 53 to make the best album of your career is perhaps leaving it a bit late. But then not much about Salif Keita's story is normal.

Was it a blessing or a curse for this Malian teenager – already singled out for being albino, and of royal descent – to find that he had one of the most remarkable voices anybody in the neighbourhood had ever heard? On the one hand, it set him apart and ahead of the competition to be invited to sing with two leading west African bands during the 1970s. On the other, it led to expectations that perhaps Keita could be something more than the most famous singer in west Africa – what about conquering the rest of the world? In 1987, the album Soro, expensively and elaborately produced in Paris, announced Keita's arrival in the English-speaking world.

For the following 15 years, it was almost as if he wilfully defied the hopes and expectations of those who had supported him, insisting on electric guitarists and synthesiser players in his recordings and for his live shows, despite entreaties that his music should sound less like Phil Collins and Peter Gabriel and more Malian.

Finally, astonishingly, in 2002 Keita relented and delivered the album Moffou, which was exactly what his fans had been praying for. First impressions were that this change of tack was mostly acoustic, but there are many subtle interventions of electric guitar and electronic effects. Moffou might feel like a natural, spontaneous recording, but clearly a lot of thought went in at every stage, from songwriting to arrangements and post-production – and, of course, the singing. If the plan was to deliver a classic album, it succeeded.

One of Keita's distinctive qualities as a songwriter is to set his own voice against female vocalists, and virtually every track here showcases this skill, starting with Yamore, a duet with the Cape Verdean singer Cesária Évora. The combination of the two voices seemed counterintuitive, with Keita being typically extravagant and Évora being laidback. But it works brilliantly, and behind them both, those gorgeous backing vocals answer and comment.

Two other tracks stand out as the high points of a consistently lovely record. On Moussolou, Keita's tribute to women, his gentle vocal is carried along by rippling guitars and percussion. On the haunting Baba, a traditional instrument plays an echoing melody in the background.

Moffou signalled what was to become a hugely successful 10 years for Malian music – in fact, the decade would end with a raft of pop and indie acts looking to the country for inspiration. West Africa provided several outstanding albums during the noughties, but most musicians would surely salute Keita's album as the pinnacle. (The Guardian)

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Various Artists

The Many Faces of Doors

[3cds]

(2015)

 

320

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2022 - Travelin' Band - Creedence Clearwater Revival At The Royal Albert Hall 1970

 

2022 - Travelin' Band Creedence Clearwater Revival
At The Royal Albert Hall 1970 @320

The debut release of the long-awaited recording of CCR at London's Royal Albert Hall. More than 50 years after the legendary 1970 show, the original multitrack tapes have been meticulously restored and mixed by GRAMMY-winning producer Giles Martin and engineer Sam Okell, and half-speed mastered by Miles Showell at Abbey Road Studios from high-resolution files sourced from the analog multi-track tapes.

CD 1 — Music from the Film:

Tommy Fogerty and the Blue Velvets — Come On Baby

The Golliwogs — Brown-Eyed Girl

The Golliwogs — Porterville

Susie Q.

I Put a Spell on You

Proud Mary

Born on the Bayou

Bad Moon Rising

Green River

The Night Time Is the Right Time

Down on the Corner

Who'll Stop the Rain

CD 2 — At the Royal Albert Hall:

Born on the Bayou

Green River

Tombstone Shadow

Travelin' Band

Fortunate Son

Commotion

Midnight Special

Bad Moon Rising

Proud Mary

The Night Time Is the Right Time

Good Golly Miss Molly

Keep on Chooglin'

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Various Artists

The Many Faces Of The Rolling Stones

[3cds]

(2015)

 

320

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Various Artists

The Many Faces Of Sex Pistols

[3cds]

(2013)

 

320

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2003 - Pat Metheney - One Quiet Night

2003 -  Pat Metheney - One Quiet Night @320

Pat Metheny literally sat down One Quiet Night to record some solo guitar in his home studio. Using a semi-acoustic baritone made by the esteemed Canadian luthier Linda Manzer, he recorded most of these pieces towards the end of 2001. After returning from a lengthy tour Metheny was impressed with the results and decided to add six more tunes to make an album's worth of material.

It's as calming as you might expect, with Pat investigating a more esoteric tuning mode and playing pure, with no overdubs. His lone axe is given a big, reverb-soaked sound, acting like a virtual orchestra in a cavernous space. The bass strings resonate with a plump power, silvery high-string phrases dancing above.

Metheny deliberately avoids any flashy fingerpicking, concentrating on gentle plucks, savouring the scrape, rub and click of his strings and allowing gaps for thought. He's completely relaxed and spontaneous, sustaining a mellow mood throughout. Around the midway mark of "Time Goes On" and Keith Jarrett's "My Song", the ideas seem to get cut adrift, yearning for bold gestures or emphatic statements. One problem is that Metheny doesn't vary the sound zones that he's exploring.

On "Peace Memory", ascending lines never quite reach their conclusion, but climb back up from the bottom again, then "Over on 4th Street" introduces a vigorous strum, underpinned by seeping bass notes. "I Will Find the Way" rejoices in singing harmonics, producing a luminous stasis that's in sharp contrast with "Ferry Cross the Mersey", which is certainly an unexpected song-choice for Metheny. (Amazon)

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Various - Box Of Vibes 49 (A-C-R) 2026 320 😎

Box Of Vibes number 49, can't believe we are at 49, we have 60 compiled, we will have to start again soon!! Box 49 starts with Andy's tracks this week from 1 to 8, then Concha has the middle section with he tunes from 9 to 16 and I (Reb) close the box with my selections from 17 to 24. 

Oh we are going to make a Birthday Special Box Of Vibes to celebrate Vibes being Two in late September, I have 8 tracks submitted to be included at this time (this is a draft to post) so by the time this goes out there could be more tracks. 

If you would like you join in then read the post from the link below and post a comment or email us, with your tracks. 

https://vibes-vibras.blogspot.com/2026/08/vibes-will-be-two-years-old-soon.html

As far as I know all the links for Box Of Vibes are still alive and Boxes 1 to 30 are here one the one post, with the download links there, so if your new to this series it's an easy way to catch up or start it. I will do the same when we reach Box 60, with 31 to 60. Or maybe 1 to 60, we will see at the time. 

https://vibes-vibras.blogspot.com/2026/04/box-of-vibes-links-for-box-1-to-box-30.html

If you discover a dead link then let us know on the post via a comment and we will re up the link.

* Enjoy, Reb 😎 Link 👇 *

1969 - King Crimson - In The Court Of The Crimson King [50th Anniversary] (2019)

1969 - King Crimson - In The Court Of The Crimson King

 [50th Anniversary] (2019) @320

A towering achievement of popular music which refuses to be scaled fifty years on but lends itself to observation from various angles.

It’s rather rare for a rock ensemble with a distinguished, distinct discography to have their first studio effort stand out half a century later and not be obscured by subsequent entries, let alone their peers’ oeuvre, but KING CRIMSON have never been less than unique – or, more precisely, this group have existed as a single entity in a class of their own ever since their debut signaled the beginning of a very peculiar path in modern culture’s convoluted vista. Once out in the open, “In The Court Of The Crimson King” crossed the boundaries of simple entry in a music catalogue and became a gateway into the frightening, if mesmeric, unknown for a few generations of common listeners and fellow performers alike.

Back in the day, in the late ’60 when genre borders got blurred to be mapped anew soon enough, there were other bands – such as COLOSSEUM and BLODWYN PIG – who combined wailing saxophone with stinging guitar; only those usually aligned themselves with blues or jazz. Yet whence KING CRIMSON came no pre-existing style could be applied to define this demonic sonic assault that hit hard on both melody and lyrical levels while being possessed with a lot of nuances and detail. They still stun in the original recording of “ITCOTCK” as assigned to one of the CDs here, on the arresting 50th Anniversary reissue, brought to the fore on Steven Wilson‘s remix on another disc, and exposed on the third one.

Firmly embedded in its time, the album may seem aloof and, to an extent, alien, but that’s how its subtitle – “An Observation By King Crimson” logically plays out: the ensemble comment on the period’s turmoil through tuneful tumult from both internal and external point of view, which contributed to its place in eternity. Whereas other art-rockers’ debuts are often perceived as raw experiments, KC’s initial LP emerged fully formed – outside of it, the Judy Dyble-delivered version of “I Talk To The Wind” just didn’t registered with progressively-minded listeners – as a pellucid pinnacle of what would follow in its wake. There would be many more offerings further on down the line, yet none – including such full-blooded flights of fantasy as “Red” that saw the tenets first demonstrated here explored and evolved – surpassed the shock and wonder of this pseudo-conceptual opus.

It’s amazingly balanced. For every fierce instant – with the record’s abject horror expressed not only by Barry Godber’s artwork and the fury of “21st Century Schizoid Man” but also via the folk-avant-garde of “Moonchild” and fragments of the titular epic – there’s a moment of serenity, even though the flute-flaunting “Wind” has worry married to bliss, as Mellotron passages enforce the pieces’ frailness. The album’s brittle, albeit non-fragile, sound that’s crystallized most impressively on “Epitaph” – especially when the words are wiped, revealing Bach’s “Air on the G String” as one of the ballad’s sources – might not have been consciously reliant on the devil’s tritone, yet the often funereal flow is undoubtedly deliberate and the lament deceptive, creating a contrast to move the mood. And this edition should help embrace every twist which lay below the old LP’s surface.

Ian McDonald‘s reeds rage on the 1969 instrumental run through “Schizoid” whose fervent groove is propelled by Greg Lake‘s bass as much as it’s colored by Robert Fripp’s meandering rifferama, and 2019’s rejigging and enhancement of the entire album’s voiceless interface are nigh on revelatory, the robust transparency behind “Wind” and the heaviness in the “The Return Of The Fire Witch” section of the title suite made all the more sensual. On “Schizoid” with its crafty screech, Lake’s artificially stifled vocals reflect the atmosphere of the record’s era – perhaps, more relevant today than back then – most perfectly, as Michael Giles’s drums stoke the ire without ever losing their rhythmic poise, up to the cymbals’ rustle which usher in the title track’s piano-splashed finale. Fresh mixes render the familiar landscape multidimensional – and that’s in stereo, let alone the surround option on Blu-ray – but the new, wider angle somewhat dilutes the erstwhile impact, as the sinister, claustrophobic call-and-response of six strings and brass on “Schizoid” traded off for cinematic panorama, and the cushioning of “Wind” is softly shattered once the faux-orchestral gusts of “Epitaph” paint the doom-and-gloom. Still, “Moonchild” finds its formerly barely-there, if creepy, presence fleshed out, and “ITCOTCK” has its motley front stricken with vulnerability.

And then there’s a so-called “Alternate Album” which highlights different aspects of all the five numbers, including the unnecessary studio chat from 50 years ago and Jakko Jaksyk and Mel Collins recent overdubs that hardly add anything special to the crazy swirl, given how modern the record feels five decades after it was committed to tape. Fripp’s fluid electric lines illuminate yet another version of “Wind” whereas his acoustic lace, in turns loose and vigorous, works miracles in the duo take on this ballad, with McDonald’s ivories providing tangibly exquisite texture, but it’s Lake’s isolated singing on “Epitaph” that serves up the eeriest, emotional experience, an unseen essence of the early visit to “The Court”…

Stark and startling here, strikingly opulent there, and marvellous everywhere, this temporal milestone remains a signpost on the way to eternity, with not a trace of moss gathering on its groove-riven facets – because its aural anguish and pleasure are indefinitely real. (Let It Rock)

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2024 - VA - Reimagining In The Court Of The Crimson King

2024 - VA - Reimagining In The Court Of The Crimson King
 @ 320

Rock music royalty gather together to recreate one of the most important and influential albums in history, King Crimson’s 1969 masterpiece In The Court Of The Crimson King.

Features performances by King Crimson members Mel Collins and Jakko M. Jakszyk as well as Todd Rundgren, Megadeth’s Chris Poland, Deep Purple’s Ian Paice, Rainbow’s Joe Lynn Turner, Dream Theater’s James LaBrie, Cactus’s Carmine Appice and more!

From the first note of “21st Century Schizoid Man” to the epic conclusion of “The Court Of The Crimson King,” you’ll be transfixed by how each song is interpreted and celebrated by this incredible group of musicians! (Rough Trade)

1. 21ST CENTURY SCHIZOID MAN FEAT. TODD RUNDGREN, ARTHUR BROWN, MEL COLLINS, CHRIS POLAND & IAN PAICE

2. I TALK TO THE WIND FEAT. MEL COLLINS, DJANGO JAKSZYK & JAKKO M JAKSZYK

3. EPITAPH FEAT. ALAN DAVEY, PAUL RUDOLPH, NIK TURNER, ADAM HAMILTON & DANNY FAULKNER

4. MOONCHILD FEAT. JOE LYNN TURNER, MARTY FRIEDMAN, JAH WOBBLE & CHESTER THOMPSON

5. THE COURT OF THE CRIMSON KING FEAT. JAMES LABRIE, CARMINE APPICE & STEVE HILLAGE

6. 21ST CENTURY SCHIZOID MAN FEAT. ARTHUR BROWN, BRIAN AUGER, CHRIS POLAND & IAN PAICE

7. 21ST CENTURY SCHIZOID MAN (INSTRUMENTAL VERSION)

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Comments

 Hi there it seems comments are not working right now on Google. Sorry if you've tried to place a comment and it's failed. 

We have not changed anything!! Who knows what Google have altered and why this isn't working. 

Hopefully will be sorted by Google in the next few days!!

Reb

2005 - Lee Perry - Dubstrumentals

2005 - Lee Perry - Dubstrumentals @320

Lee "Scratch" Perry's eccentric persona often obscures the incredibly innovative approaches he brought to Jamaican music, and his kitchen-sink recording methods likewise cloak the very real vision behind his one-of-a-kind creations. Perry is quite simply reggae's one true auteur, and no matter who is singing or playing at a Perry session, the finished result is all Scratch. This two-disc set, Dubstrumentals, collects three mid-'70s Perry dub albums, Kung Fu Meets the Dragon, Return of the Wax, and Vin Gordon's Musical Bones (all three were released in the U.K. in 1975). Perry's legendary Black Ark Studio was up and running by this time -- it had become more or less operational at the close of 1973 -- and he was just beginning an amazing run of productions. Kung Fu Meets the Dragon benefits mightily from the presence of Augustus Pablo on melodica, which gives it all a vaguely Far Eastern vibe, and the sequence flows like nothing so much as the soundtrack to some long-lost Jamaican spaghetti western. Sound unlikely? Welcome to Scratch country. Return of the Wax was originally released as a limited-edition, white-label LP, and it is less dub proper than it is a deep, dense drum'n'bass set. Musical Bones is actually a sequence from Jamaican trombonist Vin Gordon (with Perry producing), featuring Gordon and friends fleshing out classic reggae rhythms with jazz structures and phrasing. Among the standout tracks on this double-disc reissue are the almost polka-sounding "Scorching Iron" from Kung Fu, the odd musical wisdom of "One Armed Boxer" from Wax and the weird, spooky "Licky Licky," complete with drunken-sounding trombone, from Bones. The real gem here, though, is a bonus track, an amazing and singular version of "House of the Rising Sun" done up as only Perry can do it as "Ark of the Rising Sun." Perry is often as much irritating as he is entertaining, but there is an undeniably strong vision at work here, and once you've surrendered to its joyful, surreal lunacy, a wonderful and wild world emerges, a sort of mirror image of the one you expect.

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2018 - Kinobe – Golden Age + Golden Dubs

2018 - Kinobe – Golden Age @320

2019 - Golden Dubs @320

In 2018 Kinobe released their first album in 9 years - Golden Age. Lead single ‘Little Words’ might just be one of the tunes of year, a Donny Hathaway-esque, soulful slice of too-slow-to-disco that nods towards 60s hipster groovy. At once instantly familiar and brand new, a heartfelt three-and-a-half-minute pop-dance floorfiller – with a hook once heard, never forgotten. Elsewhere the Stephen Hague mixed ‘End Of The Road’ is a huge gospel-tinged ballad destined to own daytime radio, ‘Skyhigh’ is a gorgeously haunting sundowner, ‘Heartstring’ is all cosmic soundtrack strings while ‘Sunray’ is Kinobe at their very best, with its irresistible hooks, washes of melody and downtempo beats.

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12X12 Vol 18 2026 320

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2015 - Lee Perry - Dub Triptych

2015 - Lee Perry - Dub Triptych @320

Lee "Scratch" Perry's eccentric persona (he's either crazy as a loon or crazy as a fox) often obscures the incredibly innovative approaches he brought to Jamaican music, and his kitchen-sink recording methods likewise cloak the very real vision behind his one-of-a-kind creations. Perry is quite simply reggae's one true auteur, and no matter who is singing or playing at a Perry session, the finished result is all Scratch. 

This two-disc set collects three early Perry dub albums, Cloak & Dagger (recorded in 1972, but released in 1973), Blackboard Jungle Dub (originally called Rhythm Shower and also released in 1973), and Revolution Dub (1975). Put together like this, the triptych shows a clear development of Perry's unique version of dub, from the mostly pure backing track instrumentals of Cloak & Dagger through the early restructurings, complete with sound effect additions, to the very beginning of Perry's famous Black Ark sound on Revolution Dub. That it all fits together like multiple pieces in one crazy quilt is a tribute to Perry's singular touch. From the gorgeous soul meets reggae meets jazz feel of "Hail Stone" through the brassy "Jungle Lion," the thundering "Black Panta," and the odd, spooky "Bush Weed," everything here is fascinating, a sort of avant-garde dub jazz, and given Perry's frequent spoken interjections, a strange kind of Jamaican beat poetry emerges. Only Scratch could (or would) spin a track off of the melody to "Pop Goes the Weasel," as he does in "Jungle Jim," and make it stick.

 Again, whether Perry is crazy as a loon or crazy as a fox, there is a strong vision at work here, and once you've surrendered to its joyful lunacy, a wonderful and wild world emerges, a sort of mirror image of the one you expect. (AllMusic)

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The Diodes - Tired of Waking Up Tired - The Best of The Diodes 2004 320

* Enjoy, Reb 😎 Link 👇 *

 

Manic Street Preachers – National Treasures - The Complete Singles 2011 320

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Transplants – Haunted Cities 2005 320

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Vibes will be two years old soon... (Updated in blue)

 Hi there Vibes will be two years old at the end of September and I thought some regulars to the site might like to help us celebrate with a special Box Of Vibes comp. 

So if you would like to take part then all you need to do is suggest and couple of tracks to be included into the compilation. Just comment with your name so we can say on the comp who suggested which tracks, they can be from any decade and of any musical genre you wish. I will then try to compile it. 

So on this post add two tracks that you think we should include. Put the artist / band followed by the track and the year, can you please also add the album / EP they come from as well which should make them easier for me to find.  

Just drop the track titles into the comments below, I will then search for the tracks suggested. If I can't find a 320 copy, I will ask you to email me a 320 copy of your suggestions. 

The final day to submit your tracks is Friday 18th September, which will give me time source the tracks and compile the comp. 

Reb

Rebjuke Reggae Vol 7 2026 320 😎

* Enjoy, Reb 😎 Link 👇 *

Various - Soul Mixed Vol 11 2026 320 😎

* Enjoy, Reb 😎 Link 👇 *

The Apostles – The Singles & Compilation Album Tracks 2018 320

The Apostles were an experimental post-punk band who developed within the confines of the 1980s Anarcho Punk scene in the UK, but did not necessarily adhere to the aesthetics of that movement.

Although the core of the group remained stable, Andy Martin and Dave Fanning were joined by various members over their 10 year span. Variation was also key in music styles as they varied from pop to punk to industrial through to pure experimentation, with influences like The Velvet Underground, The Adverts, Alternative TV, Lemon Kittens, The Pop Group and Twelve Cubic Feet cited.

Although highly critical of the seemingly inward looking anarchist movement of the times, the autonomous and libertarian approach of The Apostles seemed to portray classic anarchism, as opposed to the conformity of many of their contemporaries. This led to much respect from notable members of the original anarcho-punk movement such as Crass with whom the band co-operated during the squatting of the Zig-Zag Club and running of The Autonomy Centre and Centro Iberico venues, and Conflict who released a single and album by The Apostles on their Mortarhate label.

Originally formed in 1980 by William Corbett, Julian Portinari, Dan MacIntyre and Pete Bynghall, the band came into its own when Andy Martin joined to contribute lead vocals and lyrics. Shortly afterwards he was joined by Dave Fanning, ex-Innocent Bystander bassist. During this period the band recorded numerous DIY demo cassettes. In 1983 The Apostles released their first 7" single and were joined by 14 year old Scottish drummer Chris Low, ex-Political Asylum. It is from this time that The Apostles have been described as having started their 'proper recording career', releasing four classic singles, the best of which are shortly to see a long overdue re-release on CD, plus numerous full-length albums and further cassette releases.

The Apostles split up in 1989, immediately forming Academy 23 who released a number of works. Andy Martin & Dave Fanning continued as Unit (6) although Dave Fanning left Unit in 2007, leaving Andy Martin and Colin Murrell as the only members of Apostles in UNIT.

* Enjoy, Reb 😎 Link 👇 *

 

Rebjuke Reggae Vol 6 2026 320 😎

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1988 - The Cure - Standing On A Beach - The Singles & B-Sides

1988 - The Cure - Standing On A Beach -
The Singles & B-Sides @320

 01. The Cure - Killing An Arab

02. The Cure - Jumping Someone Else's Train

03. The Cure - A Forest

04. The Cure - Primary

05. The Cure - Charlotte Sometimes

06. The Cure - The Hanging Garden

07. The Cure - Let's Go To Bed

08. The Cure - The Walk

09. The Cure - The Lovecats

10. The Cure - The Caterpillar

11. The Cure - Inbetween Days

12. The Cure - Close To Me

13. The Cure - Boys Don't Cry - '86 Mix

01. The Cure - 10:15 Saturday Night

02. The Cure - I'm Cold

03. The Cure - Another Journey By Train

04. The Cure - Descent

05. The Cure - Splintered In Her Head

06. The Cure - Just One Kiss

07. The Cure - The Dream

08. The Cure - The Upstairs Room

09. The Cure - Lament

10. The Cure - Speak My Language

11. The Cure - Mr. Pink Eyes

12. The Cure - Happy The Man

13. The Cure - Throw Your Foot

14. The Cure - The Exploding Boy

15. The Cure - A Few Hours After This

16. The Cure - A Man Inside My Mouth

17. The Cure - Stop Dead

18. The Cure - New Day

19. The Cure - Pillbox Tales

20. The Cure - Do The Hansa

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Various – Nigeria 70 (The Definitive Story of 1970's Funky Lagos) 2001 320 😎

* Enjoy, Reb 😎 Link 👇 *

Don't ask for a re up of this in the future, I only kept CD 1 & 2, the interviews didn't interest me, listened to them but decide not to keep them. If you happy with just the two cd's then I will be happy to re up them.