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Showing posts with label Reggae. Show all posts
Showing posts with label Reggae. Show all posts
Tuesday, September 01, 2026
Saturday, August 29, 2026
Thursday, August 27, 2026
Black Stalin – Just For You 2009 320 😎
Andy, look what I found in my Flac store on the HD (was looking for something else), it's the only one I have, will check the 320 just in case I have anything at 320. Am going to drop the Flac in Vibes Private Club. The 320 here on Vibes.
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Tuesday, August 25, 2026
Monday, August 24, 2026
Sunday, August 23, 2026
2025 - Lila Iké - Treasure Self Love
2025 - Lila Iké - Treasure Self Love @320
Given Lila Iké’s popularity in the reggae music scene, it’s hard to believe the newly released Treasure Self Love is her debut full-length album. Fans have been understandably giddy over the singer since 2020’s The ExPerience EP put her on the path to worldwide stardom. Still, when an artist has so much hype, disappointment can feel inevitable. Thankfully, that’s not the case here, as Treasure Self Love is further proof that Iké is the real deal (not that we needed any).
The album features several notable collaborations, and each of them perfectly amplify Iké’s distinctive talents. Joey Bada$$ brings playful energy to “Fry Plantain,” while Maverick Sabre lends warmth to “All That and More.” Perhaps the most daring track is “He Loves Us Both” with H.E.R., an engaging tune that finds two female powerhouses joining forces in to great success.
For an artist that has quickly been hailed as reggae’s next superstar, Iké also exudes respect for the genre’s trailblazers. Her fantastic cover of Patra’s 1993 classic “Romantic Call” – here called “Romantic” – is a thoughtful nod to dancehall history. Likewise, “Love in a Lovely Way” cleverly intertwines Garnett Silk’s “Place in Your Heart,” managing to be both fresh and nostalgic at the same time.
Throughout Treasure Self Love, Iké blends a variety of influences. Yes, reggae is at the heart of everything, but soul, R&B, and hip hop also factor into her sound. The singer also showcases songwriting talent well beyond her years, displaying strength, vulnerability and power within her lyrics.
During a recent conversation with Grammy.com, Iké described Treasure Self Love as “a journey of learning to love myself, understanding that each and every one of us should be able to treasure ourselves and value ourselves.”
“Every time I make music, every time I get to another level, every time that I’ve ticked off an accomplishment or overcome a particular milestone, it’s just a reminder to just continuously evolve,” she continued, “to continuously work on getting better and especially to just learn myself because you really don’t know what you’re capable of until you do it.”
Treasure Self Love is proof that the journey — and the evolution — was well worth the wait. (The Pier)
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Saturday, August 22, 2026
Sly & The Revolutionaries With Jah Thomas – Black Ash Dub 1980 (1995 CD Reissue) 320 😎
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Friday, August 21, 2026
Various – King Tubby's Shank I Sheck 2024 320 😎
"Originally released in the UK by Tad's Record label and Vista Sounds in 1982 and 1983 respectively as Shank I Sheck Vol. 1, this one-riddim LP has been reissued by Tad's Record. Produced by Ranking Joe and Tad A. Dawkins, the 12-track album has been released under the new title King Tubby's Shank I Sheck. The track order has been rearranged, but the artists and their songs remain the same. The album features classic tunes from reggae greats such as Dennis Brown, Sugar Minott, Horace Andy, Linval Thompson, Ranking Joe, and Tristan Palmer. The Shank I Sheck riddim showcased on this album is a reinterpretation of a ska instrumental by trumpeter Baba Brooks, produced by King Edwards."
Members of Vibes Private Club, I will be posting the 13 track Vinyl rip of this comp later today in flac.
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The Slickers - 1979 - Break Through
The Slickers - 1979 - Break Through @320
Produced by Clive Hunt and recorded at legendary producer Lee ‘Scratch’ Perry’s studio, this set delivers deep roots and strong Black Ark's sound with Leroy ‘Horsemouth’ Wallace on drums, Robbie Shakespeare on bass, Earl ‘Chinna’ Smith and Michael Chung on guitars and Augustus Pablo on Keyboards and melodica.
A great reissue with top roots vocals and harmonies in the rasta vocal trio tradition, congos stylee !
Original LP plus bonus tracks (including Lloyd Robinson's Cuss Cuss!) (Soul Jazz Records)
Wednesday, August 19, 2026
2021 - Sublime Meets Scientist & Mad Professor Inna L.B.C
2021 - Sublime Meets Scientist & Mad Professor Inna L.B.C @320
Scientist and Mad Professor, two of the biggest names in the world of dub reggae producers / engineers / mixers, have taken the task of treating a handful of Sublime tunes to some of their own, respective brands of studio wizardry. The six song album is a limited edition Record Store Day 2021 release.
Upon listening, it is clear that the producers put their whole hearts and creative minds into this project. The insert and liner notes by Roberto Angotti (Radio host of Reggae Revolution, which aired in Long Beach and L.A. from 1982-1992), trace the influence of dub and reggae greats, like King Tubby and Sly & Robbie, upon the Long Beach, CA. band; It's an influence that is genuinely brought full circle with this collaboration.
Scientist takes the helm on side A, beginning with their hit, "Caress Me Down (Espanol Dub)." This one is stripped to the core, drum and bass of it's original. The riddim is a bit of a hybrid of the dancehall stalwart, 'Sleng Teng' and the Jamaican classic, 'Cherry Oh Baby' played with the ferocity and raw energy of punk rock and mixed down with the precision and articulate sense of sound structure that Hopeton Overton Brown aka Scientist has been known for since the mid-seventies, when he was a young prodigy and protégé of King Tubby.
The next one, "Garden Grove Dub" combines G-Funk keys with a rendition of the 'Fever' riddim and well-placed Linton Kwesi Johnson scratches. The fusion doesn't sound, at all, contrived, but rather, very organic and is aimed directly towards the hardcore dancehall fan's eardrum(s).
The final selection, dissected, rearranged and manipulated by Scientist is "Santeria Dub", which is one that I have had to play the original of at paid gigs from time to time. I never loved the song but the emotion and joy that it evokes in those who do love it is undeniable. I feel like playing this mostly instrumental version in a club or house-party setting would elicit impromptu karaoke performance on the dance floor from the previously mentioned hippies... which, as a music lover, I think is a pretty beautiful thing. Bradley's vocals politely interrupt the riding instrumental (I like it a lot better that way), briefly towards the end of the tune, a ghostly interjection, traversing dimensions.
Mad Professor is at the mix-board for the three tunes on side B, beginning with "Hong Kong Phooey Subliminal Dub." I'm not too familiar with the original, but I feel as if Neil Fraser aka Mad Professor took a lot of artistic liberty with his side. It begins with a psychedelic sounding, effect-saturated voiced intro, not dissimilar to some of his other works which he's made in his forty-plus years of putting out music. The beat kicks in, a funky, skanking, punk-dub with tempo changes and abundant flange and reverb, which envelope the entire track, instrumental, save for a few vocal phrases, sporadically stabbing into the mix. This one demonstrates the Professor's signature sound, whether mixing Perry Farrell, The Young Gods, or Sublime, he makes the creation his own.
"April 29, 1992 (Miami) Dub," a song about the L.A. riots, and "Pawn Shop Dub" are given the same attention, the raw drum and bass is captured and given room to breathe, nourished to grow, supplemented with effects and vocal drops, the sound is expansive... play this one loud for maximal impact! There is no doubt, I'm feeling it.
Adding to the authenticity is cover art and additional liner notes by Tony McDermott, whose original, animated art-work has graced the covers of Scientist and Mad Professor LPs, as well as numerous Greensleeves Records releases.(Cultcha Clash)
Tuesday, August 18, 2026
1994 - Bunny Wailer - Crucial! Roots Classics
1994 - Bunny Wailer - Crucial! Roots Classics @320
After unleashing a hat trick of unforgettable cultural albums between 1976-1978, Bunny Wailer seemed to have followed the rest of the reggae scene into ever-lighter, more commercially acceptable territories. "Seemed" because his international albums were a far cry from the kind of music he was self-releasing on singles back home. These remained enticingly out of sight for non-Jamaicans, until some of the best were collected for this album. The songs date from 1977-1985, 14 incredibly powerful cultural statements, all self-produced and backed by the likes of the Revolutionaries and the Roots Radics. The numbers are not arranged chronologically, nor did much thought go into the sequencing, but that's irrelevant, so superb is every track within.
Many of the songs reflected Jamaica's political and societal events, with 1978's "Peace Talk" inspired by the peace treaty agreed by Kingston's gangs, "Power Struggle" and "Tugawar Game" reflecting the corrosive battles carried into the streets by the island's two political parties, "Innocent Blood" a plea to stop the slaughter in the lead-up to the 1980 election, and 1981's "Unity" an attempt to heal the island's still-open wounds.
"Crucial" was used without permission by the Jamaican Labor Party as their campaign song in that election, and Bunny makes clear his feelings on their policies in "Trouble on the Road Again," "Boderation," and "Here in Jamaica."
The earliest song on the set, 1977's "Bright Soul," is one of the loveliest, although the "soul" referred to is actually Satan. The superb "Old Dragon" tells Lucifer's story in full, while "Struggle" instructs listeners on how to defeat this determined demon.
Although there are some notable omissions, there's no denying the caliber of all of these songs, both lyrically and musically.
At times, Bunny cleverly uses catchy, often nursery rhyme-ish melodies to great advantage, turning simple singalongs into thought-provoking yet incredibly contagious numbers. Nyahbinghi drumming, pastoral elements, bouncy roots reggae, sweet melodies, dubby production, dancehall styling, and even calypso are deftly applied to emphasize or counterpoint the messages of the songs.
Every song within is a standout, and the album's title is absolutely accurate. (AllMusic)
When this is posted I will be on holiday so there won't be any quick responses to comments.
Sunday, August 16, 2026
2021- Culture - Children of Zion - The High Note Singles 1977 - 1981
2021- Culture - Children of Zion - The High Note Singles
1977 - 1981 @ 320
1977 - 1981 @ 320
Arguably the greatest Jamaican vocal group to emerge on the reggae scene during the latter half of the Seventies, the Joseph Hill-led trio Culture wrote and performed some of the finest roots music of the era, initially making their mark with producer Joe Gibbs before joining the revered roster of Sonia Pottinger’s High Note Records.
The first two discs of this long overdue triple CD set collect the ‘A’ and ‘B’ sides of all the group’s Jamaican 7” and 12” High Note singles, with disc 3 comprising rare and previously unreleased 12” mixes from the vaults.
Featuring some of the finest roots reggae recordings of the late Seventies, this collection superbly demonstrates why Culture remain held in such high esteem by reggae aficionados, and with 20 tracks new to CD and five previously unissued, will even satisfy the exacting demands of the group’s long-standing fans.(Cherry Red Records)
When this is posted I will be on holiday so there won't be any quick responses to comments.
Thursday, August 13, 2026
Friday, July 31, 2026
Janelle Monae - 2023 - The Age of Pleasure
Janelle Monae - 2023 - The Age of Pleasure @320
"Float" was the right lead single for the first Janelle Monáe album in five years. The horns of Seun Kuti & Egypt 80 play a fanfare for the uncommon Monáe, who self-exalts with prancing bars and buoyant hooks, recounting a personal transformation through the shedding of all insecurities and inhibitions, and enumerating their effortless attainment of sensual, psychological, and material gratification. The song is powered by Nigerian woodwinds and brass and Kingston-to-Atlanta rhythms that are roughly equal parts rocksteady and trap. One thing "Float" doesn't have in common with the rest of the album is its four-minute duration. The other songs average half that length, and though many whip by in a flash, they're parts of a flowing sequence that could be billed as a suite like Monáe's Metropolis saga. There's no science fiction in The Age of Pleasure. Dedicated to those "around the diaspora and those seeking to join us," its delights are earthly in a way that echoes Monáe's listed track-by-track inspirations, which most pertinently acknowledge those finding communality and liberation in bashment parties, ballroom culture, and ATL strip clubs. (Objects such as "the weathered copy of Doggystyle framed in my cousin Myron's clogged bathroom" are cited too.)
In addition to the Afrobeat element often brought in by Egypt 80, and appearances from a mix of legends and up-and-comers, The Age of Pleasure is threaded with interpolations and samples of numerous reggae classics. It still sounds just like a Wondaland production -- soulful, left-of-center pop that is ornate and tasteful, brimming with ideas from subtly dazzling vocal arrangements to crafty song transitions. The material follows through on the title, celebrating an ideal for sybaritic living whether alone, with a partner, or with partners. "Water Slide" opens with one of the boldest statements a person could make about themself and appropriately contains sumptuous all-Monáe harmonies in the chorus. "Only Have Eyes 42" is polyamorous lovers' rock tricked out with strings and laser FX that convey a mix of romance and haywire hormones. In this context, the one-on-one songs -- the steady-bobbing "Lipstick Lover," the more heated "Paid in Pleasure," and the soft Brazilian touch of "A Dry Red" -- are charmingly quaint, even when explicit. There's joy in every moment. It's no coincidence that Monáe chose Pride Month and Black Music Month -- ten days before Juneteenth, to be precise -- to release a multicultural album of unrepressed spirit built for playing in the sunshine. (AllMusic)
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Tuesday, July 28, 2026
1986 - Lee Perry - Battle of Armagideon
1986 - Lee Perry - Battle of Armagideon @320
Lee ‘Scratch’ Perry & The Upsetters’ Battle Of Armagideon stands as one of the most essential statements in Perry’s vast catalogue, capturing his singular approach to rhythm, sound and studio manipulation at full force. As a producer and mixer, Perry reshaped reggae by treating the desk as an instrument, twisting performances into hypnotic, otherworldly forms that continue to influence generations of producers.
Anchored by the confrontational ‘I Am A Madman’, the album leans into Perry’s self-mythologising persona while balancing it with sharp grooves and a restless sense of experimentation. Tracks like ‘Introducing Myself’ and ‘Drum Song’ underline his instinct for both directness and disruption, pairing memorable motifs with unexpected sonic turns.
Widely regarded as a late-career high point, Battle Of Armagideon was praised by The Spin Alternative Record Guide as Perry’s finest work of the decade. It also sits comfortably alongside his broader legacy as a pioneer of dub, whose collaborations helped shape the sound of artists ranging from Bob Marley and the Wailers to The Clash and the Beastie Boys. (Norman Records)
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Monday, July 27, 2026
1990 - Lee Perry - From The Secret Laboratory
1990 - Lee Perry - From The Secret Laboratory @320
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