Headlong, fierce, banked rasta drumming fit to discombobulate any kind of system, with sweet, jazzy trombone riding it down, bubbling bass driving it home, and all of it classically dubwise.
Wareika Hill Sounds is the contemporary roots reggae project of Calvin Cameron — mainstay of the original Light Of Saba line-up, the genius behind Lambs Bread Collie — who to this day lives above the headquarters of the Mystic Revelation Of Rastafari, in the Wareika Hill district of Kingston, Jamaica.
In the great pedagogical traditions of the multi-cultural Light Of Saba, and before that Count Ossie, this new recording runs together two JA musical traditions — a kind of drumming (and drum) brought from the Congo, and the island’s variation of calypso — into a thundering grounation charge. As always, the Skatalite’s trombone-playing is majestic: deadly, gripping, deeply cultivated.
The dub is tremendous, too.
Last box!

Two no-flim-flam, cross-border, dub-wise stompers — paired with masterful versions — from the veteran, Kingston-based unit led by the trombonist of Count Ossie’s Mystic Revelation Of Rastafari and The Light Of Saba.

Full, bone-heavy horns, swirling organ and rocking nyabinghi drumming; and with a storming dub.

The second son of King Jammy, Trevor James aka Baby G is at the cutting edge of the new wave of dancehall producers. Jammy’s stalwarts Ward 21 and newcomers Rasta Youth on the mic.

Like a dream, but authoritatively, this remix from Jamaica magnificently crosses the Afrobeat of Fela Kuti with the grounation reggae tradition of Count Ossie.

Deep Berlin steppers. Dubwise traces of our original Lagos recording — the percussion of Yinka Ogunye, the singing of fifties palmwine legend Rolling Dollar, Oscar Olimbi’s guitar lick — blend in with Moritz’ own warm Oberheim voicings, additional drumming, and cool-and-deadly rhythm track. It’s a tough, masterly dance record in fine Rhythm And Sound style (evoking vintage House, too) — which during its ten-and-a-half minutes seems to ponder time elapsed and journeys undertaken.
Reggae Land Dub is the thumping, pared-down dub of Wareika Hill Sounds’ rootical rework of Ise Nla. Magnificent trombone and percussion; expert, classical JA mixing. Brings to mind the versions of Black Man Stand Up Pan Foot.

With Ekoplekz and Andres mixes.

The definitive version of this sufferers’ anthem, in the best format, with a killer dub following up the deejay cut on the flip.

This started out a couple of years ago as a grounation drumming session above the old headquarters of the Mystic Revelation Of Rastafari, in Wareika Hill, Kingston, JA. Four funde, a repeta and a bass drum. Back in London, contributing flute and guitar, Kenrick Diggory unbottled the deep rootical psychedelia and sheer awe of Hunting — the Keith-Hudson-versus-Count-Ossie wonder of the world — and Tapes added electronics, a shot of Drum Song… and a giddily intense binghi dub.

Bringing together two sevens originally released in Jamaica on the Afro Black label, in the mid-seventies. Rootical domestics, soulfully delivered, over tight, funky playing. You Let Me Down is Wackies’ sublime Black Harmony rhythm, no less.
Collectors’ heaven, utilising Joe ‘Basement Session’ Morgan’s own imprint Fish Tea, going since the 1980s.

This beautiful acoustic cut is previously unissued. Raw soulful lovers, with close-harmony backing, and double bass and guitar as irresistible as Egyptian Reggae. Terrific.

Ineffable roots and dub by the Prophet, cutting loose on his own unmissable version of the all-time Yabby You classic.

Mesmeric, spare, funky, forward-looking dubs led by the Soul Syndicate drummer.

A short-run reissue of this excellent roots production by Carlton Lewis. Same singer as Jazzbo’s Step Forward.