Yellow Colored Edition!

18 years on from its original release Studio One Dub remains super-hard hitting featuring classic + rare Dub tracks from Studio One, many available on vinyl for the first time in over thirty years.

Studio One Dub includes the dubs of many classic tracks such as Horace Andy’s “Skylarkin”, Johnny Osbourne’s “Truth and Rights”, John Holt’s “Hooligan”, Freddie McGregor’s “Bobby Bobylon” plus many more rare tracks.

The album also comes with two rare interviews - one with Clement 'Sir Coxsone' Dodd about dub and dubplates and one with the sound engineer Sylvan Morris, talking about his groundbreaking period at Studio One and his many innovations that he evolved there.

In short, this is a 100% essential album!




REVIEWS:

"Almighty slab of dub featuring loads of rare and classic dub versions of Studio One's foundation tracks." Rough Trade

“Quite a treat awaiting here for the unsuspecting reggae faithful - as always with Soul jazz chock full of a bunch of big tunes - but here in version form lies some of the freshest rhythms and most radical revisions of some of the greatest Studio One music. The darkest and the absolute deepest in the series - naturally essential”. Boomkat

"Continuing the Studio 1 Series this album features classic and rare Dub tracks from Studio One, many available for the first time in over thirty years. Studio One Dub includes the dubs of many classic tracks such as Horace Andy’s “Skylarkin”, Johnny Osbourne’s “Truth and Rights”, John Holt’s “Hooligan”, Freddie McGregor’s “Bobby Bobylon” plus many more rare tracks. In short, this is an essential album!" Wax Museum

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“Soul Jazz’s Studio One Dub collection, cannot help but to serve as loving tribute to Sir Coxsone Dodd. This giant of a man not only defined popular music for the isle of Jamaica, but for the world over, his innovations laying the foundations for hip-hop, dance and post-rock.”

“Dodd's dubs drew on such a fertile ground of classic Jamaican rhythms that he rarely missed. As such, it's difficult to find fault with the versions presented here and many of these cuts are ridiculously rare.”

“This burning set celebrates Dodd's extraordinary life by mashing time and space until it's joyfully suspended. What better tribute could there be?” Pitchfork

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Blue Colored Edition

This collection contains numerous legendary tracks, including Bob Marley and the Wailers" "Simmer Down"," "Love Me Forever" by Carlton & His Shoes, Slim Smith"s "Rougher Yet," Horace Andy"s "Fever,", Alton Ellis"s "I"m Just A Guy", The Skatalites" blazing "Confucious" and loads more. Timeless stuff - every track here is indeed a classic, no-one can argue about that!

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Orange Colored Edition!

Studio One Roots set the standard for Soul Jazz Records’ long-standing series of Studio One collections and features many of the classic artists from Clement 'Sir Coxsone’ Dodd’s mighty roster of reggae.

This album includes Freddie McGregor, Willie Williams, Cornell Campbell, Alton Ellis, Devon Russell alongside some of the defining crack-session men groups of Jamaican reggae history - The Sound Dimension, Brentford All-Stars, The Skatalites, New Establishment and more. As ever the album is filled with a mixture of seminal cuts and super-rarities from the vast vaults of 13 Brentford Road.

Stand-out tracks include Alton Ellis’s Blackish White, a surreal and powerful Afro-centric dream, Count Ossie Nyabinghi and Rastafarian drummers genre-defying interpretation of Booker T and The MGs ‘Meditation’, Willie Williams awe-inspiring versioning of the Skatalites' seminal Rastafari anthem Addis Ababa and many, many more.

This album has been fully digitally remastered, analog cut and packaged complete with the following: Original sleevenotes by Lloyd Bradley (author of When Reggae Was King), compiled by Mark Ainley (Honest Jons), high-quality Soul Jazz mastering, wicked images of Count Ossie and the Mystic Revelation of Rastafari on the cover, and a rare image of Clement Dodd and musicians inside the studio at Studio One on the full colour inner sleeves.

REVIEWS:

"Having established himself as one of Jamaica's top producers the day Studio One opened its doors in the early '60s, Clement "Coxsone" Dodd was unable to maintain his status during the roots era of the subsequent decade. This can be attributed to a couple of factors. One was Dodd's apparent reluctance to record the new, overtly Rasta-inspired music. The other was an infusion of new blood into the Jamaican music business. Eager to make a name for themselves, producers like Joe Gibbs, Bunny Lee, Lee "Scratch" Perry, and Winston "Niney" Holness managed to supplant the island's "big three" (Dodd, Duke Reid, and Prince Buster) in the process, driving the music's evolution in the '70s.

There isn't a weak number across these 16 tracks, from the Gaylads' ode to "Africa" and Devon Russell's version of the heavyweight "Drum Song" rhythm, to a trio of stunning instrumentals: Jackie Mittoo and the Cyclones with nyahbinghi drummer Count Ossie on "Meditation," Lenny Hibbert's sparkling vibe work over Mittoo's "Ghetto Organ" ("More Creation"), and Sound Dimension's "Congo Rock."

The music of this compilation is of a rare, rare beauty and is essential to anyone's reggae collection." All Music

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1. Slim Smith – Hip Hug
2. Ras Michael – Good People
3. Lord Tanamo – Keep On Moving
4. Wailing Souls – Trouble Maker
5. Rita Marley – Call To Me
6. Johnny Osbourne – All I Have Is Love
7. The Martinis – I Second That Emotion
8. Irvin Brown – Run Come
9. The Heptones – Give Give Love
10. Anthony 'Rocky' Ellis – Double Minded Man
11. Jackie Opel – The Lord is With Me
12. Dub Specialist – Happy Feelings
13. Prince Lincoln – Live Up To Your Name
14. Ken Boothe – I'm A Fool
15. Reuben Alexander – Happy Valley
16. Larry Marshall – There's A Fire
17. Rolando Alphonso – Rolando Special
18. Freddie McGregor – Homeward Bound
One-off pressing Cerulean blue double vinyl exclusive for RSD 2026.

Originally released in 2012 this album has been out of print for many years making it one of the most-collectible of Soul Jazz Records’ Studio One Series. This is the first ever colour vinyl edition of this classic album.

Studio One Sound is the classic Studio One collection from Soul Jazz Records. Described as ‘The University of Reggae’ by Chris Blackwell, Studio One, and founder Clement ‘Sir Coxsone’ Dodd are by far the most-important names in the history of reggae music.

The album features some of the most in-demand and collectible Studio One tracks from over its fifty year history and includes incredible legendary reggae artists such as The Heptones, Ken Boothe, The Skatalites, Johnny Osbourne and Wailing Souls. All of these artists (and hundreds more) launched their careers at Studio One under the guidance of Clement 'Sir Coxsone' Dodd.

The Studio One Sound collection features everything from classic ska and rocksteady to the deepest roots, heaviest dub and dancehall roots. Sleevenotes are by Rob Chapman, author of the celebrated books about Studio One Records, 'Never Grow Old' and 'Downbeat the Ruler'

Reviews

‘Knowledge of Studio One is integral to an understanding of reggae. Studio One was a crucial force during the 1960s and 70s, being the true home of ska and a hugely important site of early reggae. Studio One Sound is a sublime set from the label’s heyday. The exceptional track selection makes this one a winner in every sense.’ BBC

‘Carefully mastered and the sound quality is excellent throughout. Studio One Sound is a must have and gives a good overview of the label’s extraordinary output.’ United Reggae

‘Everything’s been remastered for maximum bump-ability while preserving that gritty and smokey Studio One sound.’ Turntable

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Alongside "Latin Strut", this is one of the toughest latin/funk tunes ever recorded. Both sides of this single or super-heavy Latin/Funk/Salsa monsters! THE BOMB! This single is issued in exact replica label artwork, housed in bespoke Soul Jazz Records recycled card master sleeve.

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"Latin Strut" is Joe Bataan"s take on Deodato"s equally classic "Super Strut", with Bataan adding loads of incredible and infectious percussion, wah wah funk guitar and more to make a stone-cold CLASSIC 45! Alongside "Aftershower Funk" this is one of the toughest latin/funk tunes ever recorded in New York in 1974. THE BOMB!

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Yo! Boombox is the new instalment of Soul Jazz Records" Boombox series on the early days of hiphop and features some of the many innovative underground first-wave of early rap and disco rap records made in the USA in the period 1979-83. The album includes the first releases of seminal groups such as Grandmaster Flash And The Furious Five and The Funky Four Plus One More through to a host of rarities and little-known obscurities such as the Carver Area High School band"s "Get Live 83", an awesome record made at a Chicago high school. This new Soul Jazz Records collection celebrates these first old-school rap records, bringing together rare, classic and obscure tracks released in the early days of rap.

Tracklist
1.1The Carver Area High School Seniors - Get Live '83 (The
1.2Mike T - Do It Any Way You Wanna
1.3Chapter III - Real Rocking Groove (Rap & Breaks)
1.4Sinister Two - Rock It, Don't Stop It
1.5Sangria - To The Beat Y'all
2.1Funky Four Plus One More - Rappin' and Rocking The Hous
2.2The Just Four - Girls Of The World (Genius Rap & Breaks
2.3Eye Beta Rock - Super Rock Body Shock
2.4Funky Constellation - Street Talk (Madam Rapper)
3.1Kool Kyle The Starchild - Do You Like That Funky Beat (
3.2The Just Four - Jam To Remember
3.3Grandmaster Flash and The Furious Five - Super Rappin'
3.4Silver Star - Eei Eei O

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Carrying on perfectly from 100% Dynamite, this second compilation continues to trace the history of Jamaican reggae and the influence of American styles such as funk and jazz had on this music. Featured here are serious funk and rocksteady tunes from the likes of The Skatalites and Johnny Osbourne through to Jamaican jazz from masters such as Tommy McCook and Byron Lee, as well as some serious dub from the likes of Augustus Pablo, King Tubby and Jackie Mittoo. New bonus tracks on this new 2023 edition include seminal dancehall party cuts Sister Nancy"s "One Two" and Chaka Demus and Pliers" "Murder She Wrote", alongside classic soul to reggae covers including cuts of Marlena Shaw"s "Women of the Ghetto" and Odyssey"s "Don"t Tell Me Tell Her"
Tracklist
1.1Augustus Pablo - Rockers Rock
1.2K.C. White - No No No
1.3Tenor Saw - Ring The Alarm
1.4Johnny Osbourne - Bewitched
1.5Pinchers - Agony
1.6The Abyssinians - Mandela
1.7Sister Nancy - One, Two
2.1King Tubby Meets Tommy McCook and The Aggrovators - Kin
2.2Chaka Demus & Pliers - Murder She Wrote
2.3Johnny Osbourne - Ready Or Not
2.4Jackie Mittoo - Earthquake
2.5Sandra Reid - Don't Tell Me Tell Her
2.6The Skatalites Meet King Tubby - Herb Man Dub
2.7Kim Harriott - Woman Of The Ghetto

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Soul Jazz Records" new Miami Sound 2 is a superlative collection of 70s soul, funk, disco and boogie featuring tracks from legendary artists such as Betty Wright, Timmy Thomas, Gwen McRae, Milton Wright, T-Connection and many more, all released on the mighty TK Records musical empire based in Miami, Florida.

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Repress!

Diving deeper into the story of Japanese reggae pop, Tokyo Riddim Vol. 2 explores an electronic, new wave and often experimental sound unlike anything Japan or Jamaica had ever heard before.

The first time Ryuichi Sakamoto left Japan, he did not go to the United States or Europe - he went to Jamaica. It was 1978, YMO were about to release their debut album, but Sakamoto was in Kingston, invited to play synths for Japanese idol singer Teresa Noda at Dynamic Sound Studios in a band alongside Neville Hinds and none other than Rita Marley. It’s not a story many know, but one which would spark Sakamoto’s fascination with dub and mark a new chapter in the ongoing Japanese love affair with reggae.

The Teresa Noda tracks they cut - ‘Tropical Love’ and ‘Yellow Moon’ - bookend this second volume of Time Capsule’s Tokyo Riddim compilation, which tells the wider story of how a fascination with Jamrock swept Japan, adding a dash of lime to that sweet city pop sound, embracing a globalised musical palette and creating a whole new genre in the process.

For some, like Sakamoto, a diversion into reggae was part of broader fascination with new sounds and styles, tipped into the global disco of homage and appropriation that made Japanese music of the late ‘70s and early ‘80s some of the most creative and undefinable in the world.

You had iconic shape-shifter Yosui Inoue, who toyed with reggae, afro-beat and electro-Balearic, (and whose For Life Records released several tracks on this comp), and Kay Ishiguro, who enlisted J-reggae originator Pecker on the ambitious Stevie Wonder-esque ‘Red Drip’.

Then there were the Compass Point devotees - producers and musicians alike who were enthralled by the sound of the Bahamas studio and drew on the detached cool of Grace Jones - as heard in the music of Juicy Fruits, and the disco noir of Casablanca-signed femme fatale Yuki Nakayamate. Sometimes, as was the case with Risa Minami, the J-reggae influence said more about Japan than it did about Jamaica.

But where Tokyo Riddim Vol. 1 focused on the city pop sound, this compilation goes further, digging out the more experimental collaborations and hybrids exemplified by Tomoko Aran, who in working with Yusuaki Shimizu and Mariah emphasised just how far reggae had travelled to be recast into something entirely new on the other side of the world.

Perhaps more than anything, in connecting the dots between Tokyo and Kingston, between Jamaica and Japan, the Japanese reggae was building a musical language that existed outside of the paradigms of US and European cultural hegemony - an encounter shaped by commerce, capital and creativity that is now being recognised more broadly for the first time.

Compiled by Kay Suzuki
Artwork by Noncheleee
Liner notes by Anton Spice, Kay Suzuki & Ayana Honma
Coordinated by Ken Hidaka & Kay Suzuki
Mastered by Mike Hillier at Metropolis Studios, London, UK
Time Capsule | TIME021 | 1979-1986 -> 2024
UPC: 748322322256

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On textstar+ Jan Jelinek brings together the material from the CMYK series, four EPs he released between 1999 and 2002 under the pseudonym farben (the German word for both colours and paints), on a vinyl double LP for the first time. The selection of tracks has been remastered from the original tapes, joined by two additional pieces that appeared on compilations during the same period.
A Polaroid. Still life with tangled leads and consumer electronics, late twentieth century. Black and various shades of dirty white are the dominant non-colours. The image’s spatial depth remains diffuse, the links between its elements speculative. A note stuck to the wall (a legend, perhaps, or an all-explaining blueprint in text form?) is impossible to decipher. You can’t see what connects the picture’s signs. You have to hear it.

farben says: Every sound is a text. A bearer of meaning in search of a reader. Hoping the ideas inscribed in its autonomous existence will be understood as intended. While its beauty lies precisely in misunderstanding, in reading the coded message a new way every time. A thousand colours of sound, a thousand different ways to hear, to see, to understand.

On textstar+ Jan Jelinek brings together the material from the CMYK series, four EPs he released between 1999 and 2002 under the pseudonym farben (the German word for both colours and paints), on a vinyl double LP for the first time. The selection of tracks has been remastered from the original tapes, joined by two additional pieces that appeared on compilations during the same period. Another new element is the Polaroid, showing the origins of a world: Jelinek’s home studio in Berlin at the time.

farben says: Move your body! The project has its roots in Jelinek’s love of house as a reductionist vision of soul. Of four to the floor as a proposition that can be accessed anywhere. Of electronic dance music as a realm of possibility that can be continually expanded. farben was written as contemporary house music. As a text about excitement and euphoria. The arrangements were made directly while recording to DAT, on a twelve-channel mixing desk. Several track titles suggest a link to live concerts, coupled with the context of machine music and bedroom recording. Others affirm pop music’s most extravagant stock phrases about various states of love.

Jelinek produced the tracks with the aim of making music for dancefloors. An idea that failed very productively. In the locations to which it was originally addressed, the project barely figured. But people did listen, and they listened all the more closely to this music that opened up new acoustic and associative scope for house. farben is the opposite of genre: a music spawning new terms (clicks & cuts, micro-house) that never manage to fully capture it.

farben says: Signifiers. The four CMYK EPs are designed as a network of references that cannot be missed but that can also never be precisely deciphered. The vectors of sound, word and image point to Isaac Hayes and Ornette Coleman, to Detroit and the first generation of the Red Army Faction, to Karl Marx and Friedrich Engels. So multifarious that they are distorted to the point of recognition. Overall we hear sonic docufictions whose appealing vagueness derives precisely from this oscillation between clarity and ambiguity, which is also the source of their poetry: the lyricism of the pure circulation of signs.

The artwork is based on photographs of former Red Army Faction members, broken down into the four colours of the CMYK model. The motifs dissolve into individual dots of a single colour, so close to the faces that their expressions are only hinted at. Taken together, the individual colours compose a new whole out of fragmentary material, defying definition and thus maintaining their vibrancy. The same occurs on the level of sound. The sampler Jelinek used for these tracks had to be fed with floppy disks, imposing a memory limit of 1.44 megabytes per audio quotation from soul or jazz records. As a necessary consequence of this, the individual references, like the dots of colour, are dissolved into details and abstractions. They appear as splinters that recombine in new ways to create new meanings. The joy of collapsing metaphors.

farben says: New departures. Even two decades after its original release, textstar+ does not come across as an epitaph to the modern era. Instead, it appears as a euphoric affirmation of the utopias of the twentieth century, translated into new sound texts via the aesthetic strategies of abstraction, collage, networking and speculation. 1.44 megabytes of history, one thousand signifiers, one album. From “Live ...” to “... Love”.

Arno Raffeiner, 2021

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Repress!

Malmo-based producer Martinou returns to his roots with a debut on hometown label Kontra-Musik. Since crafting his first album for Nous'Klaer Records (NL) at Inkonst's studio, Martinou has steadily built an international presence through acclaimed releases on Mule Musiq (JP) and Turbo Recordings (CA). This three-track EP is the result of a long-running dialogue with label head Ulf Eriksson--blending Detroit-inspired techno, hypnotic depths and broken lush, all produced with subtle precision and emotional weight. A homecoming of sorts, but also a new departure.

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Northern Electronics presents NE112, a collaborative work by Anthony Linell and Evigt Mörker, entitled ’Ett anständigt liv’.

Marking the first alignment between the two artists, the record unfolds as a study in continuity, pressure, and sustained focus. Across four pieces, a steady and tensile sonic language develops, immersive in its repetition and controlled in its ascent. Subtle psychedelic inflections — recalling early trance states — surface within a darker, more restrained framework. The result is neither nostalgic nor decorative, but reduced, deliberate, and directed forward.

All tracks written and produced by AL & KL in Sofia, Sweden, during the winter of 2024

Mixed and mastered by Giuseppe Tillieci at EnissLab, Rome

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