Rockers Revolt
http://www.rockersrevolt.com

For fans of: British singer songwriters/dub/The Big

The newest offering from The Big’s Ed Rome, this time on the prolific Rockers Revolt label, provides a two pronged reggae exploration. On one hand there is a strong emphasis on dub and organ reggae instrumentals, while on the other there are the catchy more upbeat growly vocal tracks, which I believe is Ed Rome’s strength.

Again, put it down to reviewer’s taste, but the tracks where Ed Rome shows his Billy Bragg/Ian Dury-like (as the promotion reads) song writing, are definitely the most enjoyable. Rome’s unique voice is a particular asset to his performance, but because 5 of the 12 tracks are strictly instrumentals, and a couple of others could be classed as such, I was left wanting more of his singing.

Not that the instrumental tracks are a complete write-off. They all have a purpose (and not simply to serve a purpose) and a direction. It’s important to note here that this is the third in a trilogy of Ed Rome releases and this album fits into the context of a character explored in the track Dark from the first album Play. Within this context, the rather eerie and haunting nature of tracks such as The Way In and Private Person sits quite well. Such an eerie effect is largely the responsibility of the saxophones of Bella Edmunds and Rome’s own guitar playing. While there is a healthy dose of dub, there is also the more organ driven reggae sound on offer with the tracks March and A Human Quality.

Stomp Records
http://www.stomprecords.com

For fans of: gruff dirty punky reggae

Although this album has been produced by The Aggrolites’ Brian Dixon, the comparisons that are bound to be made between the second album from The One Night Band and the Aggrolites are rather off the mark. Yes, you can put the two under the general umbrella of upbeat organ-driven reggae, but if you think of The Aggrolites playing dirty, funky reggae, then The One Night Band from Canada are best described as playing gruff, gritty, punky reggae. Alex Giguere, the lead vocalist of The One Night Band, has a really rough, distinct voice. It is not a voice everyone would like, but it has no pretentions and its honesty helps to give the band their own sound.

The energy of this record lies in the sound. The rhythm is solid and infectious and the organ has the prominence you really crave from a band such as this. The song writing is not particularly accomplished – I really couldn’t deduce any message from many of the songs, but perhaps I’m looking too deeply. They seem to be pretty uncontroversial songs about very commonplace scenarios. Admittedly, you don’t always want reggae acts trying to be uncharacteristically profound. You don’t have to worry about that happening on Hit & Run.

Redstar 73 Records – Mad Butcher Records – KOB Records
http://www.redstar73.com

For fans of: Traditional ska

I almost feel as though I have been living under a rock. I hadn’t even heard of The Orobians until I was asked to review this CD, but it turns out this release is a combination of three previous releases from the Italian band who have their beginnings in 1997. It is a monster CD of 20 tracks and a booklet of as many pages. The booklet, outlining the band’s history, is a nice touch and you can’t help warming to them with their rather broken English translation of the Italian text.

This is a predominantly an upbeat traditional ska album with a combination of instrumentals, English and Italian language songs. The strength of this record lies largely with the arrangements and interesting choice of songs. The Love Theme from “The Godfather” is an excellent example of not only an interesting song choice, but of the warm sense of familiarity you get with this album. It’s the presence of such tunes as Napoleon Solo (Lynn Tait) and Old Rocking Chair (Jackie Opel and Coxsone Dodd) that give the album its feel. Their cover of the Prince Buster/Eric Morris Money Can’t Buy Life is a definite highlight as far as the vocal tracks go, as is Some Things are Better Left Unsaid.

Favourite tracks: Money Can’t Buy Life, Napoleon Solo

Overall: I wouldn’t necessarily be drawn towards an Italian band that focuses on traditional ska covers of movie themes and JA tunes, but I was pleasantly surprised. It’s a great overview of the band – perhaps more bands should look at re-releasing the best of past recordings.

Orobians Myspace - http://www.myspace.com/theorobians
Redstar 73 Records - http://www.redstar73.com
Mad Butcher Records - www.madbutcher.de
KOB Records - http://www.kobrecords.com

iNatty Records
http://www.nattynation.com

For fans of: Contemporary roots reggae

It’s important for me to assert when reviewing a CD such as this one that I have quite a narrow taste, even when it comes to Jamaican music, and Dizzybeat reflects that taste.

Reincarnation is, of course, an album of predominantly conscious roots reggae. I admit, it is better than I expected. Actually, let me rephrase that, I enjoyed it more than I expected to, but don’t read too much into that. What I notice about myself with this particular record is that I am still struggling to reconcile my views of the politicisation of reggae music. I have been happy to compliment The Slackers on having tracks that had a social or political message, but I found Reincarnation to be a little too guilty of preaching to the converted. I tend to think that most people choosing to listen to an album like this one already believe in peace and love and while they are wonderful sentiments, I really think it is necessary for ideas to come through of how such aspirations can be reached. They go part of the way in Just Can’t Stand It, a version (of sorts) of Man Next Door by the Paragons, which calls for new leadership in the form of Barrack Obama in countenance to George W Bush, but they could go further. There is no reason the messages of music cannot be challenging topics for debate, with substance.

Rockers Revolt
http://www.rockersrevolt.com

For fans of: UK ska reggae through its evolution

No.1 Station were one of the first bands I saw having arrived in the UK and the initial impression I garnered was how high the standard of musicianship was in the UK ska and reggae scene generally. There is often a fine line between excellent musicianship and self indulgence, but thankfully No.1 Station doesn’t suffer from the introspective form of performance that many bands do. They are a fun band, with a focus on a diversity that will keep an audience entertained.

On their latest record, Boss Beat, the first record they’ve released on the Rockers Revolt label, the diversity of their live show is carried through. They mix songs with an early ska sound with forays into rocksteady, early reggae and roots. This variety of genres may not be unique, but in combination with the guest vocalists on a number of tracks, the album is a very well rounded offering.

The record begins with a focus on the instrumental talent of the band in Airstrip One. With Jackie Chan, we have a version of the Skatalites’ South China Sea – a multifaceted example of the homage paid to Jamaican music in its various forms. The next track, Best Friend, features the excellent female vocals of Ms. Moretti with MC. Boss, the deejay. Moretti’s vocals have the recognisable London sound we’ve heard from a number of artists regularly, but it isn’t the cringe worthy accent that I would suggest the likes of Lily Allen may be guilty of. It’s also nice to hear the terms some of the kids I taught in West London were using by MC. Boss such as Sheeeeeez! The two combine again later on the reggae track Friday Night with similar success.

Rockers Revolt
http://www.rockersrevolt.com

For fans of: Contemporary ska and reggae offering more than just safe token love songs.

This is a bit of a belated review, but I’ve enjoyed this album so much I thought it was worth a review. I picked up this CD at the instore performance Vic Ruggiero and Dave Hillyard did at All Ages Records in Camden Town on their recent UK tour. As an aside, I think instores are a great way of bands making longer term fans and as long as people come along in the first place, you’re bound to sell some records.

The Slackers were in the UK to launch the release of their album, Self Medication on Pama International’s own record label, Rockers Revolt. The label itself is exciting, with a host of releases coming out from some great bands, and with this album one of the early releases, they’ve started off particularly well.

The quintessentially quirky and endearing nature of the Slackers returns from track one, with Every day is Sunday expressing a very apt view of the mindset one has when unemployed. The record continues with a couple more upbeat numbers with Vic singing and Dave Hillyard’s sax as recognisable as Vic’s New York accent. Glen Pine takes the lead vocals on Estranged and likewise on Eviction, probably my favourite track on the album. Both have more of an eerie minor sound, which helps provide the variety a Slackers album always has. The ability The Slackers have had to alternate lead vocal duties, previously through Q Maxx and more recently Glen Pine, makes you appreciate Vic Ruggiero’s unique voice more, without getting sick of it.

Pop-A-Top Records
http://www.popatoprecords.co.uk

For fans of: organ driven reggae

I was quite harsh in reviewing the previous record from the Pop-A-Top Records stable, disappointed that the vocals were just a bit weak. I was glad that Erin persevered with sending me his releases as the latest offering, Volume 3: The Instrumentals, is exceptional.

Having been in the UK over six months now, I feel I’m a little more able to comment on what is coming out of this country. While few bands in the UK have a sound like The Erin Bardwell Collective’s, there are plenty of people here who love early reggae. Erin clearly does, and over the course of his recording with this particular group he has definitely refined the sound. The key with this record is that the strength, the organ, is central for all to hear and feel.

I’m keen not to paint this album as one-dimensional, however. I wouldn’t recommend this CD to someone only just beginning with reggae music, but it is more than just the same old organ driven reggae sound over and over again. Preston Steel’s saxophone provides an eerie dimension in songs such as Blunsdon Hill and Skelly. Percussion is used to great effect in Fry Up (Good Old Fry Up) and the mix of organ, piano and farfisa creates a necessary variety across all tracks. All of this and with one of the most solid rhythm sections behind it that you’re ever likely to hear.

Favourite tracks: Fry Up, Night Time Dreaming

Overall: The pick of the Pop-A-Top releases for me. This band needs to look further afield than Swindon.

For more info on releases and purchasing options, go to the Pop-A-Top Records website.

http://www.popatoprecords.co.uk