In celebration of the 10th anniversary of the self-titled Sublime album and to pay tribute to Bradley Nowell's original vision, the long-awaited, two disc Sublime Deluxe Edition is released. Anyone familiar with the explosion of alternative rock in the 1990s knows one of the greatest injustices of the period was that Sublime singersongwriter-guitarist Bradley Nowell did not live to see the release and massive success of Sublime. Before the final album was originally released, it was re-sequenced and the lyrics to the song Doin' Time were edited due to sampling clearance restrictions. The 10th Anniversary Deluxe Edition features Bradley's original vision & sequence on disc one, featuring Trenchtown Rock, the song that Bradley originally wanted to start the album with but was taken off entirely instead, and Bradley's original vocals for the song Doin' Time. Disc Two contains 15 bonus tracks with 8 unreleased tracks including instrumental versions. For all his tattoos and bulked-up frat-boy persona, singer Bradley Nowell had real soul, which made his fatal heroin overdose even more tragic. There's more to this Long Beach, California, trio's debut, released shortly after Nowell's death in 1996, than white suburban punks imitating Jamaican ska music. The band comes up with great songs, notably the catchy MTV hit "What I Got"; spooky dub-reggae undertones, produced by the Butthole Surfers' Paul Leary, to go with the snappy horns; and surprisingly progressive lyrics that attack sexism and other social ills, especially on "Wrong Way." Like the Red Hot Chili Peppers and Fishbone, obvious forebears, Sublime become slightly tiresome after 17 songs, but the band is great in short doses. --Steve Knopper This is a two-disc deluxe 10th anniversary edition.
Californian Ska-Punks' 1996 album featuring 'Same In The End', 'Jailhouse' & 'Under My Voodoo'. For all his tattoos and bulked-up frat-boy persona, singer Bradley Nowell had real soul, which made his fatal heroin overdose even more tragic. There's more to this Long Beach, California, trio's debut, released shortly after Nowell's death in 1996, than white suburban punks imitating Jamaican ska music. The band comes up with great songs, notably the catchy MTV hit "What I Got"; spooky dub-reggae undertones, produced by the Butthole Surfers' Paul Leary, to go with the snappy horns; and surprisingly progressive lyrics that attack sexism and other social ills, especially on "Wrong Way." Like the Red Hot Chili Peppers and Fishbone, obvious forebears, Sublime become slightly tiresome after 17 songs, but the band is great in short doses. --Steve Knopper
2CD set. Blissful 1998 mixed DJ set features David Holmes ; Lamb ; Roni Size ; Bomb The Bass ; Depeche Mode and more! Viennese trippers Peter Kruder and Richard Dorfmeister fry up beats like a fine Wiener schnitzel. With crisp percussion, tender melodies, and subtle bass flavor, they more than know their way around the production kitchen. Take the remix skills of these two chefs de musique; add a dash of fresh electronic ingredients, including Roni Size, Rockers Hi-Fi, David Holmes, Alex Reece, and others; run it through a beats processor; and you have one sumptuous and definitely not calorie-free meal. Tastier sound bites can be sampled during the Roni Size "Heroes" course, as K&D strip down and reconstruct a new and improved recipe for downtempo soul. Lip-smacking good. --Daniel Shumate
13 TRACKS: 1) A. Speak To Me, B. Breathe In The Air (Feat. Sluggy Ranks) 2) On The Run 3) Time (Feat. Corey Harris & Ranking Joe) 4) The Great Gig In The Sky (Feat. Kirsty Rock) 5) Money (Feat. Gary Nesta Pine & Dollarman) 6) Us And Them (Feat. Frankie Paul) 7) Any Colour You Like 8) Brain Damage (Feat. Dr. Israel) 9) Eclipse (Feat. The Meditations) 10) Time Version 11) Great Dub In The Sky 12) Step It Pon The Rastaman Scene (Feat. Ranking Joe) 13) Any Dub You Like Talk about high concept: this project features the house band of noted New York reggae label Easy Star covering Pink Floydâ€™s Dark Side of the Moon in the same sequence and in recognizable but reggae fashion. Here, the All Stars turn Floydâ€™s strangely surreal world even stranger and more surreal, adorning the English bandâ€™s dark psychedelic music with slow reggae beats and head-spinning dub-style production that is both inspired and effective. "Money" opens with the sound of bong hits and coughing instead of the cash register, then grooves to a reggae beat as guitar and organ churn out the classic riff--thereâ€™s even the signatory sax break in the middle. The group hits it just right on "Great Gig In The Sky," retaining the soaring gospel voice, while the remake of the chiming bells on "Time" reveals a bit of irreverent humor. Tearing away at the alienation of the original, this infusion of new personality makes it all work, elevating the albumâ€™s concept from the half-baked to visionary. --Tad Hendrickson
Orb ~ The Orb's Adventures Beyond The The first Orb album was entirely new when it appeared: a low-key dance record, with echoes and swells more than up-front tunes, stoner-level dub bass, and all sorts of samples and sounds--seagulls, film clips, astronaut voices, bits of disco--fluttering through the mix like hallucinations. Essentially a techno album for tired dancers, it's held up nicely over time, thanks to its intricate, dreamy sonics. Beyond the classic "Little Fluffy Clouds"--a set of interlocking synth hooks and loping percussion, held together by a cut-up sample of Rickie Lee Jones talking about the skies of her youth--there are lots of mellow delights here, particularly the blissful reggae groove "Perpetual Dawn." --Douglas Wolk
Lee Perry is generally acknowledged as a production genius, but on occasion that genius can be destructive, and while there's no disputing his talent, sometimes the results can be less than aurally satisfying. This is especially true when it comes to albums, where Perry's efforts were often erratic. On Heart of the Congos he was brilliant, and across the record's original ten tracks Perry created a masterpiece of music. Many critics consider this 1977 album one of the best roots records of all time, and at the very least, it was Perry's apex -- only Junior Byles' Beat Down Babylon is an equal contender. Which is why it's all the more shocking that the record was turned down by Island, and even back in Jamaica it received only a limited release. It took nearly two decades for Heart of the Congos to reappear, finally reissued with a clutch of period bonus tracks by Blood and Fire. The Congos themselves seem the least-likely contenders to record an exceptional album with Perry. The duo of Cedric Myton and Roy "Ashanti" Johnson had a unique sound, revolving around the former man's crystalline falsetto, which was set off by the latter's rich tenor. The pair composed deeply cultural songs, but both men's vocals had a gentle quality that would wither under a typical deep roots arrangement. Still, Perry had proved his worth working with the soft, husky tones of Byles, but few expected him to be able to repeat this feat. In fact, if anything, the producer was even more sympathetic to the Congos' styling and exhibited a musical self-restraint that astonished even his hardcore fans. Every track on the original album is worthy of classic status, and all presented the group and their songs in the best possible light. To this end, Perry was aided by a phenomenal group of sessionmen and guest backing vocalists which included Gregory Isaacs, a pair of Heptones, and the mighty Meditations. But beyond the Congos' superb songs and performance, the superb musicianship, and the exceptional vocal talents, it's Perry's arrangements tha...
After nearly a decade of gestation, Willie Nelson's long-lost first reggae set is at last complete. The seed of this project took root in late 1995, sprung from the mind of famed producer Don Was. Countryman is Willie's impassioned tribute to the upstroke sound of Jamaica, an Ire voyage to the land of dub and dreadlocks. Willie takes a handful of his own classics and filters them through a reggae prism, peppering them with his nylon acoustic guitar, pedal steel, dobro, harmonica and the familiar comforts of country, while bringing drums and bass to the forefront, yard style. Willie also tackles a couple of reggae classics from the acclaimed Jamaican film soundtrack The Harder They Come, including the title track and 'Sitting in Limbo'. Reggae star Toots Hibbert also guests on the Johnny Cash cover 'I'm A Worried Man'. In short, after a decade long journey, Willie's Jamaican vision at last sees the bright light of day. If last year's collaboration with Toots Hibbert on Toot's True Love album ('Still Is Still Movin' To Me') is any indication, we are in for a treat. Lost Highway. 2005. What's stranger: Willie Nelson singing lilting reggae melodies, or a Jamaican chestnut like "The Harder They Fall" set to an acoustic country arrangement, complete with Dobro? Given Nelson's well-publicized taste for ganja, it's not surprising he's also fond of the island's major musical export. The genre-straddling Countryman, replete with dub effects, skanking beats, ringing steel guitars, and Nelson's signature nylon-string picking, doesn't measure up to his earlier, artful Lost Highway releases. It's easy to understand why this project was shelved by Nelson's previous label for nine years. There are no musical sparks, and the buoyant rhythms trivialize the strong lyrics of Nelson classics like "Darkness on the Face of the Earth." But his voice is still mellow gold, and there are tunes--like his duet with reggae/R&B singer Toots Hibbert on Johnny Cash's "I'm a Worried Man" and his own somber reading of Jimmy Cliff's "Sitting in Lim...