New Releases

Fly Rasta

Ziggy Marley

Dread & Terrible

Chronixx

Gold (1967 - 1972)

Bob Marley & The Wailers

Hi Grade Ganja Anthems 4

Various Artists

To You from We

The Steppas

Love Situation

Tarrus Riley

John John Presents

Vybz Kartel

Full Frequency

Sean Paul

Radical

Sizzla

The Sound

Pressure

New Releases Reggae Singles

Iyah Walk - Single

Chronixx

Confidence

Matisyahu

African King

Chronixx & Cecile

Corrupt

Ce'Cile featuring Jarae

Ruggu Ruggu - Single

Beenie Man

You Girl (feat. Ne-Yo) Remixes

Shaggy

Less Talk - Single

Chan Dizzy

Bulletproof - Single

Vybz Kartel,Shabba Ranks

Exclusive Video Tarrus Riley

Dem A Watch (Wanna See Us Break Up)

Tarrus Riley

Love Situation

Tarrus Riley

The Score

The Fugees
A breath of fresh air in the gangsta-dominated mid-'90s, the Fugees' breakthrough album, The Score, marked the beginning of a resurgence in alternative hip-hop. Its left-field, multi-platinum success proved there was a substantial untapped audience with an appreciation for rap music but little interest in thug life. The Score's eclecticism, social consciousness, and pop smarts drew millions of latent hip-hop listeners back into the fold, showing just how much the music had grown up. It not only catapulted the Fugees into stardom, but also launched the productive solo careers of Wyclef Jean and Lauryn Hill, the latter of whom already ranks as one of the top female MCs of all time based on her work here. Not just a collection of individual talents, the Fugees' three MCs all share a crackling chemistry and a wide-ranging taste in music. Their strong fondness for smooth soul and reggae is underscored by the two hit covers given slight hip-hop makeovers (Roberta Flack's "Killing Me Softly With His Song" and Bob Marley's "No Woman, No Cry"). Even when they're not relying on easily recognizable tunes, their original material is powered by a raft of indelible hooks, especially the great "Fu-Gee-La"; there are also touches of blues and gospel, and the recognizable samples range from doo wop to Enya. Their protest tracks are often biting, yet tempered with pathos and humanity, whether they're attacking racial profiling among police ("The Beast"), the insecurity behind violent posturing ("Cowboys"), or the inability of many black people in the Western Hemisphere to trace their familial roots ("Family Business"). Yeah, the Chinese restaurant skit is a little dicey, but on the whole, The Score balances intelligence and accessibility with an easy assurance, and ranks as one of the most distinctive hip-hop albums of its era.

Parables

Tarrus Riley
Tarrus Riley's contemporized roots reggae comes with a pedigree: his father is the Jamaican singer Jimmy Riley, best known for his early-'80s album Love and Devotion and its classy cover of Marvin Gaye's "Sexual Healing." The younger Riley stays close to the themes of Rasta, righteousness and romanticism on this likable set, but he's young and worldly enough to go beyond the clichés, both musical and lyrical. The songwriting on Parables is tightly constructed, melodic, smart and accessible, and while the themes are familiar, Riley is willing to inject some pop gloss into his music, avoiding the sanctimoniousness that often drives away non-devotees of hardcore reggae. He doesn't overdo it with the Rasta rhetoric, and although there are more than a few direct references to Bob Marley lyrics in Riley's own, he never gives the impression that he's following in anyone's footsteps. Like most Rasta artists, Riley does rail against Babylon, but then in "Micro Chip," he cautions just as vehemently against worshipping technology, particularly the computer (wonder if he considers the machines in the recording studio technology?). But some of the most satisfying material on Parables has nothing to do with theology or injustice but rather with the heart: Riley's cover of "Stay with You," made famous by John Legend, and Riley's own "Something Strong" are unabashed paeans to romantic love (although the latter may be the first love song to include the word "parasites"), and the title track brilliantly draws lines between classic morality tales of yore and life in the 21st century. Riley's voice is a strong and likable one, equally comfortable within the spiritual and the secular, and he knows where to go for help, too: the ubiquitous Sly & Robbie are among the ace musicians contributing to the album, hitmaker Dean Fraser produces, and the legendary Tuff Gong Studios is one of the venues at which Riley laid down tracks. A voice to carry reggae ahead, for sure.

Jeff Tamarkin, Rovi

Contagious

Tarrus Riley
It's a minor problem, but if there's a complaint to be made about Tarrus Riley's 2009 effort Contagious, it's that his previous effort, Parables, has a much better layout. The crowding together of redundant numbers and uneven flow experienced here makes Contagious feel more like a collection of songs than a fully thought-out album, but they are great songs for the most part, performed in that dignified, warm, Rasta manner that has made Riley a favorite of the new roots set. "Living the Life of a Gun" is a wonderfully smooth alternative to Anthony B. or Sizzla's social commentary, and when a children's choir enhances the moving prayer "Let Peace Reign," Riley skillfully moves into Wyclef's territory with elaborate arrangements hung on grand statements. The lovers' numbers are just as good, if not better this time out with the sensual take on Michael Jackson's hit "Human Nature" and the yearning "Love's Contagious" -- based on Marley's "Coming In From the Cold" riddim -- competing for the top spot. The latter features a quick fade that comes way too early for the slow-grooving song, and when you add a track list 18 songs long which doesn't seem properly sorted, the quality control is a step lower than last time out. Parables remains a better introduction, but taken on a track-by-track level, Riley delivers his high-grade material with such grace and passion that Contagious is well worth the bit of patience it requires.

David Jeffries, Rovi

Challenges

Tarrus Riley

Reggae Masterpiece - Tarrus Riley 10

Tarrus Riley

She's Royal - Single

Tarrus Riley

Marley Dynasty Best of Bob, Family & Friends

Legend

Bob Marley & The Wailers

Fly Rasta

Ziggy Marley

Gold (1967 - 1972)

Bob Marley & The Wailers

The Best Of Peter Tosh 1978-1987

Peter Tosh
The words "Wolde Senayet" are scrawled in silver ink across a black-and-white image of Peter Tosh on the cover of this long overdue "best-of" from Tosh's EMI period. The words are an honorific Rastafarian title meaning "Son of Thunder." During those years, Tosh, who was thought to have had his best years behind him critically, was rocking reggae audiences all over the world commercially. This set puts both ends of that spectrum in perspective. Tosh's creative muse was always present during these years, even if he was misunderstood as a superstar. These 14 tracks are seamless in their quality, and are more than representative of Tosh's vision -- one that has been adopted and reworked in all sorts of reggae subgenres since his death. The music here, culled from six albums, marks reggae history with the sheer audacity of Tosh's restlessness. A much more diffident man than his former partners Bunny Wailer and Bob Marley, Tosh let it all come through in the music. His charisma was not in interviews, but in performances both live and recorded. His Columbia albums were all raw exercises in deep dread thinking and execution, while his EMI period was one of experimentation and sonic inquiry.

The production standards on the EMI records were high; Tosh was looking to incorporate all of the modern sounds he liked into his own and trademark it. He succeeded, as proven by tracks like "Bush Doctor," "Mystic Man," "Oh Bumbo Klaat," "The Day the Dollar Die," and the single version of "(You Gotta Walk And) Don't Look Back" with Mick Jagger. In the live cuts included here, including the stellar medley of "Equal Rights/ Downpresser Man" as well as "African" and "Get Up, Stand Up," the listener gets Tosh pretty much unedited, full of swirling, burning, and dark intensity. The album closes with "Fool's Die (For Want of Wisdom)," a song known by Wailers fans as "Wisdom" from 1970 and issued on the posthumous Marley collection as "Lips of the Righteous." But neither of these versions comes close to Tosh's spooky, deeply moving balladic haunt of a song. Flutes, electric pianos, and a shimmering acoustic guitar float atop a spare bassline to gird Tosh's vocal as it asks the tough questions of all within hearing range. At about five minutes, the instruments -- all covered in swimming echoes and delicate spaces -- carry the track to its resting place in the heart of the listener. This is among Tosh's most moving songs, and his least angry. Perhaps his bemusement was really heartbreak, but then, that will never be known; listeners can only find instruction in his songs, not solace. If any figure in popular music deserved to be reconsidered for the entirety of his contribution, Tosh is such an artist, and this collection proves it. Therefore, as Bruce Cockburn so aptly put it in a song long ago: "All you can do is praise the razor/For the fineness of the slash." Tosh was the razor; these are his beautiful wounds. Praise them, for they are worthy.

Thom Jurek, Rovi

Kaya - Deluxe Edition

Bob Marley & The Wailers

Marley Ost

Bob Marley & The Wailers
"Cornerstone," the first song on the original soundtrack to Kevin McDonald's officially-sanctioned Bob Marley documentary, is an apt metaphor for both the film's subject and Marley's own inner monologue. As a biracial boy from the country, Marley initially faced scorn when he moved to Kingston before singing opened the door to stardom. Riffing on the Biblical quote, "the stone that the builder refused will always be the head cornerstone," the young trio of Marley, Neville "Bunny Wailer" Livingston and Winston "Peter" McIntosh harmonize sweetly, and prophetically, given the heights their music would ascend to.

Bob Marley & the Wailers became the most recognizable proponents of Jamaican music, while rebel anthems included here such as "Get Up Stand Up," "War" and "Exodus" enshrined Marley as a human rights icon to millions. The soundtrack offers extraordinary rare tracks as well as the familiar building blocks of Bob's career: from the sweet ska of "Simmer Down" and "Judge Not," through Trenchtown anthems like "Concrete Jungle" and "Natty Dread," and unreleased live recordings such as "No Woman No Cry (Live at The Lyceum)" or the historic "Jammin' (Live at One Love Peace Concert)." Special versions such as "Crazy Baldhead (Groucho Mix)" and "Exodus (Kindred Spirit Dub Mix)" reveal new angles to these classics. But it's feel-good greats like "Roots, Rock, Reggae" that testify to Marley's enduring legacy. He urges us to "dance 'cause we are free," and this soundtrack provides the ideal foundation to do just that.

Tomas Palermo, Google Play

In Dub Vol. 1

Bob Marley & The Wailers

Ziggy Marley In Concert

Ziggy Marley