Far away from reggae’s spiritual home, Tokyo’s Dub Store circulates high-quality Jamaican records from Japan to the rest of the world. As a shop, label and distributor, Dub Store has maintained close ties with Kingston over decades – their catalogue of treasures being thorough enough to penetrate any hazy surfaces around the island’s music. From unreleased classics, funked-out covers, digital marvels to spiritual singularities, their releases boast high production values and come presented with a Japanese obi.

Max Edwards
“Gideon’s High”
From Soul Constitution: Instrumentals & Dubs 1971–1982

Underplayed legends resound throughout this compilation, which primarily represents the work of Aston ‘Family Man’ Barrett. ‘Fams’ was the longtime bassist for Bob Marley, and his contributions to reggae were monumental, even when not playing for The Wailers. Less known is his work as a producer responsible for some of the era’s most experimental tracks. Alongside his disco mixes and creative directions for The Wailers, the tracks here are essential in revealing the onsets of the spectral ‘Far East Sound’ in reggae during the 70s. “Gideon’s High” – recorded with Zap Pow and Soul Syndicate drummer Max Edwards – spews spooky airs through uncanny minor chord instrumentals and synth moans.

Gregory Isaacs
“The Ruler”
From King Jammys Dancehall 3: Hard Dancehall Murderer 1985–1989

Alongside Gregory Isaac’s distinctive vocal delivery, King Jammy boosts up the sound system with his revolutionary electronic rhythm. During Dub Store founder Naoki Ienaga’s regular visits to Kingston, Jammy’s studio was important as the place where the legendary king of digital reggae resided. A producer, label owner and former apprentice of King Tubby, King Jammy’s productions in the 1980s shook the island in revealing new horizons of sound and inexpensive ways of producing music. Dub Store’s original compilations, the King Jammys Dancehall series, solidifies each side of his work between heavy-hitters, mellowed ballads, and heavenly dub versions. The third, Hard Dancehall Murderer 1985–1989, showcases moments causing uproar in the dancehall, high-energy feats which boosted spirits against sound clash opponents.

Hugh ‘Redman’ James
“Old Chain Version”
From Old Chain/Old Chain Version

A couple years after the release of “Under Mi Sleng Teng” – King Jammy’s game-changing digital rhythm – a young sound system operator known as Hugh ‘Redman’ James stole the limelight with his own computerised dancehall hits. Through his Redman International label, his music in late 1980s to early 90s maintained the effect of roots reggae and imbued it with the futurism of electronica. In “Old Chain”, one of his most sought after tracks, his style frames a song which calls for freedom amid the spectre of slavery, and its message echoes through a dub version where silvery rhythms and synthesisers inspire visions of another world.

Cedric ‘Im’ Brooks
“Blackness Of Darkness”
From Blackness Of Darkness/Africa Calling

A morphing, afro-tinged rarity by Cedric ‘Im’ Brooks, initially released in 1977 by High Note and luxuriously treated by rocksteady’s first and foremost female producer Sonia Pottinger. The morphing rhythms of “Blackness Of Darkness” reflect the lifelong mission of the saxophonist and flautist Cedric Brooks, whose musical studies transcended genre as he incorporated many rhythms of Jamaica and Africa into his jazz-infused reggae. It astounds as it shifts and develops, firing the island’s magic in full fledge.

Derrick Harriott
“Message From A Black Man”
From Derrick Harriott Reggae: Funk & Soul 1969–1975

The soul and funk-doused reggae of singer and producer Derrick Harriott reflects the powerful influence of American culture in late 60s early 70s Jamaica. A kaleidoscope of expressions meet in Derrick Harriott Reggae: Funk & Soul 1969–1975 – combinations of Nyabingi and jazz saxophone, deejays riding above soul versions, and tributes to sources from doo-wop to spaghetti westerns. But mesmerised by the sounds of Motown above all, Derrick Harriott’s songs are funked-out moments in reggae history, carried by sensuous grooves and a wah-wah pedal. His cover of The Temptations’s “Message From A Black Man” reflects a brewing political consciousness in Jamaica, affected by the Black Power Movement in the US.

Lennie Hibbert
“Island In The Sun”
From Moonlight Party

Recorded before his recordings at Studio One with Clement ‘Coxonne’ Dodd, Moonlight Party was the first album by Lennie Hibbert, a Jamaican jazz legend who, uniquely in reggae, was known as a vibraphone virtuoso. Also a bandmaster, he arranges an ensemble of Caribbean instruments and vocalists to embalm listeners in a tropical sea breeze, his vibraphone taking centre stage. While mellow, it slices deep into a historical moment when Caribbean mento and calypso met American jazz.

Federal Singers
“My Love”
From Rare & Unreleased Ska Recordings From Federal Records Vaults 1964–65

As the 60s arrived in Kingston, ska’s pumping baseline was concocted as an exuberant, positively Jamaican sound, while America’s R&B and doo-wop increasingly became too soft for sound systems. Dwelling within the archives of Federal Records – Jamaica’s first domestic studio where some of the island’s first and finest singles were cut – are some crashing grooves. Delivered by their in-house band, “My Love”’ thumps alongside the shrills of a harmonica and effeminate, anonymous vocals.

Sons Of Negus
“All Ye Saints”
From A Psalm Of Praises To The Most High 1967–1972

A curiosity which had previously never left Jamaica, reggae’s spiritual ancestors are felt in this music deriving from a session once undertaken at Studio One by Nyabinghi specialist Ras Michael. Unwavering in its themes, the soul-shaking elements of A Psalm Of Praises To The Most High reaches from the significance of drumming in Rastafarian rituals, an aspect which pulses throughout Jamaican music. In its revelling keyboard solos, Ras Michael’s early work implodes categorical frameworks – reggae or gospel, African drumming or jazz – with a divine intuition.

King Tubby
“Who Is The Dub”
From Concrete Jungle Dub

Dub Store holds a masterpiece of dub gems constructed by King Tubby, some of which have previously only received an extremely limited release in the 1970s. A moment before dub was widely treated as its own genre, Tubby’s involvement with Winston Riley and The Techniques led to some of his finest work, palpable when listening to the versions. Following the first articulations of “Who Is The Dub” – a reconstruction of Donovan D’s “Who Is The One” – an uncanny spatiality expands from reverberations. Alongside the ghosts of its melodies and moaning baseline, thoughts wistfully rise like smoke.