Dub Syndicate – Kingston Files

Capleton gets things moving with Time on the Fire Light riddim. As you’d expect from the Fireman, he delivers a strong message tune in his familiar, fiery style. But the real highlight comes next with Luciano’s One In A Billion, riding the Hot Milk/Murderer riddim.

At the time of its original release in 2001, Luciano had become somewhat inconsistent, perhaps the result of recording and releasing so much material. Even established singers such as Gregory Isaacs and Dennis Brown experienced something similar at different points in their careers. Here, though, Luciano is right on point. One In A Billion is a deep, spiritual roots tune and arguably one of his strongest recordings from the late ’90s and early 2000s. No surprise that it became a sound system favourite for Aba Shanti’s Humble Lion.

The two Cornell Campbell cuts, Tricks and Nothing Comes Easy, are another pleasure. His voice was still remarkably pure at the time, recalling the sweetness of The Uniques and Slim Smith, with a touch of Bim Sherman’s poignancy. There’s a real sense of warmth and beauty in these simply gorgeous vocal performances.

Then comes Gregory Isaacs with a new version of Weeping Eyes, originally produced and released by Jack Scorpio in 1989. Previously featured on Dub Syndicate’s Pure Thrillseekers, the digi backing suits the Cool Ruler perfectly, and he delivers the song with the weary emotion that became one of his trademarks. It’s understated but effective, and a fitting addition to the vocal section.

The final three tracks move deeper into the riddim and dub territory. Instead of Gregory Isaacs’ vocal version of Kingston 14, which uses an old Randy’s tune and its memorable refrain about the horrors of guns in the ghetto, we get the Vocal Dub Alternative Cut, which leaves out Gregory’s vocal.

Yes It Is Bless gets a similar treatment. Rather than the relentless, looping Little David chant heard on the Acres Of Space track, we’re given a haunting, echo-heavy Alternative Riddim Version. The album closes with another worthwhile alternative riddim version of Time, bringing the set full circle.

Kingston Files is a fairly low-key collection, but that’s also its strength. This isn’t the raw, aggressive or abstract Style Scott of the early Dub Syndicate years. Instead, it’s Style Scott in a more mature and reflective mode, building detailed riddims that reward you for listening closely.

The result is mature, contemplative and reflective music that doesn’t need to hit you over the head. It works more subtly, revealing its qualities with repeated listens and showing just how far Style Scott had developed since his days with the Roots Radics.