14 Songs, 52 Minutes

EDITORS’ NOTES

From 1995 until the mid-‘00s, Jah Warrior was one of the most active and respected roots imprints on the U.K. reggae scene. Producer Steve Mosco spearheaded the label, and his love of ‘80s-era soundmen and producers like Jah Shaka, Fatman, Adrian Sherwood, and Dennis Bovell deeply informed his production style, incorporating unconventional elements into the framework of traditional roots rhythms. During the height of Jah Warrior’s success, Mosco also worked on projects with younger, more aggressive vocalists. Foremost among these was Lutan Fyah, an incendiary singer with a gravel-throated vocal style. Fyah recorded a handful of outstanding singles for Jah Warrior between 2003 and 2006, but a long-promised full-length release never materialized. With Never Surrender My Faith, listeners can finally hear this long-delayed material. It includes singles like the herbsman anthem “Smoke the High Grade,” as well as a host of previously unreleased cuts. They're all distinguished by Mosco’s first-rate productions, which make unexpected use of dissonant digital textures and disorienting, dub-like effects.

EDITORS’ NOTES

From 1995 until the mid-‘00s, Jah Warrior was one of the most active and respected roots imprints on the U.K. reggae scene. Producer Steve Mosco spearheaded the label, and his love of ‘80s-era soundmen and producers like Jah Shaka, Fatman, Adrian Sherwood, and Dennis Bovell deeply informed his production style, incorporating unconventional elements into the framework of traditional roots rhythms. During the height of Jah Warrior’s success, Mosco also worked on projects with younger, more aggressive vocalists. Foremost among these was Lutan Fyah, an incendiary singer with a gravel-throated vocal style. Fyah recorded a handful of outstanding singles for Jah Warrior between 2003 and 2006, but a long-promised full-length release never materialized. With Never Surrender My Faith, listeners can finally hear this long-delayed material. It includes singles like the herbsman anthem “Smoke the High Grade,” as well as a host of previously unreleased cuts. They're all distinguished by Mosco’s first-rate productions, which make unexpected use of dissonant digital textures and disorienting, dub-like effects.

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