There was a period in the 60s & 70s that set New York on fire, emanating from Spanish Harlem, The Bronx, and Lower East Side, and labels like Fania Records - boogaloo (bugalú).

I had a show in Dresden years ago, and the opener was a DJ who played cumbia. When her set began, the dance floor instantly filled with people laying down synchronized dance steps, which was eye-opening and fantastic fun to watch. It’s inevitable that these two genres would merge, as Cumbia originated on the Caribbean coast of Colombia and includes African, Spanish (colonial), and indigenous influences that date back to the 16th Century. For this playlist, I went down the rabbit hole seeking groove enlightenment.

I’ve always seen/heard the parallel between reggae and house music—namely, the Steppers vs. 4-On-The-Floor groove, and have been drawn to that fusion of the two. Back in 2002, I’d slapped a King Tubby sample over a house beat, and it was a revelation to me (I can fuse this) that song that became Journey To The Center Of The Dub. The King Tubby sample was removed, but the idea remained. On the other side of the pond, in the UK and across Europe, this style was already established and in the clubs. I can’t profess to more than a surface-level knowledge, but after sifting through a lot of tracks, I put together this playlist of songs that I enjoyed. I encourage you to share some of your favourite house reggae tracks in the comments—include a YouTube link if possible.

My soul has a deep passion for all things groove—reggae, jungle, hip-hop, funk, soul, or any style that gets the feet moving and the head nodding. So, for this mix, I decided it was time for a dive into Latin Funk with some greats—Joe Bataan, Tito Puente, and Ray Barretto, alongside lesser-known artists from the 70s onward. Bring on the thin-lofi-guitar solos, wah-wah flavours, rollocking percussion, blazing horns, and as much cowbell as you can handle.

The focus of this mix is the 4-on-the-floor roots reggae stepper style, with a variety of artists spanning decades, from Johnny Osbourne to Chronixx—the mood-lifter mix.

This mix captures the lush, cinematic vibe of the 1990s, when dusty vinyl samples, jazzy chords, and deep basslines took their place on the musical world stage—the blend of sounds, from trip-hop, downtempo, nu-jazz, and the French touch to the cinematic.

Turn the lights down and the groove up. Electric Boogie Nights is a high-energy mix celebrating the golden era of dance — from 80s boogie to 90s house and French touch. It’s the sound of roller rinks, warehouse floors, and neon dreams. Expect basslines that bounce, vocals that lift, and rhythms that don’t quit.

Welcome to Low Orbit Soundcapes, a journey through atmospheric dub, minimal rhythms, and spacious textures designed to slow the pulse and open the mind. This mix moves through shades of ambient and dub—from deep, meditative pulses to shimmering electronic landscapes. Perfect for late-night focus, meditation, or simply drifting into sound.

Operating out of Kingston, Riley began producing some of the finest singers of the era, including Johnny Osbourne, Alton Ellis, Hortense Ellis, and The Viceroys. His studio and record shop on Orange Street — the famous “Beat Street” of Kingston — became a hub of musical activity, nurturing young talent and pushing the sound of Jamaica forward.

A one-hour mix highlighting the best of today’s modern funk scene — the artists keeping the groove alive. From the brass-heavy power of Ikebe Shakedown and Jungle Fire to the soulful touch of Lee Fields, this mix runs through deep rhythms, sharp horns, and tight pocket playing. It’s the kind of set built for movement — recorded live, mixed clean, and sequenced for flow rather than flash. Think of it as a journey through the new generation of funk players carrying the sound forward.

Step inside the echo chamber: Deep Dubs & Heavy Echos explores the global landscape of modern dub. From Kingston to London, Paris to Toronto, this mix brings together heavyweight basslines, hypnotic riddims, and spacious reverb-drenched textures that define today’s international dub sound. Featuring deep cuts from Prince Fatty, Mad Professor, Paolo Baldini DubFiles, Dub Shepherds, Alpha Steppa, and Dubmatix, each tune builds on the foundation laid by the pioneers while carving new paths through delay, distortion, and bass. Let the reverbs roll, the delays dance, and the low end move through you, a deep session designed for Sunday reflection, meditation, or pure vibing.

This mix captures the moment when dub music stepped out of the smoky analog haze of the 1970s and into the sharper, more expansive sound of the 1980s. The heart of roots reggae still beats through every rhythm, but the tools had changed — studios were now running 16- and 24-track machines, early digital delays, and lush rack reverbs that gave engineers new dimensions to explore.

Bag O’ Riddim dives into heavy basslines, conscious lyrics, and the global spirit of modern reggae and dub. This one-hour journey blends roots vibrations with future-facing sound design, from the deep grooves of Boozoo Bajou and The Hempolics to the militant flow of Dubkasm, Skarra Mucci, and Dreadzone. Expect a mix of heavyweight riddims, crisp percussion, and soulful melodies — a celebration of reggae’s evolution from Kingston to London to the world. Each track pays tribute to sound system culture and the ongoing lineage of dub innovation.

Keith Hudson, often referred to as the “Dark Prince of Reggae,” was a groundbreaking Jamaican producer, singer, and songwriter whose work significantly influenced the sound of dub and roots reggae in the 1970s. Born in Kingston in 1946, he grew up around future legends like Bob Marley and Delroy Wilson. After working as a dental technician, he invested his earnings in recording sessions. He launched his career by producing hits such as Ken Boothe’s “Old Fashioned Way” and quickly established himself as an independent producer with his own labels, including Imbidimts and Mafia. Unlike many of his contemporaries who focused on singles, Hudson approached reggae with a visionary album-first mindset, weaving together songs and versions to create concept-driven works that played like narratives from start to finish.

This mix features 14 of the most popular breakbeats used in hip-hop, a powerful collection of grooves that have been sampled over 11,500 times across decades of music. From the raw funk of James Brown to the jazz fusion of Bob James, these breaks became the foundation of block parties, boomboxes, and breakdance battles worldwide. Topping the list is Lyn Collins’ “Think (About It)”, with 4,013 recorded uses.

A dive into the sound that moved bodies and minds in the pivotal mid-’70s. From Parliament’s interstellar soul to The O’Jays’ righteous calls and fat basslines from Ohio Players and B.T. Express — every track here carries weight. Ride with us through “Mothership Connection (Star Child)” down to “Do It (‘Til You’re Satisfied)” — it’s a cosmic trip back to funk’s golden moment. 1975 was a year of global transformation — wars ended, new nations emerged, and culture was shifting rapidly. The funk tracks on this mix don’t just sound good — they sit in the middle of this decisive moment.

There’s something magical about the intersection of reggae and breakbeat — the way the low-end weight of sound system culture locks with the snap of classic drum breaks. This mix is built for movement: rolling basslines, chopped breaks, and a fusion of hip-hop swagger and reggae vibes. Whether you’re nodding along at home or turning it up on a big rig, this one’s designed to rattle the floor and keep the energy high.

Frederick “Toots” Hibbert grew up singing gospel in rural Jamaica before moving to Kingston. Alongside Henry “Raleigh” Gordon and Nathaniel “Jerry” Matthias, he formed The Maytals in 1962. Their stacked harmonies and call-and-response vocals carried a gospel intensity that set them apart.

When we think of disco and reggae, they seem like two very different worlds — mirror balls and four‑on‑the‑floor beats versus one‑drop grooves and heavy bass. But look closer, and you’ll find that disco and reggae have been dancing together since the 1970s. For our mix today, the focus is on the groove of disco from the crates, with the inclusion of the classic Third World version of’ Now That We Found Love.

Pull Up Selector – Roots & Culture Mix combines a blend of reggae classics, fresh new tracks, and heavyweight remixes. From foundation roots anthems to modern conscious selections, this mix bridges eras and styles, skanking basslines, soulful vocals, and version excursions to keep the vibes rolling all midweek long.