of new albums. 2013 saw the release of Retrospective, an album of solo work recorded over the 25 years since the break-up of General Public, featuring various artists and producers including Sly and Robbie, and songs such as "Bubbling Hot" (the 1994 hit collaboration with Pato Banton) and a cover of "The Bed's Too Big Without You" (first recorded with Sting for the 1996 film The Truth About Cats & Dogs). Live in London was released in 2013 – a live recording of the Beat playing at 229 The Venue, featuring some of their greatest hits as well as new tracks by Roger and Ranking Junior. 2014's Pop Off the Head Top consisted of entirely new compositions, including additional vocals and song writing from Ranking Junior. They recorded tracks for this project with Hugh Harris from London, Dopegrinders from Brighton and Mr. Anonymous from Colorado. Other key tracks involved the Italian producer AleXannA whose version of "Sixteen Tons" features vocals by Roger, Ranking Junior, and Roger's daughter Saffren Murphy. Rock the Casbah, released in 2015 in collaboration with the charity Strummerville (founded by the friends and family of Joe Strummer to support aspiring musicians and projects that create social mobility through music) is a five-track EP which features a previously unheard version of "Rock the Casbah", which Joe Strummer and Mick Jones of the Clash had asked Roger to sing on back in 1981, re-recorded by the Brighton producers Dopegrinders, and using the original stems donated by Mick Jones. The EP features new tracks by Roger, Ranking Junior and Hugh Harris as well as a re-working of "Muscle Ska", co-written by Roger and Neville Staple from the Specials. In September 2016, DMF released Bounce; the first new album by the Beat in 30 years. Written by Ranking Roger, Mick Lister and Ranking Junior, it was produced by Mick Lister and mixed by Tim Hamill and Mick Lister, with the exception of "Side to Side" and "My Dream", which were mixed by Dennis Bovell. The album was recorded in Roger's 'eco-friendly hideaway' – a round recording studio in his back garden, which he called The Pod. The album received generally positive reviews with reviewers typically praising the band's 'passionately political edge' and pointing to how the album 'encompasses every aspect of one of the most musically diverse bands to come out of the multi-racial, multi-cultural explosion that made British pop music