Besides Sugar’s International Herb, this 1980 dub album is engineer Douglas Levy’s finest work. Wackies’ fans have been clamouring for its reissue ever since Rhythm And Sound began re-releasing the catalogue.
Milton Henry’s handful of classics — like his version of Gypsy Woman, or This World and Follow Fashion over the Upsetter’s Fever rhythm (under the handle King Medious) — made him a natural Wackies’ recruit.
Upful dancehall vibes address topics such as vegetarianism, skin colour, school, good old-fashioned rocking the mic. One toast laments Batta’s girlfriend running off with Sugar Minott.
Two versions, different dubwise mixes of Sugar Minott’s massive Informer rhythm — both choca with living dancehall vibes and Channel One-style deadliness.
A Bullwackies masterpiece — haunted, reeling roots, saturated in hurt, confusion and resistance, with a knockout Baba Leslie-led dub — announcing Digikiller’s mouth-watering new tranche of reissues from the studio.
JT on the legendary fight; John Clark in a nostalgic mood, about an old friend. Both deejaying and singing are mixed in your face, over a nugget of vintage Wackies, gritty and unbalanced. Shimmy shimmy ya.
Bullwackies recorded this album during the same weeks as Horace Andy’s Dance Hall Style: two of the greatest vocal reggae LPs of all time.
Ace, loose, mystical roots, with sick synths, slacky tidy guitar, and Jarrett pouring himself into the mic. With a thumping dub led by saxophonist Jerry Johnson.
Taking its name from Jezreel, the Biblical city founded by the tribe of Issachar, where God is said to have cursed Ahab for his greed, this singing duo’s debut Wackies album is steeped in rasta spirituality.
An intimate, spare do-over of the Spiderman rhythm which Yellowman was smashing with Operation Eradication: eight minutes of yearning and pleading, dosed with the stylings of the original Night Nurse himself.
Rhythm And Sound leading with trumps: this was the first in their Wackies reissue programme. Consummate lovers rock by cousins Sonia Abel and Claudette Brown — originally from Brixton — and classic Bullwackies.
The Love Joys’ first album, initially released in 1981 on the Florida-based Top Ranking label: ten tunes produced and recorded at Wackies NY, ranging from lovers rock and uptempo dance vibes to roots and reality.
Brand new music from the Bullwackies studio in the Bronx. Expressive sufferers over a sublime, floating, melodica-lit rhythm, plus Batta with a deejay version, and two dubs.
Recorded around the same time as Leroy Sibbles’ Revolution, this features the Love Joys’ backing vocals, lots of 70s synth percussion, the weirdest trumpet part and a wicked version on the flipside.
The first release of a masterful album recorded by Bullwackies in the same heady months of 1982 which delivered the Love Joys’ Lovers Rock and Junior Delahaye’s Showcase LPs.
During the period of this 1984 recording, Sugar Minott was arguably the brightest star in reggae music world-wide: this one’s for those who like their Sugar unrefined, raw and uncut.
Four songs and their dubs — lovers, bubblers, rockers, and well-charge dub, with great playing and Sugar brilliantly focussed throughout — originally a 1983 picture-sleeved ten-inch on his own Black Roots imprint.
From Sugar an essential, down-to-the-bone version of the foundation Real Rock rhythm. Featuring Jackie Mittoo and Bagga Stewart from Willie Williams’ classic Armagideon Time cut, alongside Wackies’ Itopia Crew.
Deep, tough Wackies killer with giddily nostalgic lyrics about setting out at midnight to a packed New York blues party. Massive vibes; murderous dub.