His first run-out on the rhythm he later cut for Chopper — another Digikiller reissue.
Monster dubplate Mr Bassie. Holt-like-a-bolt and The Revolutionaries make it their own. Murder.
Awesome, dread cut of the mighty Worries In The Dance rhythm: deep-chilled, stripped, tooled… with its own dub.
Roy Reid (a JA customs official) on the politics of national currencies, with a dub getaway to Ruritania — from The General double.
On Enforcer’s Ride On Marcus, with a previously unreleased dub.
Irrepressible toasting, over a hurting Freddie McKay vocal and rocking, percussive rhythm, with a killer horns dub (from the Cancer LP).
Top-notcho Icho from Tesfa McDonald’s mixing-desk, early-80s. Winston is a Horace man, obviously. Here he is re-visiting Cat Stevens on Jack Ruby Sound: youtube.com/watch?v=B4PipAFfXZk
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.
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.
Sublime close-harmony roots, originally out in 1979, on Cash And Carry.
An atmospheric Black Ark recording by Milton Samuels, with a genius Perry do-over supplementing the original Jah Dynasty sides.
1976 steppers, school of seer-singers like Ijahman Levi and Pablo Moses.
His hard-sought-after, swan-song recording — imperious roots originally released via King Culture in Canada — with apocalyptic, warn-them vocals, shining, hoo-ha horns and tough percussion.
Rough and rugged Barrett Brothers rhythm, with Organ D Downie cranking up the vibes, and Family Man dubbing live and direct on the version. Keithus’ 1975 debut.
Swirling, cultured roots lament, with ringing piano and jazzy saxophone, and luminous vocal harmonies by the Voices Of The Trinity.
Pious sex-pol, on a tuff Billie Jean lick. ‘When you come home, a next man asleep in your pyjamas… and then you charge fi murder, Jah Jah know. The man them a worries but the woman them a problem.’