Scorcher!
Rothadam aka Errol Gayle tried out for Bunny Lee before following his brothers from Trenchtown to Toronto in the early-1970s. Here, his fellow-welder Sid Lovejoy also ran a record shop, label and studio, at 917 Bathurst Street; and in 1975 the first iteration of Rebel was unleashed on Sid’s LMP imprint (cut a little slower than this reissue), featuring none other than Leroy Sibbles on bin-wobbling bass; and massive, rearing, swinging horns (and melodica). The brass brings to mind the Otravis crew on Skyjack Version, also with Sibbles, for Half Moon; the hi-hats tick with the same serious-mindedness as at the start of Joe Higgs’ Creation; Rothadam channels Horace Andy to full effect.
Then Gayle reprised the song at Half Moon itself, with the Super Eight Corporation. Producer Oswald Creary passed the second recording — side two here — onto Ron Lewis, to put out on Ron-Lew. It’s more Upsetters in style, with a lighter touch; more limber, smoke-filled and cosmic, with a vibesing spoken intro and tasty percussion.
Both sides are raw, intense, inspiring roots.
Neither came with a dub… so dream on, rudie.
Hotly recommended.

Leading with trumps, this was first in Rhythm And Sound’s crucial Wackies reissue programme. Consummate lovers rock by cousins Sonia Abel and Claudette Brown, originally from Brixton. Stone classic Bullwackies.

Unmissable, cornerstone Wackies, back in.
Horace Andy’s greatest artistic achievement, surpassing even his Skylarking set for Studio One. With definitive reworks of songs he first recorded for Bunny Lee and Derrick Harriott (Money Money and Lonely Woman); a deadly version of Lloyd Robinson’s Cuss Cuss; and a first outing for Spying Glass, later versioned by Massive Attack. Musicians include Wackies regulars like Owen Stewart and Oral Cooke from Itopia, and Ras Menilik and Jah T; also Sleepy’s multi-instrumentalist spar Myrie Dread from the In The Light sessions for Hungry Town. At the desk, Lloyd Barnes, Junior Delahaye and Douglas Levy coax unequalled vocal performances from the singer, bejewelling ineffable extended mixes.
Crucial.

Headlong, fierce, banked rasta drumming fit to discombobulate any kind of system, with sweet, jazzy trombone riding it down, bubbling bass driving it home, and all of it classically dubwise.
Wareika Hill Sounds is the contemporary roots reggae project of Calvin Cameron — mainstay of the original Light Of Saba line-up, the genius behind Lambs Bread Collie — who to this day lives above the headquarters of the Mystic Revelation Of Rastafari, in the Wareika Hill district of Kingston, Jamaica.
In the great pedagogical traditions of the multi-cultural Light Of Saba, and before that Count Ossie, this new recording runs together two JA musical traditions — a kind of drumming (and drum) brought from the Congo, and the island’s variation of calypso — into a thundering grounation charge. As always, the Skatalite’s trombone-playing is majestic: deadly, gripping, deeply cultivated.
The dub is tremendous, too.
Last box!

The triumphant revival of this humdinger, forty years after the original version, released on JA/UK label One Love.
Expertly recorded at Tuff Gong, and just around the corner from us in Ladbroke Grove, this is Black-Atlantic, one-drop majesty, with Rasta drumming, resplendent horns, and thunderous dub. Empress Sharon is so nice she nails it twice.
Painfully timely. Mash up creation and look what happens.