A top-notch selection of High Note and Gay Feet rhythms, expertly mixed the old-fashioned way by Duke Reid’s nephew, Errol Brown.

Laid-back rocksteady soul from Noel, out of the Chosen Few — coupled with a fun Ike Bennett organ workout.

Young bros Glen, Dalton, Noel, Cleveland and Danny, irresistibly doing over MJ for Geoffrey Chung. ‘She makes my motor purr.’

Superb, soulful, easy-rocking, Philly-dilly reggae. Old-school call-and-answer vocals, full of personality and charm; beautifully arranged, with criss horns. Class.

Tasty, brilliantly-arranged, minor-chord instrumental of the Tonight rhythm, led by the saxophone of Cannonball ‘Money Generator’ Bryan; with a secret-weapon piano-lick on the flip.

1966 rocksteady, elegantly heartfelt as Nat King Cole.

Rock Fort Rock and China Town excursions.

Out originally mid-70s on the Aires label, in a plain, stencilled sleeve, this is based around three cuts of the dreader than dread Free For All rhythm.
The music is Melvin ‘Munchie’ Jackson and Lloyd Barnes productions begun in Jamaica and finished at the Sounds Unlimited studio in New York. Several surfaced at different stages as sevens on Bullwackies’ Aires imprint, and in JA on the Tafari label which Munchie ran with his brother Maurice and Little Roy, in the Washington Gardens district of Kingston.
The title track was recorded at Randy’s, and came originally on The Heptones’ Hepic label, featuring Family Man Barrrett on keyboards, and - on the deejay cut here, Meditation Dub - sounds like Charlie Ace. There are dubs of Little Roy’s Tribal War and Black Bird; Stranger Cole’s My Application, later re-voiced by The Heptones, turns up as Dis Ya Dub; and if things weren’t smoke-filled enough, Roots is the rhythm of K.C. White’s All For Free.

With Lee Perry in 1975.
Kinky Fly is here… plus eight killer bonus tracks.
Mastered from the original tapes.

Backed with a heart-crushing Larry Marshall.
Double-headed demands for freedom and peace; both rawly heartfelt and sublimely delivered.
Two salvos of pure roots fire.

A sultry version of the Gershwin / Heyward aria, more body-rocking than spiritual, led by an identified singer. and swinging horns; and a rollicking Take The A Train, with solos by Roland Alphonso, Lester Sterling and Don Drummond.
Class.