Herman Sang (from the Jiving Juniors) was at Brentford Road from the start, in the late-1950s.
This is wistful organ-combo r&b — pre-ska — with some sweet calypso jazz on the flip.

Tough UK digi. Shaka-business from the Waan You veteran, who came through with Light Of Saba in the seventies, and sparred in Ijahman Levi’s breakthrough. Aka Kick The Hobbit because of a typo on the original label.

Lovely singing by the Hombres over a limber, spaced-out Upsetters rhythm you could listen to for hours. The dub attenuates the political reasoning with cruel brilliance.

Stalag excursion.

His first run-out on the rhythm he later cut for Chopper — another Digikiller reissue.

Characteristically melancholic, wise, masterful singing.
With a bumptious, flirtatious Valentines.

No less than forty-four High Note sides: the original album plus a heap of 45s.
Sonia Pottinger presenting Earth & Stone, Bobby Ellis, Reggae George, The Itals…

Bringing together two Cry Tuff sevens from 1976. (Gimme Gimmie is the same heavyweight rhythm as Prince Far I’s Zion Call, aka Concrete Column.)

Sombre Shaka weapon, with Junjo and the Roots Radics, from the same early-eighties sessions as Police In Helicopter.

Two contrasting, bolshie, try-a-thing dubs, bristling with ideas and energy.
‘Ambulance Dub creeps along like John Carpenter laying down a dubplate special at Firehouse. The Bigger Tutti is full-on, punky-reggae-party steppers.’
Hand-stamped.

Superb, sombre, tautly grooving sufferers, produced by George Woodhouse.
Same singer as Reward, on Channel One. Twin, dread killers.

Utterly genius mid-seventies Upsetters. The great Horse Mouth aka Mad Roy playing melodica (like on his classic Far Beyond for Studio One, where he started out printing labels) and drums (like on War Ina Babylon), and spliffically hymning his local dealer.
With Delroy Butler/Denton from The Silvertones, on the flip.