The debut LP of David Jahson and Jerry Baxter, from 1978 (featuring the classic, parping Black On Black, from four years earlier).
The CD adds the Love Train album.

Two cuts from the LP High Times Present New Talents Ghetto Youths Showdown.
The MW is killer roots, not to be missed. You can hear Scientist in the dubwise mix.
With Clive ‘From Creation’ Hylton, on the flip.

A bit Whitey Mice, over a wicked mid-nineties Steely & Clevie.

Bunny Lee Boss Sounds, 1969-70. Musical aggro from hornsmen Roland Alphonso, Tommy McCook, Lester Sterling and co, plus foundational deejaying by D Tony Lee, U Roy, and Jeff Barnes, and nuff organ. Sleeve notes by Noel Hawks.

Tough mid-seventies steppers from the US, in tow to Johnny Clarke. A one-away for Bev; nothing to do with Jah Shaka (except he’d run it).
Rough dub, too.

Ace vocal excursion on Augustus Pablo’s monumental 555 Crown Street rhythm, from 1979.
Notwithstanding his unforgettable Fuckerys A Gwaan, that’s gotta be Jah Bull’s finest moment, on the flip.

Driving Shaka murder. Fury and yearning folded into a perfect blend of digital and old-school music-making. A drum-machine and Bagga Walker from Studio One tear up the dub. Complete with rare, ebullient Colarman toast.

Moody, heavy lovers, detourned by FW’s full-throated falsetto. Ace.

Heartically hymning male companionship over the same tough digi rhythm as Nathan Skyers’ Tribute To The Heroes… plus the dub. Previously unreleased.

The bees knees in soulful rocksteady. The elegant, poised singer rides killer Studio One rhythms by Jackie Mittoo and co, featuring magisterial soloing and beautiful backing vocals. Unmissable classics like How Can I Love Someone and Don’t Know. It’s a must.

Inimitably mixed by King Tubby; The Aggrovators on top form, likewise; rocking horns.
With an excellent Temps, and three lovely Chicago Soul covers. Nobody does reggae-soul better than Delroy.
Aka Sings For I & I.

Classy, proto-lovers, full-scale do-over of the Robert John 45 still big in Northern Soul circles.
The original arranger, none other than Gene Page gets a run for his money in the typically sophisticated instrumental version by Geoffrey Chung and the In Crowd.