Stone classic. Stuffed with monster Lee Perry rhythms like War In A Babylon.

The first decent compilation of these Clement Bushay productions.
Downright crucial Jazzbo like Step Forward Youth and Every Nigger Is A Winner.

The Upsetter’s imperious do-over of the almighty Skylarking rhythm, featuring himself alongside Winston Blake at the microphone, berating people for having fun in public. (‘Sylvester the jesterer from Manchester’, you know who you are.)
Contrastingly backed with Jimmy Riley in a sombre mood, c&w soul style, over a bare-bones reworking of the People Funny Boy rhythm.
Unmissable, obviously.

Upful, late-eighties singjaying, with nuff namechecks and squiddly diddlies, over a crisp, bustling rhythm.

A title track which never ages, unfortunately.

Characteristically masterful singjaying; duetting with himself, for added dancehall vibes. The message calls for self-respect to be tempered by humility… probably a bit rich coming from KK. Sick rhythm.

In his dazzling, rubadub flow, with intricate rhyming, lavish word-play and off-the-wall allusiveness, his genial socialism and jubilant, green-fingered vegetarianism, his knockabout sense of humour and all-round irrepressible good vibes, Ranger is the peerless heir to U-Roy and Dennis Alcapone… and the most diplomatic of envoys for the new dancehall styles just around the corner. He’s undervalued because of a perceived lack of gravitas, but he’s one of the all-time great deejays, and this is his best work.
Have a listen to the musical shock attack Automatic: over Take A Ride, no less, he bundles the Last Poets into a breakneck stream of consciousness, with walk-ons for Marcus Garvey, Bag O Wire, and Garvey’s secretary Mother Muschett; Dovecot Memorial Park and Madison Square; a bad boy who doesn’t know Ranger’s dad is a cop; succinct advice like ‘natty don’t play card inna Babylon yard’; a big baboon in the light of the moon, a broken chair, a felt hat, an anchor you can’t conchor…
“Everybody was wondering why I sounded different. And the reason I sounded different was through I did grow in England and I have the English accent and when I speak you can hear every word I am saying clearly. It was a plus for me. And then through I liked to write poetry and write songs, you know I’m a writer, I stick to the topic from start to finish.”
And the musical rhythms are a preposterous fish-tea tidal wave of Studio One classics (plus a Shank I Sheck): Take A Ride/Truths & Rights, Real Rock/Armageddon Time, One Step Beyond, Hot Milk, Throw Me Corn, Never Let Go, Full Up, Please Be True, Things A Come Up To Bump.

So let the good time roll, with Sir Coxsone at the control. When Ranger talk, the dance it have fe cork.
Deliriously enjoyable. Terrific cover art, too.
Very highly recommended. Five ribbits, five bims, five flash-its, five oinks.

The first disc contains his 1982 LP — irresistible early dancehall — plus contemporaneous twelves sparring with the likes of Cornell Campbell and Barrington Levy. The second rounds up some Joe Gibbs heavy-hitters by other deejays and singers, from the same period.

With Junjo and Soldjie at Channel One. Including the smash Diseases, in which Jah licks trouser-wearing women with ‘elephantiasis… the other one is the poliomyelitis… arthritis and the one diabetes.’

Dubplate, deejay piece to Fulk Reid’s Golden Daffodils (itself put back till the next batch of Digikillers, because of manufacturing problems). Mojo Blue aka Jah Mojo, from Santic.

Another Black Victory classic missing in action, with superb rhythms and killer dubs, a dream combination of Studio One and Bullwackies musicians, and the young sing-jay already at the top of his game.