Pure loveliness, deep and stately.
Plus Patsy dishing it straight back to Johnnie Taylor on the flip, with a reworking of Blues In The Night.

Trilbies off to the herb superb — with a rocking backbeat, from 1966.
Nice bass on the flip, too — strong, minor-key storybook-soul.

All-time rocksteady murder.
The flip’s killer, too. ‘I don’t want no trouble now, no, no, no.’

A set of four Jammys dub-plates, courtesy of Dub Store, Tokyo.

Two excellent, righteous vocal cuts to a tough, downtempo, rootical rhythm, in a brief respite from dancehall at Tubby’s HQ.
Latest in Dub Store’s lip-smacking series of Firehouse dub plates.

Ace.
Chugging, confessional, Chicagoan loveliness from Delroy Williams, Ricky Grant and George Allison.
‘I have seen the moment of my greatness flicker, And I have seen the eternal Footman hold my coat, and snicker, And in short, I was afraid.’

Mesmeric, spare, funky, forward-looking dubs led by the Soul Syndicate drummer.

Beautifully-sung reggae-jeggae sufferers.
With a vibesy instrumental on the flip, featuring what sounds like a wooden flute.

A sweetly Christmassy, party-rocking rework of the William Bell / Booker T original.

The great reggae saxophonist surfing a dazzling array of immortal Glen Brown instrumentals and dubs, like Dirty Harry, Mr Bald Head Aitken, Merry Up, South East Music, Fathers Call, Music From South Side…
GB the Rhythm Master is right up there in the first pantheon of reggae producers, with the Upsetter, Niney and one or two others; stuff like Dirty Harry is the food of gods.
A deeply pleasurable set, warmly recommended.