Like a dream, but authoritatively, this remix from Jamaica magnificently crosses the Afrobeat of Fela Kuti with the grounation reggae tradition of Count Ossie.

Killer deep ska, superbly led by Roland A. Backed with the Black Brothers’ rude boy anthem, Born To Rule.

Crucial version of the Horace; with a nice minor-key flip.

Two all-time ska masterpieces: back-to-back fire.

Tremendous, previously-unreleased takes of ska instrumentals by the Soul Brothers.
Rolando Al luxuriating in jazz; a Tommy McCook cha cha cha.

Head-to-head Bunny-Lee-supervised knees-up-mother-browns.

A Skatalites charger and a jolt of vintage Ethiopian ska rumpus.

With Lynn Taitt And The Jets at Federal in 1968. From Dubstore, Tokyo; now on vinyl.

Woozy, extended Clive Hunt instrumental. Piano-as-steel-drum. Pretty killer.

Deeper-than-Spinoza, heavier-than-lead nyabinghi cut of Yabby You’s awesome Love Thy Neighbours (itself produced by Family Man, in 1974). You can’t touch Tubby’s dub on the original Defenders 7”... but both versions here are uncompromisingly dread, and essential in their own right.

Giddily killer, unutterably majestic horns-led instrumental by the legendary bassist, alongside his co-Wailers.
Tubbys murder on the flip.
Brilliantly reissued by Dub Store, in Tokyo.

A sublime, freely creative, dubwise instrumental and its version, from the same hallowed, far-out neck of the woods as the deepest Upsetters and Wackies.

Pressed on vinyl for the first time.
‘A marvellous set of jazz reggae instrumentals… a unique entry of super cool amid the chaos of the On-U catalogue’ (Steve Barker, The Wire).
‘Beckett’s genius is that he is always true to himself, whoever he performs with. His effervescent, tumbling, improvised melodies never fail to lift the spirits.The Modern Sound Of Harry Beckett is a magnificent sonic treat.’ The Guardian.
‘Sherwood’s production style strikes a perfect balance here between sonic creativity and respectful restraint, and Beckett himself is brilliant, creating horn lines that weave and insinuate themselves through the grooves rather than riding on top of them. Established On-U Sound fans will find this to be an enjoyable curiosity; Harry Beckett fans may find it revelatory’ (All Music).

A melodica instrumental right up there with his very best cuts. A lot more exalted — Rockers International style — than his Studio One killers.

Rocksteady murder, both sides.
Val Bennett wails over a brilliantly percussive, troubled, fresh rhythm, with descending, prowling bass; Roy Man leads the heart-broken flip, with piano riding east, and rocking horns.
From the master tapes. It’s a must.

Cedric was a jazz nut. Enrolled at Alpha Boys aged eight, he was soon revelling in Ruben Delgado’s new jazz course. He flourished under Lennie Hibbert’s directorship, before setting out in the early sixties with Sonny Bradshaw’s big band, followed by a residency with Leslie Butler and Hedley Jones playing jazz at Club 35 in Montego Bay; then stints with the bands of Granville Williams, Cecil Lloyd and Teddy Greaves. “Kind of easy listening jazz, mixed with some of the regular pop stuff, for dancing.”
Amazingly, by the end of the decade Cedric was living in Philadelphia, on the verge of moving in with the Arkestra. He jammed up in the hills with Count Ossie, at Rockfort; and towards the end of his life, he jammed on the New York subway. Sonny Rollins was his main man. Have another listen to him on Door Peep Shall Not Enter.

It’s all magnificently expressed in these two highlights of the Africa Calling LP, recorded at Treasure Isle with Errol Brown for producer Sonia Pottinger in 1977.
Expertly explosive brass arrangements and brilliant soloing, electric keys and wah wah guitar gently counterposed to nyabinghi group-drumming; with uncontrived spirituality, nothing easy or halfway-house.
Bim.