Easy-squeeze, rocking steady loveliness from 1968.

Ace UK steppers.
Imperious singing-chanting over a masterly, swirling Mad Prof mix, with Black Ark-lineage flute.
Here are the two of them, dishing it out live and direct.
So sick and tired of those evil forces.

A deadly fleet of Studio One sevens, and one almighty ten-inch, swooping in from the Far East.

Two sides of rare, body-rocking rocksteady lit up by Linval Martin’s personable singing, and the sweet, warm close harmonies of Hyacinth McKenzie and co, behind him.

Two pieces of sweet lovers rock, with backing by The Wailers.

An ace, urgent version of Joe South’s stinging denunciation.
Easy to imagine Andy and South — who also wrote Walk A Mile In My Shoes — getting on very well together.

Haunted, hurt reasoning rides a chunk of brawny Revolutionaries, with wailing organ and moody horns.

This Rebel Music anthem is for us the prime example of Bob Andy’s songwriting genius.
The perfect accompaniment to following your own path in life. Non-conformity set to music.
The defiantly carefree scatting at the end is killer: the coup de grace.
What a record.

Unmissable, cornerstone Wackies, back in.
Horace Andy’s greatest artistic achievement, surpassing even his Skylarking set for Studio One. With definitive reworks of songs he first recorded for Bunny Lee and Derrick Harriott (Money Money and Lonely Woman); a deadly version of Lloyd Robinson’s Cuss Cuss; and a first outing for Spying Glass, later versioned by Massive Attack. Musicians include Wackies regulars like Owen Stewart and Oral Cooke from Itopia, and Ras Menilik and Jah T; also Sleepy’s multi-instrumentalist spar Myrie Dread from the In The Light sessions for Hungry Town. At the desk, Lloyd Barnes, Junior Delahaye and Douglas Levy coax unequalled vocal performances from the singer, bejewelling ineffable extended mixes.
Crucial.