The unmissable first outing of this wonderful song; recorded for Sonia Pottinger in the early seventies. A little way different to the all-time-classic Channel One version, but a round-one knockout on its own account.

The great singer loud and clear over a moody live-digital rhythm, laid down at Aquarius in the mid-eighties.

Gripping, up-in-your-face account of the story of Judas. Full-on Keith Hudson roots.
And an unmissable nugget of flute-led JA funk, by the Soul Syndicate, on the flip.

Sweet, heavy lovers, with Perry’s genius touch, from early 1978 — concluding the singer’s illustrious accomplishments at the Black Ark, recently including backing vocals on Chant Down Babylon Kingdom, for Yabby You, Travelling, behind Deborah Keese, and the classic Freedom, under his own name.

Hymning the power of reggae, over a re-licked, surging Conquering Lion, with worrisome Tubbys bass. The dub is here.

From the Black Ark; a local hit in 1975. Clarke’s tale has the hapless, resilient innocence of Buster Keaton. Nice, basic melodica. The production is credited to Mike Johnson — who also stumped up for I-Roy sessions at the Ark around this time — but the rhythm and dub are Upsetters through and through.

‘Yes we nice, yes we nice… Hold them, music, hold them, yes, we control them… no we nah go let them stray.’ Dancehall manners — on the rhythm Delgado used for Rasta People — as clinically murderous as all-time EJ hits for Jammys like Rock Them One By One and Turn Up The Heat.

The class Spinners version for Lloyd Charmers, as featured on Darker Than Blue.

A heavyweight, Upsetters-flavoured, rockers re-lick of the Duke Reid classic; with the Soul Syndicate tripping out on Java, on the flip.

Tough sides recorded by Jammys and Scientist, besides a couple of killers from the Black Ark — The Children Are Crying (with The Heptones) and Mr Scabina.

Courtesy of Rock A Shacka.