Rupie Edward’s wise and witty account of the 1973 Foreman-Frazier fight in Jamaica, over his own deadly Down Below rhythm, with tasty dashings of Errol Dunkley, and the influence of Lee Perry in full effect. Pure vibes.
Featured in its instrumental glory on the flip, the rhythm appealed so much to Coxsone Dodd that he bootlegged it.

This is ace.
Sweet harmonies; a majestic, more-ish rhythm, with a touch of the natural mystic. A lover’s open-hearted overture without the usual screwface braggadocio: ‘Me look like a lion but me humble like a lamb.’
An under-stated classic by the Indian-Jamaican Silpatt brothers.

A militant steppers — reminiscent of Johnny Clarke’s Blood Dunza — with magnificent trombone-playing by Vin Gordon. Shaka fire. Ace.

Deadly, hip-hop-inflected, soundboy version of Skylarking. Nasty bass.

Ace, rampaging digi.

Twin detournements of Lieber & Stoller.
Hugh Godfrey coolly channels Love Potion No. 9 into a rude boy anthem, with tasty riding-east piano and full-steam-ahead saxophone.
On the flip, Norma Fraser switches the roles of the Big Mama Thornton classic. An erstwhile dawg is played by the singer. The raucous, sexually dismissive wordplay of the original — ‘You can wag your tail / But I ain’t gonna feed you no more’ — is replaced by dignified verses about female independence and resilience.
Killer 45.

OG had been a UK-resident for five years by the time of this Brenton Wood cover, recorded here during the Soul Vendors 1967 tour. (One night Jimi Hendrix was the support.) A Procul Harem on the flip.

OG breathing in and going deep with the Chain Smokers in 1976, for Clem Bushay.
Also featuring Trinity and Dillinger.
Rough, early-Pablo vibes. Terrific.