Unmistakably sexy, classy SC over fun, rickety island disco produced by Franklyn Waul — from the Taxi Gang — in 1988.

Breathtaking US roots. A super-heavyweight, high-drama Zap Pow rhythm, with luminous singing by Horace Campbell, on his own label. Second of just two Black Spades. You’d be mad to pass.

Black Ark magic. Al Campbell steps up with teacherly scorn, as clear as a bell.

Inspired singing, feel-the-vibes deejaying, and awesome Scientist/Tubbys mixes via Channel One in 1980.
Jeesus Chroyss, we noice.

A skittering, stop-start, dubwise, vintage rhythm — sounds like Family Man at Studio One — pulsating with submarine sonar.
Al Campbell lights it up 2025-style with a coolly defiant, denunciatory sufferers. Live, dubplate vibes, kicking off with a nod to his hosts in Shepherds Bush, and a quick Orthodox represent represent.
How do I love thee? Let me count the ways. ‘Babylon them a criminal, Babylon them an animal, Babylon them a conman, Babylon them a ginal.’
Killer diller dub, too, with a stark, reedy dose of the Sugar Bellys.
Crucial bunny. Crunchy and tasty; proper underground vegetable business.
Bim.

Rough! Same rhythm as Frankie Paul’s Leave It To Me. Moody, inimitable, brilliant Jammys, with inspirational singing by the great CC.

Typically fine singing, over crisp, bare Tubbys digi, with strong backing vocals on both sides.
Hey Mr. Cop is a draft of the song he recorded for Bunny Lee, over Rumours; the flip does over his Jammys smash.
Dubplate action.

With a deadly, riding-east tang to the moody rhythm, sublime singing, murderous bass… Scorcher.