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Total murder.
With a precious instrumental version.
Stately ska loveliness, with Queen Patsy at her very best, disclosing her devotion to Frankie Lymon; and a previously unreleased Webber Sisters on the flip, fizzing with charm.
Jackie Bernard leading a thumping, yearning overture; backed with The Valentines’ classic Blam Blam Fever. Top-notch rock steady.
Perfect uptempo rock steady from the Gaylad (copping a little British Invasion, a bit late in the day). The flip carries the swing, though: a magnificent horns cut to Delano’s Tell Me Baby, by The Gaysters.
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.
Party music for sufferers, Count Ossie style: deep, spiritual and hurt, but still up for it.
Plus a sensational nyabinghi version of Miriam Makeba’s massive Pata Pata, with Patsy pon mic.
Pure loveliness, deep and stately.
Plus Patsy dishing it straight back to Johnnie Taylor on the flip, with a reworking of Blues In The Night.
Gorgeous singing by Carlton (from Carlton & The Shoes and The Abyssinians), with tasty nyabinghi drumming in the accompaniment.
“I was writing songs but I didn’t record until 1968. I did one song for Lee Scratch Perry. He gave me £5 and then I didn’t hear anything more about it. Then I went down to Mrs Pottinger, did one song for her named Live and Love on the Gay Feet label. It was played on the radio for a couple of days and it wasn’t going anywhere really because she had some good artists down there at the time and they did some songs that were doing well, so my song wasn’t getting much promotion and it wasn’t being played. I think I heard it twice on the radio and then I didn’t hear it anymore.”
Agony aunts Clifford Morrison and Dada Smith from The Bassies, with George Blake replacing Leroy Fischer, in 1969. Cornerstone moonstompers, both sides.
Hard to resist Junior Murvin in this teasing, saucy mood, on a lovely nyabinghi rocksteady rhythm.
With an alternate take.
Irresistible reggaeficatory bazookaings of Manu Dibango’s Soul Makossa, upping the old-school funk, and garbling extra mamas.
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