Very early Glads, from 1967, seemingly pre-Albert Griffiths — and a killer Tommy McCook instrumental. Both previously unreleased Duke Reid productions, when Trojan was properly trojan; by way of Japan.

Utterly genius mid-seventies Upsetters. The great Horse Mouth aka Mad Roy playing melodica (like on his classic Far Beyond for Studio One, where he started out printing labels) and drums (like on War Ina Babylon), and spliffically hymning his local dealer.
With Delroy Butler/Denton from The Silvertones, on the flip.

Hard to resist Junior Murvin in this teasing, saucy mood, on a lovely nyabinghi rocksteady rhythm.
With an alternate take.

Agony aunts Clifford Morrison and Dada Smith from The Bassies, with George Blake replacing Leroy Fischer, in 1969. Cornerstone moonstompers, both sides.

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.

Sweet rocksteady — expertly arranged, with boss guitar, horns and harmonies.
“We’re going to put it on… we are loaded… (long pause)... with soul music.”

Upsetters magic from the Black Ark, circa 1976. The story goes that only thirty copies were pressed, back in the day.

With Stanley Clarke, Cecil McBee, Eddie Henderson, Carlos Garnett, Gary Bartz and Buster Williams.

Frank Lowe, Billy Bang, Rafael Garrett, and the great, unsung drummer Dennis Charles, in 1983.
Book-ended by Jackie Mac’s Little Melonae and Ornette’s Lonely Woman; plus compositions by Bang and Lowe, Rashied Ali and Butch Morris.

His debut LP, a little over-produced by Jack Clement for Poppy in 1965; including precious first goes at songs like Tecumseh Valley and Waiting ‘Round to Die.
‘It seems a lot of people in Nashville write by phrase, or by the line. As opposed to writing by the word. A lot of my best songs are where every single word is where it’s supposed to be… For the Sake of the Song was written by the word. I once sat down and wrote out the rhyme scheme for that song, and it was amazing. Pretty complex. But it didn’t seem that complex when I was writing it.’