Pure loveliness from 1967 — with an acappella version.

All-time rocksteady murder.
The flip’s killer, too. ‘I don’t want no trouble now, no, no, no.’

Trilbies off to the herb superb — with a rocking backbeat, from 1966.
Nice bass on the flip, too — strong, minor-key storybook-soul.

Overproof sufferers by Sweeney Williams, with the Wailers Band.

Late-eighties Callo Collins production of the Youth Promotion cohort.

Rasta Cowboy excursion.

On the Chopper version of Billie Jean.

The great deejay’s deliriously authoritative toast of Satta.
‘Why do the heathen rage? Let us break their bands asunder.’

Crucial version of the Horace; with a nice minor-key flip.

Celebrated late-eighties soundboy business — another of his very best, revived at last.

Ace, quirky one-away — effervescent singing on a bubbling rhythm, with ticking drums and deft keyboard interjections.

Highly recommended — previously unreleased digi fire from the same sessions and mould as He Was A Friend.

The fledgling Wailing Souls, rocking steady but broken-hearted in 1966; backed with the perfect ska antidote, a previously-unreleased Hopeton Lewis pick-me-up.

Bumping rocksteady — with a gospel, Toots flavour to the A; a little more booting rhythm and blues to the flip.

1966 rocksteady, elegantly heartfelt as Nat King Cole.

The greatest rocksteady instrumental of them all.
Haughtily cool and deadly; a stepping razor of a tune. (Just ask the ODB.)
Back in after a long absence. Hail the rebel sound.

Juggernaut version of the Four Tops, with Ike Bennett at the organ leading Ilya Kuryakin on the flip.

A contender for the heaviest dub of all time.
When the Rootical Dubber had a go at reissuing Trevor Byfield and co, many years ago, he omitted this, saying it was just too awesome to mess with.

Heavy roots; thumping dub. Turns out that Moses was being discreet.