Celebrated dubplate version of DEB’s Promised Land; and Earl 16 on Trial And Crosses.

An unnerving ride on Yabby You’s almighty Conquering Lion rhythm — a darkly atmospheric tale of pestilence and the dark arts, our kind of Christmas Carol. Crowning a great year for Digikiller, this is essential.

Ace late-seventies roots featured in the Deep Roots documentary — so coolly poised — from the Breakfast In Bed hit-maker. Tough Dennis Brown composition, written specially for Sheila.

Heartfelt, blessed early-eighties Maxfield Avenue roots, in short supply from the off. Pressed from the original stamper, Digikiller-style: a few clicks at the start can’t test rudie.

Pious sex-pol, on a tuff Billie Jean lick. ‘When you come home, a next man asleep in your pyjamas… and then you charge fi murder, Jah Jah know. The man them a worries but the woman them a problem.’

Tasty rudeboy anthems from Cedric ‘Congos’ Myton, Devon Russell and co —  a dancehall tribute and a jailhouse portent. Double-bass in the place.

Rudie gone soft. Irresistible love songs — with simmering brass, splashing cymbals on the A; classy sax on the flip.

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.