‘Special dedication to all the people who live inna House… Ain’t no house like Waterhouse… Ain’t no house like Firehouse.’
From the Sleng Teng era but played live. Total, heart-lifting class.
Altogether now…

Delroy’s bro in two feeling excursions on his punchy Better Must Come rhythm.

The US singer dropping a little sass at Treasure Isle in 1968. Same session as Angel Of The Morning, but previously unreleased.
Also Tommy McCook & The Supersonics doing over Ode To Billy Joe in fine style.

Unmissable rocksteady: a magnificent version of the Curtis; and a hard-rocking Never Let Me Go.

Copper-bottomed rocksteady do-over of Take Five, by Buster’s go-to saxophonist. The title is nicked from a comedy film directed by Norman Jewison, out a couple of years beforehand in 1966.
Plus Glen Adams having a not so shabby go at an Eddie Holman, on the flip.

A Keith Hudson production with a strong whiff of Studio One to its bumping rhythm. JC typically bosses this song about requited love, which gives no clue where the golden snake comes in.
That’s none other than Clive Chin from Randy’s, toasting on the flip.

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.

Neglected, stunning, mystical Upsetters roots — with scrumptiously extended trombone — first released in Amsterdam on Henk Targowski’s Black Art imprint (bundled with special mixes of Cane River Rock and Dread Lion).

The Blues Buster showing his gospel roots in this superb, soaring version of the Sam Cooke, with support from Bobby Aitken and the Carib Beats.
Backed with some bumptious ska, led by Val Bennett.

Easy-squeeze, rocking steady loveliness from 1968.