Two knockout Wackie’s 12” sides, paired together for maximum pressure. Each originally appeared on separate twelves, around ‘85 and ‘80. The A-side is another deadly Sugar shot, one of so many for Wackie’s. Backed here with the more obscure Zion Land, a stunning, shimmering roots chant. Both sides extended mixes.

‘Double-sided murder Wackie’s from 1978. Originally released on the Jumbo Caribbean Disco label from Brooklyn. Big Leg Mary is on the same rhythm as Wayne Jarrett’s killer Come Let’s Go. Wasn’t It You is a different cut from the earlier one on the Senrab label, but equally lethal. Both sides fully smoked-out dubwise trademark Wackie’s style, and essential.’

The dubwise companion to the recent Roots From The Record Smith compilation, featuring the B-side dub versions from the original 45s, nearly all taken from master tapes, and culminating cataclysmically in Tubby’s out-of-this-world dub of Ronnie Davis’ Power Of Love.

Sublime, masterful singing — poetic, polyphonic, evocative sufferers — over a stately and atmospheric Java excursion, more sombre than mystical. Super-soulful. Ace.

First time out for this Paragon’s feeling excursion on the same Java re-lick as Roman Stewart’s Rain A Fall.

Magnificent, hypnotically insurgent, boogie-down bubblers, with Sugar Minott at the mic, leading burnished horns and dapper, soulful backing vocals. Like a cross between Ain’t No Stopping Us Now and Armagideon.
Jerry Johnson heads out on the flip: a killer uptempo instrumental, with swirling brass over a pared-down, propulsive rhythm.

Another all-time eighties classic.
A lovely song, over a do-over of Dennis’ Revolution rhythm, with Sly & Robbie in the mix.

Rocksteady murder, both sides.
Val Bennett wails over a brilliantly percussive, troubled, fresh rhythm, with descending, prowling bass; Roy Man leads the heart-broken flip, with piano riding east, and rocking horns.
From the master tapes. It’s a must.

One of the unsung movers and shakers of 1970s reggae, Ivan Smith worked as in-studio producer and record promoter for both Bunny Lee and Channel 1, whilst quietly producing and releasing his own catalogue of high-quality 45s.
Here is the first ever compilation, pure classics, all taken from master tapes, in a lovely silkscreened sleeve.
Ace.

Woozy, extended Clive Hunt instrumental. Piano-as-steel-drum. Pretty killer.

Creole’s personal rough mixes of sides recorded at the same late ‘70s session as the Channel One killer Beware.
Fishers Of Man is an extended mix, and Walls Of Jericho is teamed with a version retrieved from dubplate, adding synth.

Recording as Jah Carlos in 1976. Massive, glorious Soul Syndicate rhythm, with blazing horns, soulful reasoning, tremendous dub.

Upful, late-eighties singjaying, with nuff namechecks and squiddly diddlies, over a crisp, bustling rhythm.

Stark, powerful singjaying over tough, livewire digi; produced in Jamaica by Delroy Francis for his Claypot imprint, and originally released in 1987.
These are the original mixes, newly transferred from the master tapes.

Gritty sing-jay reportage, originally released in 1987 on a Claypot 12”, back-to-back with Terrorists. Produced in JA by Delroy Francis, more widely known nowadays as the guvnor of the Park Heights label and record shop in Brooklyn.

A melodica instrumental right up there with his very best cuts. A lot more exalted — Rockers International style — than his Studio One killers.

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

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

First time on 45 for this excursion on the heavy Roots Radics rhythm used for Barrington Levy’s Englishman.

Blazing start and great delivery, but rather treading water over killer late-80s digi.
Same vintage as his massive Dangerous hit for Redman. Not to mention the more voluble Don’t Touch The Crack by Dignitary Stylish.
Zinging with raw dubplate-style presence, like the other two 45s on this rhythm.

Characteristically masterful singjaying; duetting with himself, for added dancehall vibes. The message calls for self-respect to be tempered by humility… probably a bit rich coming from KK. Sick rhythm.

Hurting, heartfelt sufferers about youth unemployment in hard times.
Our favourite of these three new Jah Lifes from Digikiller.
All three run the same ruff digi rhythm, stripped and venomous on the flip.
All three are previously unreleased.

‘It’s not of my own will to idle on a corner.’