Beautiful, heart-wrenching, anti-war roots.
Sublime singing, led by Tony Tuff, over the kind of rhythm you could run for hours.

Groovy version of the Deodato-CTI Gershwin interpretation; with a Willie Lindo. The dub does the trick.

Brilliant jazz lyricism, in the style of Kenny Burrell, by the thirty-three-year-old, at an impromptu 1965 session in the Federal Studio, with pianist Leslie Butler, drummer Carl McLeod and bassist Stephen Lauz.

Beautifully-sung reggae-jeggae sufferers.
With a vibesy instrumental on the flip, featuring what sounds like a wooden flute.

A sweetly Christmassy, party-rocking rework of the William Bell / Booker T original.

A fat, wide, brassy cover of his idol Otis Redding. Plus an ace, driving, vengeful Reggae Boys, on the flip.

Ace organ-driven rocksteady cut of Love Is A Message, recorded at Treasure Isle on Bunny Lee’s ticket, by youngsters Jacob Miller, Lawrence Weir and Lassive Jones aka Delroy Melody.
They were going by the name The Young Lads, but Jones remembers Striker’s strong advice: “there are too much Lads group, you boys are going to school, you boys are School Boys.”

Scorcher. One megaton of Hudson dread; pure reggae noir.
The mix is quite different to Flesh Of My Skin.
Definitively presented at last (after some dire bootlegs), by Dub Store in Tokyo.

Easy-squeeze, rocking steady loveliness from 1968.

A deadly, zonked Soul Syndicate excursion on Westbound Train, with Keith Hudson as the Fat Controller. Introducing a young LT — his first recording, he says — stylistically indebted to Dennis Brown.