Legendary ska destroyer. Frankenstein passing through Rome, riding West. All the Byron you need (except maybe Childe Harold).

What a tune. A surging, early-seventies Soul Syndicate rhythm, with a fulgent trombone solo; and succinct, profound reasoning from the Don, at his very best, about thinking for yourself. Rebel music to live by; as clear as a bell. That’s a tough Sleepy on the flip, too. Killer.

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.

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.

Curtis Mayfield, every way but loose. A version of The Impressions’ classic marks PK’s first recording with Bunny Lee; and Glen Adams moodily rides the same rhythm Lee used for Slim Smith’s cover of Gypsy Woman, on the flip.

Terrific roots plodder from 1982, with Bertram Brown and King Tubby at the controls.

With a deadly, riding-east tang to the moody rhythm, sublime singing, murderous bass… Scorcher.

Out-of-this-world toasting, the absolute bees knees, over Old Fashioned Way; and a stupendous piece of Skatalites, way from creation. Swing baby swing and do your own thing. Uptight and rocking out of sight.
Bims almighty.

Aka Olive Grant — the same Senya who broke through at Randys in 1974 with Oh Jah Come and Children Of The Ghetto — with The Wailers backing.

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.