quête:kingston sounds

2022 Repress

The legendary gig that Joe Strummer, singer from the Punk Rock band 'The Clash' attended and inspired his writing their classic 'White Man In Hammersmith Palais' took place on the 05th June 1977.
At the Hammersmith Palais venue on Shepherd's Bush Road W6, London during the height of Punk Mania. The full line up for the show were all Jamaican artists Dillinger, Leroy Smart, Delroy Wilson (all the first time from Jamaica) and Ken Boothe.
'Ken Boothe for UK pop reggae' who had already scored some hits with 'Everything I own' and 'Crying Over You' in 1974. Joe Strummer was expecting Roots, Rock, Reggae but the Sound System this evening 'Admiral Ken Sound' was playing 'Four Tops all night' as in soul and northern soul that were staple crowd pleasers at the time to warm up the audience, but in Joe's eyes the music should have reflected more Jamaican roots based music. The song also deals with bigger issues of black and white unity, but some people including the Punk Rockers.
'They're all too busy fighting, for a good place under the lighting'. Joe Strummer himself was looking for fun. 'I'm the Whiteman in the Palais....Just Looking for Fun'

The artwork supplied by Punk Artist MAL-ONE has used the two posters that were made for this gig, the reggae promoters 'Star Promotions' poster, that contained a picture of Ken Boothe and the venue's own poster that used text to announce it's line up for that evenings performance. Alongside these lost relics he has also combined the groups own poster for the 'White Man In Hammersmith Palais' single that incorporated the use of rifle target sights, perhaps enhancing the air of violence contained in the songs message.
MAL-ONE has collaged these together joining the two stories as indeed the song lyrics reflected. People often forget that the songs release was in fact as year after the actual gig, we have tied this release to the 40th anniversary of the song's release. Joe Strummer was one of the few voices from the Punk Era that used his lyrics as a weapon to tell the events that were happening around him and their relevance to those times.
The song itsel a Clash Classic and also a Punk Anthem, released on the 16th June 1978. We have compiled this album with songs by these artists, most of which you would have heard that night. As a post script to this story when the Hammersmith Palais sadly closed its doors for the last time after 82 years' service in 1999, the owners thought it fitting to present Joe Strummer with a sign from the venue's entrance. Mr Strummer's understated reply 'I guess I'll have to send a man with a van round to pick it up'.
Hope you Enjoy the set....

When talking aout Ska Music one group of musicians whose name always comes to the forefront of the conversation are The Skatalites.
Formed around 1965 and named originally after the Soviet space satellite which was big news at the time.
With a little help from band member Tommy Mc Cook making a play on the characteristic 'Ska'sound made by the guitar when following the 'after beat' of the music.
The band would have a name to go with its distinctive musical style.
The time span of The Skatalites career considering their output of hundreds of tunes was a relatively short one of around two years.
We have caught a great set of tunes that the band cut at the legendary Treasure Isle Studios, built out of wood and positioned above Duke Reid's liquor store, it somehow worked in getting a great sound out of the band.
We have cherry picked a selection for your musical pleasure..
We hope you enjoy the set....

Johnny Clarke ruled the Dancehall in the mid 1970’s, using the cleaver 'Flyers Rhythms' that gave some of his tunes an edge with the Sound Systems. But his voice was always.
bigger than this and his versatility to sing a wide range of vocal styles, has seen him cut through the decades as one of Reggae’s best voices.

Johnny Clarke (b.1955.Jamaica) cut his musical teeth at the age of seventeen, recording his first song ‘God made the sea and sun’ for Producer Clancy Eccles. A low-key release but one that led to Johnny catching Producer Rupie Edwards eye, when he appeared at a talent contest at Bull Bay. Impressed by his voice both live and on disc, Rupie cut a few tunes with Johnny, ’Don’t Go Julie’ and ‘Everyday Wondering’ the latter of which had success not only in Jamaica, but also in the UK reggae market. The back bones of ‘Everyday Wandering’ now voiced by Rupie himself would lead onto an even bigger hit in the 70’s with the classic ‘Irie Feelings’.

Johnny Clarke’s decision to move on around this time coincided with producer Bunny ‘Striker’ Lee looking for a new singer to compete in the ever-moving Dancehall arena. Johnnie’s break came in a strange way, having provided backing vocals initially to a Bunny Lee produced cut, Earl Zero’s ‘None Shall Escape the Judgment’. The very same session the drummer on the track, Carlton ‘Santa’ Davis, when asked by Bunny to come up with some new sound and while working the High - Hat cymbals, hitting it when open, then when shut (based on the Philadelphia Disco Sound known as the Phili - Sound) gave what the reggae world would call a ‘Flyers Sound’. On transferring the tune to four tracks to mix down at King Tubby’s studio, Earl Zero’s vocal was mistakenly left off. Johnny Clarke being present at King Tubby’s and knowing the track already inside out, then sang the lead vocal. The track became a smash Sound System favourite and the rest as they say is history.

Johnny Clarke became one of Bunny’s main vocalists during the heyday that was the 1970’s. It’s from this vast cannon that we have selected some of the singer’s finest cuts. His soulful voice worked the musical field from Dread to Rockers to Lovers Rock.A great gift that on playing this album we hope you’ll agree carries through with the tests of time.

Tapper Zukie after taking a little time out of the musical arena has come back with an album full of great material and has called in an A list of fellow Jamaican artists to add flavour to this great set. As Tapper named the album himself ‘Bunker Buster’ it shows Mr Zukie busting back out of the studio and back in the arena in fine style.

The opening track finds his long-standing working partner Horace Andy adding his distinctive vocal style to ‘Aquarius’. ‘Nuh Fraid A Dem’ features the great Luciano, ‘The Blessings’ the mighty Michael Rose, and Little Roy adds some magical rhymes to ‘Wicked’. The soulful voice of Beres Hammond sweetens the effects of `Stress’. The killer title track `Buster Bunker’ is backed up by the Musical Intimidators and Tapper has reworked his ‘Good Luck My Friend’ track to ‘Lucky Friend’ which features the timeless backing vocals by the legendary Jamaican vocal group The Tamlins. Digging even deeper into his back catalogue he has also pulled up some classic rhythms and more existing vocals to rework over. For example, ‘The Light In Me’ features the greatly missed Ronnie Davis. Junior Rass adds his mighty roar to ‘Humble Lion’ and Junior Reid leads the charge on ‘Warrior’. Half Pint adds a musical layer to Flesh and Blood. All in all a great selection of musical ideas that also features the cream of Jamaica’s musicians, Sly Dunbar and Robbie Shakespeare, Flabba Holt, Chinna Smith to name but a few. Tapper’s son Noel Barnes (AKA Brand New) alongside Pam Hall adds some gloss to the CD edition of this release.

Such is his standing in the reggae community that a call out to Jamaica’s finest set of singers and their eager reply to add their talents has made this an album not to be missed and can sit proudly alongside and find a place in his already prodigious catalogue.

Hope you enjoy the set…….

Born Don McCarlos,he processes one of reggae's most distinctive voices.
His vocal mannerisms being instantly recognisable over a tune ,yet he remains one of Jamaica's best kept secrets.
We look back to some of his finest moments that set the tone for his popularity that was to follow in the Dancehall period of Reggae.
He began his musical career in 1973,when alongside Garth Dennis and Derrick Ducky Simpson he formed one of Reggaes foremost groups Black Uhuru.
He then joined Wailing Souls before going solo under his shorter name Don Carlos
We find this set hard to beat as most of his classis are represented here and hope you find some magic as we have unearthing and compiling these lost treasures...Respect

Jackie Mittoo, organ and piano maestro, was not only a founding member of the legendary Jamaican Ska group The Skatalites, but through the course of Jamaican music’s long history has produced a body of work under his own name and of that with his various group incarnations, The Soul Brothers, Soul Vendors and the Sound Dimension. His distinctive organ and piano sound and musical arrangements have all played a major part in Jamaica's musical history.

Jackie Mittoo (born 1948, Kingston, Jamaica) began playing musical instruments at a very early age. Taught piano by his grandmother he was performing live by the age of 10 and recording by the age of 15. Two Kingston bands that he played with the Rivals and the Sheiks brought him to the attention of Studio 1's founder Coxsone Dodd. Who at the time was putting a group of musicians together to be his studio band. Impressed by his skills on both the organ and the piano, Jackie was asked to join in what would become Jamaica's foremost band The Skatalites. The fellow band members were Lloyd Brevett (bass), Lloyd Knibbs (drums), Don Drummond (trombone), Tommy McCook, Roland Alphonso and Lester Sterling (Sax), Johnny Moore (trumpet), Jah Jerry(guitar) and Mr Mittoo (piano). This line up ruled the Jamaican scene between 1964 - 1965 as well as inventing the Ska sound, they also performed the backing duties for the other top labels of the time including Duke Reid's Treasure Isle and Justin Yap's Top Deck label.

1965 saw The Skatalites disband, and Jackie Mittoo move on to his next musical project The Soul Brothers. Formed with fellow Skatalite Roland Alphonso,this band would back all the hits coming out of Studio 1 for the next three years with Jackie Mittoo working as band leader and musical arranger. Around this time Jackie also had his own single released, a Ska underground classic called 'Got My Bugaloo'. Rare, as it also features Jackie in the unusual role for him, as lead singer!!!!. 1966 saw the Ska sound evolve into Rocksteady, again with Jackie's band at the helm, and his first hit single the Rocksteady cut 'Ram Jam'. The success of which would lead to a solo career and album releases under his own name such as 'Now', 'Macka Fat', 'Evening Time', 'In London' and 'Keep on Dancing', to name but a few. In 1967 the hits at Studio 1 were still flowing when The Soul Brothers morphed into The Soul Venders and began backing such luminaries as Ken Boothe, Alton Ellis, Delroy Wilson, The Heptones, The Cables, The Wailers and many other of the label’s solo artists.

By 1968 Jamaican music was ready for another change and Rocksteady rolled into a slower groove soon to be called Reggae. Jackie Mittoo would be at the forefront with his latest band The Sound Dimension. A line-up that included Leroy Sibbles (bass),Roland Alphonso and Cedric Brooks (saxophone),Eric Frater and Ernest Ranglin (guitar) and Bunny Williams (drums). Being the house band at Studio 1 they backed all the leading names of the time, John Holt, Horace Andy and Alton Ellis, all of Studio 1's output carried his sound. Jackie Mittoo emigrated in the late 60's to Canada but travelled to Jamaica and London to record with many of the big new names, who were trying to redress Studio 1's supremacy and needed his magic touch. Such producers as Bunny Lee used Jackie Mittoo on many of his sessions,Sugar Minott among others were always glad of his services.

For this release we have put together a selection of some of his finest recordings done with legendary reggae producer Bunny Lee. 1970’s cuts that feature Jackie’s numerous talents, showing his ability to embellish tracks with a feel few could better. Musical arranger, band leader and all around studio ace.

We hope you enjoy this great set with Jackie Mittoo in fine style and his organ super powered indeed…

Rock Steady Cool is another fine collection of Rocksteady hits. The ‘Cool’ subtitle could not be more relevant to an album, as around 1966, an extreme heatwave hit the Jamaican island. This would not stop the all night dances from going ahead but the jerky Ska Rhythms proved too strenuous of an activity to partake in, so a new slower beat to suit this extreme weather had to be found and the ever resourceful music entrepreneurs came up with the slower paced beat and Rocksteady was born.

This two-year Rocksteady period ran until 1968 and would see some of the power escape from the big three producers, Clement ‘Coxone’ Dodd, Prince Buster and Duke Reid. It was time to make room for a new wave of up-and-coming producers that also had something to offer the people. Such names as Joel Gibson (Joe Gibbs), Sonia Pottinger, Derrick Harriott and most prolific of them all, Mr Bunny Lee would step forward and add some new musical touches to the island.

Rocksteady was an inspirational and somewhat overlooked sound that provided us with some outstanding music. So, sit back and enjoy some Rocksteady straight from the dances of Jamaica.

Hope You enjoy the set….

The Ethiopians are one of the great vocal groups to come out of Jamaica. Singing songs of life and times as they found them, themes that resonated with the people of the Island that made them such a treasured group. Lenard Dillon (b. 9 December, 1942, Port Antonio, Jamaica) the founding member of the Ethiopians began his singing career at Clement 'Coxonne' Dodd's Studio One. Initially he recorded under the name of Jack Sparrow, and backed by the Wailers, cutting 'Ice Water' and 'Suffering In The Land'. Under The Wailers encouragement, he went on to form his
own vocal group. Recruiting singers Stephan Taylor (b.1944, Portland, Jamaica) and Aston 'Charlie' Morris to become The Ethiopians. They cut 'Live Good', 'Why You Gonna Leave Me Now' and 'Owe Me No Pay Me'. Although receiving favourable response, Aston Morris decided to leave the band and the remaining pair carried on and cut 'I'm A Free
Man' and 'Don Dead Already' and 'For You'. On meeting contract builder Leebert Robertson who had recently returned to live in Jamaica, ashad he wanted to get into the music business, a session was booked for Treasure Isle Studios. The session produced their seminal 'Train To Skaville' track, which became an immediate hit in Jamaica and in the UK, when in 1967 it reached number 40 in the charts. They also cut 'Engine 54', which became the title of their debut album. Its
follow up 'I Need You / Do It Sweet', did not fare so well and the band moved over to Sonia Pottinger's stable, where they cut 'The Whip / Cool It Amigo' which revived their fortunes and proved another big hit for the band. Two more hits followed 'Stay Loose Mama' and 'The World Goes Ska', after which the band decided to return to a trio, adding
Melvin 'Mellow' Reid to the line up. The band now hit another run of successes with producer JJ Johnson 'Everything Crash, 'Gun Man', 'Hong Kong Flu' and 'The Selah'. Many hits followed leading the band to work with a variety of Jamaican producers. Such tracks as 'I Want To Be a Better Man, ' Conquering Lion', 'Fire A Mus Mus' Tail', and the timeless 'Reggae Hit The Town' to name a few. Two albums 'Reggae Power' (1969) and 'Woman Capture Man' (1970), pulled a lot of these tunes together. Sadly Taylor was killed in 1975 after been struck by a van in a road accident. Dillon returned to Port Antonio till 1977, when he was persuaded to return to Treasure Isle studios with producer Niney The
Observer and cut the Rasta based album 'Slave Call'. Additional members who joined for this album were Bro Fatty, Bro Ewing, Bro T, Mello and Hychi Dread. An album that showed all the Ethiopians magic had not been lost.
For this release we have included the full 'Slave Call' set, 'Ethiopian National Anthem', 'Slave Call', 'Guilty Conscience', 'Hurry On', 'Mus Follow Babylon'(on CD Edition), 'Train To Skaville (1977 version, on CD Edition), 'Culture', 'Obeah Book', 'Let It Be' and 'I Love Jah'. Alongside some of the bands early hits including the original version of 'Train To Skaville', 'Engine 54', the great and poignant 'Everything Crash', 'Reggae Hit The Town' and 'The Selah'. An interesting set to remind us what a great group the Ethiopians really were.

Countless incredible records were made in Kingston between 1968 and 1971 that has never been able to lose the stigma of being described as 'Skinhead Reggae' but in Jamaica the term never meant anything. However Bunny Lee's Aggro Sound's both at home and away.
They were tougher then tough ,rougher then rough ,kicked like a 'bovver' boot and were sharper then a razor cut trim.
Raw, pure and undiluted every time...some even troubled the UK national charts..
To say the man and his music dominated at the time would be a complete understatement.
'Striker' was everywhere...travelling between Kingston, where he opened his Agro Sounds record shop at 101 Orange Street and London where he set up his Unity label with the Palmer Brothers for the exclusive release of his productions and his Jackpot subsidiaries with both Trojan and Pama records.
Ubiquitous does not start to come into it.
We sincerely hope that this compilation helps to point you in the direction of some of the best music from this often overlooked period from one of the greatest producers EVER!
'The Aggro Man' himself Bunny Lee

Roots and full of energy. That's the best way to express it for me !

The Mighty Jah Stitch was a legend in Jamaica, making the move as so many ghetto youth’s have tried from Bad Man to Music Man. Jah Stitch embraced the DJ Culture that he himself was an integral part of.
He put not one but two musical stamps on the format. His initial Big Youth sounding chants grew from working alongside the man on the mic. The second almost spoken vibe came about after a well documented incident that led to him being shot .He lived to tell the tale and cut some of the finest Roots DJ cuts, with his new vocal style that many copied but few have surpassed.

We have selected some of his best known tracks to show the knack of working a killer rhythm and dubbed vocal with an almost call and response story telling style.
The opening and title track to this set ‘Dread Inna Jamdown’ sees him working over John Holt’s ‘In The Springtime’.
The second cut ‘Dem Seek Natty Everywhere’ works another John Holt classic ‘Forgot to Say I Love You’.

After some hits in the 1970’s, the 1980’s would see a short name change to Major Stitch.
But we feel that his best loved monicker Jah Stitch serves the man well.
So sit back and enjoy some fine DJ Cuts

No Dread Can’t Dead…Jah Stitch R.I.P

Barry Brown one of reggaes vastly overlooked talents. His militant conscious style has over time lost none of its appeal. Truly one of the sweetest roots vocalists to come out of Jamaica.

Born in 1962, Kingston, Jamaica, he cut his musical teeth working under producer Bunny Lee. Their first release was a track called ‘Girl You’re Always on my Mind’, although a minor hit, Bunny Lee saw his potential  and was rewarded with his 1979 cut ‘Step it up Youthman’ which became a hit  and has become a roots classic, leading to an album of the same name.  The late 70’s was a great period in Barry Brown’s career and its from this period that we have culled this set of tracks. Straight from the master tapes some of his finest moments and some unreleased gems that we believe should be heard. A great set from his timeless 'Trying Youthman' a tail of struggling times in the heart of Kingston Jamaica.
His rastafarian inspired chants 'Stop Them Jah Jah','Give Thanx and Praise','Natty Rootsman' and 'Lead Us Jah’ work alongside socially charged cuts as 'Politician', 'Big Big Pollution' and 'Mr Money Man'. As with all his tales and inspired lyrics they are put across in such a tuneful way that like all the best songs that carry a message can be remembered also through the strength of the song.

As with many of his artists Bunny Lee encouraged him to go into self-production, and after a time spent with producer Linval Thompson ‘Separation’, and Sugar Minott ‘Things & Time’, he did just that and produced his first release ‘Cool Pon Your Corner’ in 1980 followed in 1981 by ‘Problems Get You Down’.

 We hope this release will find a place in your collection and remind us of the talent  of Mr Barry Brown. If somewhat overlooked, but certainly now not forgotten. Let’s celebrate with the man and  go to the blues one more time....

* Welcome to the DUB SOUND from Jamaica. The vocal records cut back to the bones of bass & drums, with the instruments and vocals faded in and out sometimes with echo and reverb to make a great new VERSION!!. Although remembered as an early 70's phenomenom, the dubbed sound can be dated back as early as 1968. But by the mid- seveties it became the norm for records to carry a Version (dub) b-side and in fact many records were brought for this reason especially if they were known to come from the hands of the dub master himself King Tubby. So sit back and enjoy this dub excursion, many from the hands of King Tubby but all classics in their own right.
1 Why Fight The Dub
2 Conversation Dub
3 A Better Version
4 General Dub
5 The Jehovah Version
6 Care Free Dub
7 A Wicked Dub
8 A Truthful Dub
9 Rocking Dub
10 Step Inna Dub Style
11 A Good Version
12 My Brethren In Dub
13 Rub This Dub
14 Creation of Dub
15 Invasion Dub*
16 A Lonely Dub*
*CDBonus Tracks

The Suedehead Sound Of The Early 70's Followed The Skinhead Style Of The 1968-70 Period.
The Notable Difference Could Be Seen And Heard, The Sharp Jerky Upbeat Rhythms Were Slowing Down A Notch To What We Soon Be Calling That Early Reggae Sound.
The Tougher Harder Look Of The Rude Boy/skinhead Style Was Relaxing A Little To Almost Meet With The Less Frantic Rhythms To A More Slowed Down Groove Like Sound. The Hair Got A Little Longer, Going From A Mark 1 To A Feather Cut Style..
The 'rude Boy Out Of Jail' Type Lyrics Were Becoming More Conscientious, This Was Another Twist And Turn In The Ever Evolving Sound Of Jamaican Music,
But What Is Sure The Artists And Producers Never Disappointed Us In This Period , So Here Is A Compilation Of Some Tunes That The Suedehead Crowd Were Grooving To....
Hope You Enjoy The Set....

What we have here is one of Cornell Campbell's great Dancehall early 80's set of song.
Dancehall was when the beat slowed down to that classic one drop style that suited his voice so well.
The album includes the title track 'Boxing' which was a massive hit for Cornell on its initial release in 1982.
It also includes a Dancehall reworking of 'Queen of the Minstrel' and a fantastic dancehall cut to Bob Marley's 'Natty Dread'.
This was a new chapter in Reggae's sound that saw the rhythm slowed down and seemed to add even more emphasis to the songs meanings.
A reissue of Cornell's early 80's 'Boxing' set is complete here. We have also added some other Cornell period classics to the CD version of this release.
Be sure to play it in full...Cornell Campbell at his finest

The group Knowledge and producer/DJ/Artist Tapper Zukie's stories are intertwined through their location in the Rema area of Kingston.
Tapper Zukie taking the band under his wing and getting this classic album 'Hail Dread' a worldwide release back in 1979 when it first hit the record shelves'
Knowledges line up included Anthony Doyley, Delroy Folding, Earl Macfarlane, Mike Smith, Michael Samuels and later Paul Freeman.
The groups debut release was 'Make Faith' featuring Tapper Zukie introducing the band as his proteges and began a winning formula.
The band released many of their early singles on Tapper's 'Stars' imprint and were produced by Tapper himself. This culminated in Tapper getting the band a deal with a major label A&M and the band were in fact the first Reggae to be signed to the label.
A&M were keen to work with Tapper as an artist and producer and at onetime motioned Tapper to be backed by one of their other signed bands The Police for a UK tour. Tapper thought that being backed by a band named after such an establishment would not be a wise idea and declined the offer.
But the connection did lead up to one of Jamaica's great vocal groups getting their debut album again produced by Tapper Zukie released on this major label.
Sadly the relationship was short lived and the album 'Hail Dread' would be their only release for the label.

'Hail Dread' we hope you agree is one of roots reggae's classic 70's releases and shows the group and their producer at the height of their powers and proof is in the listening....
We hope you enjoy the set.....

Welcome to the SKA BEAT!.
The sound that came from Jamaica between 1961-67.
Based on the American RnB and Doo-Wop records that Sound Systems in Kingston Town used to play.
The American records style started to mellow out while the Jamaican preferred a more upbeat sound..
So to meet this demand the Sound System bosses became record producers to cater for this demand.
Sir Coxonne and Duke Reid lead the way by putting the top musicians on the Island in the studio to make this Ska Sound!!
Here for your enjoyment is a selection of the some of the top tunes that made Ska so great...
We hope you enjoy the best....

The Rockers Sound (aka Steppas) came from the mid 70's and was created during sessions with The Revolutionaires band at Channel 1.
Drummer Sly Dunbar came up with a new 'Militant' style double drumming on the snare drum that seemed to add some credence to the political /Rasta based lyrics that were so prominent around this time.

So for this compilation we have pulled together some of the best cuts from this period when producer Bunny Lee was on the top of his game and the sound in town to get on board with was 'Rockers'...
So sit back and enjoy another period in Reggae's history that still sounds as good as when it was created way back when...
EVERYTHING ROCKERS....




D a4 | DEVIL'S THRONE - Junior Delgado

1973-1976 was a period in Reggae's history when the music coming from Kingston,Jamaica was at its peak.
So many talented singers,who sang soulful/righteous songs found their way onto tape.
Maybe it was the competition between the studios like Randys,Channel 1 and Harry J's and the quality of the singers available to sing these tunes.But whatever caused the explosion the mighty voices of Horace Andy,Cornell Campbell,Johnny Clarke and Ronnie Davis never sounded better....
The tracks as you can see here were culled together from sessions recorded at the fore mentioned legendary studios.Then taken to King Tubby's home style studio at 18 Drummlie Ave in the Waterhouse district of Kingston.This is where the great Dubmaster himself would record the vocal tracks.
A method in which he preferred to work and then mix the tracks Tubby style...We have travelled to Jamaica and listened to hours of master tapes to bring this set to you.
So please sit back and enjoy what we believe to be a wicked set by Kingston's finest..
ALLSTARS one and all........
One more tiem Mr.Tubby if you please ..roll that tape....

Tapper Zukie is not only a successful recording artist in his own right but a well respected producer also.
In the mid 1970's he set up his own record label Stars to help nurture the many artists who were rising in Kingston,Jamaica.
In doing so he created a great catalogue of Reggae music that few artists have bettered.
For this release with the help of Tapper Zukie himself,we have picked the highlights of the Star label to make this great album.
All the artists are stars and all the tracks shine....
Hope you enjoy the set.....

Tapper Zuki's debut album 'Man Ah Warrior' was originally released in 1973.It's classic Dee Jay style has been copied by many but bettered by few. An album that more than most shows that raw talent with little resources can still be a great, great thing.
Tapper Zukie (b.1956,David Sinclair , Kingston, Jamaica) was raised in the rough and tough West Kingston area of Jamaica between the districts of Trench Town and Greenwich Farm.
Living pretty much on the streets from an early age the youth including the young Tapper had no choice but to fall into the hands of the political parties that controlled the various ghetto areas of the town.
Fear of landing in even more trouble, a plan was devised by Tapper's Mother ,Brother ,Reggae producer 'Blackbeard' and family friend Bunny 'Striker' Lee .The plan was to send the wayward Tapper to England to cool his ways.
A UK tour with the number 1 Reggae Dee Jay U-Roy was already arranged on his arrival, Bunny Lee got the young Tapper to toast over a Slim Smith rhythm, the London crowd loved it
He also caught the eye of producer Larry Lawrence who took Tapper on and cut his first single 'Jump and Twist'
Nine further tracks were recorded for producer Clement Bushey that would result in this album 'man ah Warrior.
We hope this introduction to Tapper Zukie's music inspires you to look further into his catalogue of great music.
An artist ahead of his time, whose music has influenced many........
as Patti Smith stated 'Music of the Most High'............

Leroy Smart the self proclaimed 'Don' carries much respect in the Jamaican musical community, he came through the Alpha boys school in Kingston that provided us with the cream of Jamaican artistic talent.
Such legends as Don Drummond,Tommy Mc Cook and Johnny Dizzy Moore to name but a few.
Leroy Smarts talent lay in his vocal attacking style that gives his lyrics and tune that extra meaning.
His best work came in the heady mid 70's working with 'The Hitmaker from Jamaica' Mr.Bunny Striker Lee.
Bunny put Leroy Smart on some of his best rhythms starting in 1973 with 'God Helps the Man' and 'Wreck up my Life'.
Other killer hits were to follow such as 'Mr.Smart','Pride and Ambition','Bad Minded People' and the attacking 'Mr.Richman'.
All tracks telling it like it is.............
We have compiled all these cuts together,every song a story in itself,told only as Leroy Smart could.

The Jamaican Reggae duo Dave and Ansell Collins hit big time in 1970 when they topped the UK Charts with one of the all time classic reggae singles 'Double Barrel'.
It also became one of the first Reggae hits in the USA.
The distinctive chant of singer Dave Barker calling out the intro to songs letting the listener know what about to hit them is timeless.
He also carries a great soul voice that has added magic to many a great reggae tune.
Dave and Ansell are two talented artists that on their own have added so much to the reggae sounds we know and love.
But together they have made a name that will go down in history as one of the great duo's that came out of Jamaica and onto the world's stage.
We have compiled a set of songs that show the wide ranging talents of Dave Barker and Ansell Collins..
Time to Double Up...one more time........

Bunny 'Striker' Lee's standing in the Jamaican recording business has remained unassailable for over four decades.Known by many aliases including 'Gorgon'.
The legend of the Gorgon originated in Greek mythology some three thousand years ago and has become a common image in art, literature and in Jamaica...Music.
The name actually derives from the ancient Greek word gorgos which means 'dreadful' ,appropriate when one considers that the avalanche of Gorgon inspired records came as a direct result of the influence of the Rastafarian movement on the Jamaican musical mainstream and the dread locked hair of the Rasta brethren was likened to that of the Gorgon sisters.
''About her shoulders she flung the tasselled aegis, fraught with terror...and therein is the head of the dread monster, the gorgon, dread,awful....'' Homer

Slim Smith is high on the list of great singers that came out of Jamaica.
Although Jamaica was bursting with musical talent, few could match his soulful and heartfelt style.
Sadly he had a very short career but he produced a catalogue of music that still stands the test of time ,like all the great artists his story carries through the songs he left behind.
We have compiled some of his finest moments from his period working alongside the Hit Maker from Jamaica producer Bunny Lee...
A great set of tunes that we hope will keep his memory alive
Keep the Light Shining.....Respect

Tapper Zukie's 'Man from Bosrah' album still stands up today many years after its initial release, as only great music seems to do.
Tapper was one of the few Jamaican artists in the late 1970's that crossed over with the emerging punk/new wave audience.
Punk poet Patti Smith had practised her poetry over the rhythms from Tapper Zukies 'Man Ah Warrior' album, before reworking them as songs with her band.
Acknowledging this influence she brought Tapper on stage with her at the Hammersmith Odeon 23 October 1976 and introduced Tapper to a whole new audience. An audience that accepted Reggae as a music that also dealt with struggle and oppression.
The great cover shot shows Tapper standing at the back gates of the school yard in Trench town which was opposite his own yard...so sit back and hear what was happening back then that made this such a time defining album....

Lee Perry's time at WIRL Records, later to be renamed Dynamic Sounds Studios, was a very productive time
in his career. A run of great singles and the shaping of a new sound, the beginning of what we know today as
Reggae .
Lee Perry (b. Rainford Hugh Perry, 28 March 1936, Hanover,Jamaica) began his entry into the music business at
the age of 16.Moving up to Kingston Town and working around various Sound Systems, before finding
employment at Coxonne Dodd's Studio One set up, in the late 50's early 1960's. Perry started out as a record
scout, organising sessions and supervising auditions at Dodd's record shop on Orange Street. Helping to make
hits for Delroy Wilson ( 'Joe Liges','Spit In The Sky') and the Maytals, which would lead to his own vocal records
released through Studio One.The musical backing for which, came from legendary Studio One house band The
Skatalites. Another important relationship for Perry, his first recordings with Bob Marley came in the form of
the Wailers, also providing backing, alongside the Soulettes who featured Rita Marley. Cutting such tunes as
'Chicken Scratch' around 1965/1966. This tune was also to provide him with one of his future nicknames
'Scratch'. A dispute over credits and money saw Perry leave Studio One and work with various producers
including Clancy Eccles and J. J. Johnson, before arriving at the door of producer Joe Gibbs in 1967. Here he
would write songs and produce hits for artists such as, Errol Dunkley and the Pioneers. A tune cut during his
time with Gibbs, voiced a snipe at fellow employee Dodd, a trademark that would become an outlet for his
frustrations in the business.This particular tune 'The Upsetter' would also provide another moniker and a name
for his label 'Upsetter'. Again lack of musical credit and financial reward saw Perry move on this time to WIRL
(West Indies Records Limited) Records, working alongside manager Clifford Rae, who would provide studio
time and pay for pressings in return for helping to promote and distribute WIRL product, which Perry would
carry out on his trusted Honda 50 motorcycle around Kingston town.
This period at WIRL saw some inspired work from Perry. 'Run For Cover' was another musical blow to a
previous employer, Coxonne Dodd and featured the Sensations on backing vocals and Lynn Taitt's guitar
picking skills. 'People Funny Boy' was a massive hit for Perry going on to sell over 60,000 copies. Joe Gibbs
would be at the end of this musical attack. Perry had felt Joe Gibbs had turned his back on him, after he had
provided hits for groups like, The Pioneers amongst others. The song would be one of the first records to
feature a New Beat (Reggae) inspired by the sounds coming out of a Pocomania Church, Perry had heard one
night.The congregation inside, wailed in a more slower way than the current musical style of the time Ska!. Perry
worked up this new style with Clancy Eccles, who would come under attack himself in 'You Crummy'. Their
closeness, which as detailed in that song would find them, 'Even shared the same Gal' but 'Now it's plain to see we
reached the end'. 'Set Them Free' was an answer record to Prince Buster's 'Judge Dread' (which had
featured Perry on it) a plea to the Judges in Jamaica that handed out extremely harsh sentences to the young
offenders of the time. The track was cut on the same rhythm as 'Run For Cover' . 'Django Shoots First'
inspired by the Spaghetti Western film of the same name, features Sir Lord Comic. One of the early DJ's who
used a jive talking style over rhythms. 'Night Doctor' was a hit instrumental that featured the organ talents
of Ansel Collins, that really push the tune along. 'Something You Got' was a cover of an USA R& B track by
Chris Kenner and 'Wind Up Girl' was cut at the same session. 'Water Pump' was a rude style track that
was cut later and originally released in 1974.As was 'People Sokup Boy' a later version of 'People Funny Boy'.
'Labrish' which means idol talk and gossip, was one of the first great talk over tunes that features Lee Perry
and producer Bunny 'Striker' Lee talking about the Political situation in Jamaica at the time and their own
financial situation and stories of various comrades.The track was originally released in 1973.
Bunny Lee would play a major part in lee Perry's career around this time and they were very close, often
sharing sessions and rhythms. Ironically it would be Bunny Lee that took over Perry's roll at WIRL and become
responsible for the labels products in years to come. Clifford Rae who give control to Bunny for a lot of the
WIRL product and even gave him his shop 101 Orange Street. So here we have a collection of music born out
of a time spent at WIRL Records and providing an important chapter in Lee Perry's career and indeed to the
story of Reggae itself.
Hope you enjoy the set.

* TO CELEBRATE JAMAICA'S 50 YEARS OF INDEPENDANCE 1962-2012 We have put together a set of releases that cover the musical styles that reggae mutated into through it's history, SKA, ROCKSTEADY, ROOTS REGGAE, DUB, DJ STYLE &DANCEHALL.... So Listen Up! and enjoy!Welcome to the Dancehall Sound from Jamaica. The sound that grew out of the dances in Jamaica around the beginning ofthe 1980's.The musical style again slowed
the reggae beat down to give an uncluttered, sparce backdrop, allowing the singers and DJ's more space to express
themselves. Dancehall has never stopped but turned to a digital beat around the mid - 1980's. So Listen Up ! to some early Dancehall classics that set the style for the years that followed....

Niney the Observer is well known for his great productions,collaborations,with the likes of Dennis Brown and for some of the best rhythms to come out of Jamaica.Maybe less known is that he began in the music business as a singer.Here for the first time is a collection of songs culled from his career that feature the outstanding voice of the Observer himself.
*Niney the Observer (b.Winston Holness,1951,Montego Bay,Jamaica) grew up in Montego Bay, Jamaica and began singing in school bands in and around the area and the nearby town of Lucea,where one of the bands he sang with,featured future Studio One guitarist Eric Frater.Two other singers that Niney grew up with were Derrick Morgan and Eric 'Monty' Morris. The Derrick Morgan connection brought Niney to the attention of Beverly's Records to whom he sold some of his songs.Producer Coxonne Dodd of Studio One began noticing Niney's talents and offered him some studio time and a base to work out of on Charles Street in Kingston Town. The year was 1957 and Coxonne Dodd released some of these early recordings featuring the vocal talents of Niney on his Studio One label .If Niney The Observers work as a singer was ever in doubt or overshadowed by his many other talents,then we hope that this album will put that to rest.Niney behind the microphone as compared to a mixing desk is a great,great,thing.....
Hope you enjoy the set...

01. BLOOD AND FIRE
02. MESSAGE TO THE UNGODLY
03. BRING THE COUCHIE COME
04. KEEP ON PUSHING
05. MIX UP
06. JAH FIRE
07. ITAL CORRECTION
08. RASTA NO PICK POCKET
09. AILY AND AILALOO
10. HAIL I
11. EVERYONE IS A RASTA
12. BEG IN THE GUTTER
13. OBSERVING THE OBSERVER
14. HIDING BY THE RIVERSIDE

01. GO DEH
02. WISE MAN FROM THE EAST
03. IT MUST COME
04. GUNS DON'T ARGUE
05. STEVE AUSTIN
06. NO PLACE LIKE HOME
07. BLESSED ARE THE MEEK
08. ETERNAL LIFE
09. GATHER MY PEOPLE
10. IF JAH IS FOR US
11. TABLE GONNA TURN
12. ROCK IT IN THE GHETTO
13. LIFE IS GREAT
14 TOGETHERNESS

Limited 180 gm vinyl

ROYAL THRONE ROOM, BOSRAH, HAIL RASTAFARI, FUNERAL, BLACK ROSES, SLAVEMASTER, DANIEL, HEAVEN IS MY ROOF, GO DOWN IN SILENCE, GOLD DIVER, JAH JAH BIRD, GO TO SCHOOL, JUST ONE WAY

Edward O’Sullivan Lee “but my friends call me Bunny or Striker Lee” was born in Kingston, Jamaica on 23rd August 1941. He started in the music business plugging records for Duke Reid at Treasure Isle, Coxsone Dodd at Studio One and Leslie Kong at Beverley’s. “I used to do plugging… when I say plugging I used to get their records played on ‘Teenage Dance Party’ and we’d dance so if you had a record to plug you’d put it on and dance to it and show the latest moves”.

The long-overdue revival of Bim Sherman’s catalog begins here. These essential recordings will become widely available again for the first time in decades, opening a new chapter in the appreciation of one of Jamaica’s most distinctive voices and representing a major moment for reggae and dub aficionados around the world. This reissue series will not only preserve his legacy but will also offer listeners the chance to experience the depth and timeless resonance of Sherman’s work in its full glory.

Bim Sherman—born Jarret Lloyd Vincent, in Westmoreland, Jamaica—holds a unique place in reggae history. Emerging in the mid 70s, his ethereal, haunting vocal style quickly set him apart from his contemporaries. He was soon collaborating with the top producers and musicians of the era, including Adrian Sherwood and the On-U Sound collective, bridging the gap between roots reggae and experimental dub and laying the groundwork for the fusion of Jamaican sounds with the vibrant underground scene in the UK. His career, from Kingston to London to Mumbai, was marked by an artistic daring and spiritual intensity that has earned him enduring respect across generations.

The centerpiece of this reissue campaign is Ghetto Dub from 1988, a record that distills Sherman’s artistry into its most potent form. Originally released in a limited number, the album embodies the stark yet soulful beauty of dub production. With its reverb-drenched drums, cavernous basslines, and echo-laden atmospherics, Ghetto Dub transforms Sherman’s various tracks into spectral presences that drift in and out of the mix. The arrangement and production—minimal yet profoundly textured—captures both the raw urgency of Jamaican street culture and the forward-looking experimentation of the UK dub scene. Each track unfolds like a meditation, balancing grit with grace, density with space. Ghetto Dub is more than an album; it is an immersive soundscape that reaffirms Bim Sherman as one of reggae’s most otherworldly and visionary figures.