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Recorded at Channel One Recording Studio in Kingston Jamaica
featuring Sly & Robbie, Tommy McCook and Ansel Collins
Arranged by: Trevor Hartley
Produced by: Phil Pratt
First released 1979
Extensive Sleeve Notes
Promotion across social media platforms
Advertising in Riddim, Black Echoes and Record Collector Magazine

Repress of the original 1970 single, produced by Laurel Aitken.

he reggae artist known as Trinity is one of the music’s best-known rappers, known in Jamaica as “toasters” or “deejays” for their key work at the microphone on sound systems. Born Wade Brammer in1954 and raised in the tough streets of the Two Mile ghetto in western Kingston, an early preoccupation with the toasting styles of U Roy and Big Youth kept him away from crime, leading to a debut single as Prince Charming and more solid early work released under the name Prince Glen. Bonding closely with fellow deejay Dillinger brought another name change to Trinity at Channel One studio, which enabled his debut album, Shanty Town Determination, produced by Yabby You, and subsequent breakthrough material for Channel One and Joe Gibbs, the latter releasing “Three Piece Suit,” the blueprint for Althea and Donna’s “Uptown Top Ranking,” which would catapult Trinity to international stardom. Dreadlocks Satisfaction was produced by Bunny Lee for his Jackpot label in 1979, placing Trinity’s witty raps over some of Bunny’s most unusual rhythms, including alternate, rockers-styled Johnny Clarke takes of The Isley Brothers’ “This Old Heart Of Mine” and The Tams “Riding For A Fall,” plus Cornell Campbell’s takes of The Sensations’ “Every Day Is A Holiday” and The Heptones’ “Why Did You Leave”; Trinity also salutes Dillinger on a recut of John Holt’s “Linger A While”.

The fifth full-length studio album from Vermont quartet Twiddle, Every Last Leaf is a bold exploration of the cyclical nature of life.

Propelled by constant evolution in its 18 years touring, the band —Mihali Savoulidis vocals, guitar, Ryan Dempsey keys, organ, synth, Brook Jordan [drums], and Zdenek Gubb [bass], welcomes a musical rebirth, leaning heavily on enigmatically stoic songwriting in lieu of the affably saccharine. Longtime listeners can expect an elevated presentation of Twiddle’s trademark sound, delicately orbiting the worlds of funk, jazz, rock, reggae, and bluegrass.

“Every Last Leaf is a metaphor for life,” Mihali explains. “When a leaf falls to the ground, something will grow from it. Everything is part of this grand circle. In the music, we’re exploring all of life’s sides—from the sad and angry to the proud and happy.”

In the end, Twiddle have creatively found their way on Every Last Leaf.

“When you listen to this, I hope you experience the beauty we did,” Mihali leaves off. “If you feel anything at all, mission accomplished. There are a lot of moments on this album that tie up the elements of life. It’s real.”

Red Vinyl edition.
Reissue of 1975 album on 180 gram RED vinyl Produced by: Norman Grant
Recorded at: Channel One Recording Studio, 29 Maxfield Avenue, Kingston
13 Engineers: Ossie Hibbert & Ernest Hookim

With a career spanning over 50 years, U Brown is one of the last legends of Jamaican reggae. Singer, toaster and producer on the famous Hits Sound label, he has spanned the decades, leaving an indelible mark on roots reggae with hits like “Weather baloon”, “Superstar” and “Tu Shung Peng”.

His discretion and humility, despite being one of the world's greatest toasters like U Roy or Big Youth, make him a cornerstone of this music.

After many years of collaboration on stage and in the studio, U Brown and French label Irie Ites Records have teamed up to produce this new album entitled 'Still Chanting Rub A Dub'.
Comprising 12 tracks, this opus showcases U Brown's inimitable voice.

U Brown's inimitable voice and flow, recognizable from the very first notes. The themes addressed revolve around current social issues, in which the artist encourages us to surpass ourselves on a daily basis and to fight against the corruption of the most powerful. Lyrics that will speak to a wide audience!

Musicians on the album include the cream of reggae songwriters such as Roots Radics, Naram & Art, Med Tone, The Ligerians, Irie Ites All Stars, Nambo Robinson and Dean Fraser. Mixed by Roberto Sanchez and Irie Ites for a rootsy result in the image of 70s albums. A host of roots reggae greats feature on various tracks, including Eek A Mouse, Cornell Campbell, Frankie Paul, Sugar Minott, Linval Thompson, Glen Washington, Al Campbell, Naggo Morris and Trinity.

Still Chanting Rub A Dub is an album that will undoubtedly mark U Brown's long career as one of his landmark albums. A must-have for all fans of Reggae Roots and Rub-A-Dub!”

Rebel in Styylle is one of the last four U-Roy albums and on this one, The Originator, like people call him, has decided to share each song with one artist, just to name a few: George Nooks, Anthony B, Bushman and Tony Curtis. He used some of the top musicians in Jamaica to record, such as China Smith, Obeah, Axeman and Dean Fraser.

So of course, the result sounds like of the best U-Roy album and everyone who loves the king of toasters should have it!

The pioneer of toasting Ewart Beckford, better known by his stage name U-Roy, is a Jamaican vocalist. He was bursting onto the Jamaican scene in the early 1970s with his typical rapping style of singing (toasting) over the rhythms and beats he created. All of a sudden, Jamaica awoke one morning and U-Roy was everywhere. He released his debut album Version Galore in 1970, it consists of his earliest songs, all recorded for Duke Reid’s Treasure Isle label. Most listeners will especially recognize “Tide Is High,” originally by the Paragons and recorded later as a 1980 hit by Blondie. Enjoy listening to the way he’s bringing his lyrics all over the record. It’s toasting at best.

Version Galore is available as limited edition of 750 individually numbered copies on orange coloured vinyl.

TROJAN JAMAICA / BMG is proud to announce the release of U-ROY’s final full-length, SOLID GOLD U-ROY. The album was originally set to come out in 2020 with plans for a worldwide tour in support, but unfortunately, the pandemic delayed the release. Now, with the heartbreaking loss of U-ROY on February 17, the album has become a celebration of one of the most profoundly influential reggae stars of his generation. An originator of the chatty rhythmic vocal style known as toasting — a key foundational element in the development of rap in its nascent stages in the 1970s — U-ROY left behind an unmatched legacy which is clearly on display on SOLID GOLD U-ROY, with its guest appearances including ZIGGY MARLEY, SHAGGY, MICK JONES of THE CLASH, SANTIGOLD, SLY & ROBBIE, DAVID HINDS of STEEL PULSE, and more. The album arrives on
July 16, 2021.

SOLID GOLD U-ROY is being heralded today by the release of “MAN NEXT DOOR” (Feat. SANTIGOLD). One of the great reggae songs of all time, the track features an indelible guest appearance by the incomparable Santigold. “Man Next Door” is a beloved reggae standard written by John Holt and released in 1968 by his group The Paragons. U-ROY sampled the song in 1982 for “Peace and Love in the Ghetto” on his Original DJ album. Pre-orders of SOLID GOLD U-ROY will come with an instant grat download of “MAN NEXT DOOR”

Red Vinyl 1980 debut reissue from Dudley's finest

"The first album to take UB40 to the top of the UK charts, 1983’s Labour of Love followed a stunning run
that had seen the group’s previous three albums go Top 5 alongside eight UK Top 40 singles. With their
cover of Neil Diamond’s ‘Red Red Wine’ making the No.1 spot ahead of the album’s release, the group
had perfectly set the stage for their first-ever collection of cover versions.
Spawning a further three UK hits in the shape of ‘Please Don’t Make Me Cry’ (UK No.10), ‘Many Rivers to
Cross’ (UK No.16) and ‘Cherry Oh Baby’ (UK No.12), Labour of Love also inspired four sequels: 1989’s
Labour of Love II (UK No.3), 1998’s Labour of Love III (UK No.8), 2010’s Labour of Love IV (UK No.24) and
2018’s A Real Labour of Love (UK No.2), the latter of which was credited to UB40 Featuring Ali, Astro &
Mickey. A crucial part of British reggae history, the original Labour of Love saw all the hard work pay off
for this much-loved outfit, and it now returns to vinyl in an exclusive blue pressing.

"

"Astro's death came as such a shock, and I'm still reeling from it,” comments Ali. “This album is now more poignant and special than either of us could have imagined when we were recording it. Astro heartbreakingly passed just two weeks after we'd finished the final mixes, so this is a way of keeping his memory alive.”The follow-up to 2018’s A Real Labour Of Love – which debuted at No.2, the highest charting album by any incarnation of UB40 since 1993's Promises And Lies, and spent a month in the Top 10 – Unprecedented is fueled by the roots rocking spirit that powered UB40's original incarnation, and is an album to inject a little reggae sunshine into even the darkest days.Recorded in studios in London and Jamaica in between lockdowns, the album is a collection of songs that Ali and Astro have loved for many years by artists they admire such as Steve Wonder and Kris Kristofferson alongside self penned tracks that were inspired by the pandemic and the state of the UK at the moment.

The Uniques possessed the qualities of excellent stage appearance and the ability to make hit records in rapid succession. Their dormant qualities have come alive and have brought out the true feelings in their songs and this can be verified by listening to such songs as “Watch This Sound”, “Out of Love”, “Gypsy Woman”, “You Will Lose A Precious Love”, “Just A Mirage” and many more heard on Absolutely The… Uniques. Whenever they deliver a song, whether a bright or a sad one, the Uniques lift your soul and bring joy to your heart with their tremendous projection of soul, sung in Rock Steady and Reggae style. As you listen to these unique renditions of the Uniques you’ll realize that this album is a must for your record collection.

Absolutely The… Uniques is available as a limited edition of 1000 individually numbered copies on orange coloured vinyl.

Nach vielen Jahren als Support für verschiedene Künstler veröffentlicht die in London ansässige Upper Cut Band ihr eigenes Debütalbum 'Painting On Silence', das sie mit einer Vielzahl etablierter Musiker und Vokalist*innen aus Jamaika und Großbritannien, darunter Grammy-Preisträger Kabaka Pyramid, Luciano, Caroll Thompson, King Lorenzo, Xana Romeo und Big Youth, aufnahmen. Produziert von Nick Manasseh, einem der 'besten modernen Dubmaster Englands' (irieites.de).

Lee ‘Scratch’ Perry & The Upsetters’ classic Return of Django. Lee Perry had already been rattling around the Jamaican music scene for about a decade before Return To Django hit the UK charts in 1969. Soon after, Trojan released a hugely popular collection of the producer’s most popular instrumental releases to date, suitably titled after the best-selling single. Annotated by Lee ‘Scratch’ Perry biographer, David Katz, this is a must for all fans of both the producer and vintage reggae sounds.

Lee ‘Scratch’ Perry was a pioneer in the 1970’s development of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys. Nowadays he’s still performing and recording music.

Return of Django is available as a limited edition of 1000 individually numbered copies on orange vinyl.

Lee ‘Scratch’ Perry & The Upsetters’ classic Return of Django. Lee Perry had already been making name in the Jamaican music scene for about a decade before Return of Django hit the UK charts in 1969. It was released after Trojan released
a hugely popular collection of Perry’s biggest instrumentals. This album is a must for everyone that enjoys that good old vintage reggae sounds.

Lee ‘Scratch’ Perry was a pioneer of dub music and worked together with artists such as Bob Marley and the Wailers, The Clash and The Beastie Boys.

Return of Django is available as a limited edition of 1000 individually numbered copies on white coloured vinyl.

When, a few years ago, we started planning on compiling 60's and 70's songs influenced by Jamaican rhythms by different artists from the Latin/american continent, and published the first two volumes of "Latinameriska", we didn't think we would be able to continue with the series. However, this period of time has allowed us to continue with the "archaeologic work" of search and capture that every collector has in its blood. There's no bigger pleasure for any of us than being on a trip and going through a flea market, shop or just exploring the web and coming across a gem to thicken your record collection. Likewise, it's also a big satisfaction showing those discoveries and making them available to other collectors (so they can start their own hunt) or to the general public which would simply dance and enjoy them.which is enough. Thus this record is the fruit of that passion and has no different goal to the previous volumes> that you listen, dance and enjoy this "piece" of Jamaica born in latin american territory. You'll find artists you'll already know from previous volumes and such as "Las Cuatro Monedas" or "Conjunto Habana", together with real rarities such as "Aristides Paz" or "The King's Trials"... with covers of Jamaican classics ("Ritmo del Alma") and original tracks ("Cuando tú me quieras), from vintage Ska ("Lucky Lucky") to Reggae with skinhead roots ("Doble Barril"),... but always with the same essence. And not to loose a good habit we close with a new ghost track, from Colombia in this case and merging a Jamaican music classic with other classic rhythms. Enjoy it one more time!!!

The journey of latin american artists from the 60-s and 70-s with a Jamaican style has a new stop> "Latinameriska"'s fourth volume. And even though it may sound like a cliché we have to say this is the best installment of the series without a doubt. Here's why? Because you'll get to learn about unknown bands (from out of the Jamaican scene like "Los Creyentes de BC" or studio ones like "The Stars"), get almost impossible to find tunes ("Rosario" or "Los Costeños") or listen to covers as good as the original (hurray for "Los Robbin's"!!!).or with sounds that enrich the cover (those amazing Calypso touches of René Santos or the cumbia flavour of Carmen Rivero). We have realized the richness of "Latin Jamaica" has no limits, and from north to south and east to west our treasure chest keeps growing with gems of all kind. This precious stones are all different and all highly valuable> from Jamaican Beat to Early Reggae or Calypso< with covers that range not only from Jamaican scene classics to Jazz and Soul. With such good raw materials and our culinary expertise it was impossible not to cook a delicatessen to be consumed with the ears. And once again we have a ghost track at the end< from Panamá this time and giving an Antillean flavor to another Jamaican classic. Enjoy this new installment.and be calm, it won't be the last one!!!

You must have wondered how it all began with the Jamaican beat music called Ska. Let’s set the records straight, it was “Duke” Reid from Western Kingston who developed this beat based on the indigenous music of Jamaica. It was way back in 1952 and then “Duke” called it ‘Rhythm ’n Blues’. Exciting, hypnotic, a mixture of Jamaican folk music and rock ’n roll. Duke Reid, lover of music and the deep rolling rhythms of his Jamaican people heard the beat develop from watching his people dance. He got himself an amplified “Sound system” and while hiring it out for dances, he listened and he watched, on so many Saturday nights when the back streets and dance halls of Kingston come alive - and his dream was born - music sprung from the basic beat of Jamaica with all the U.S.A. influences and the power and beauty and joy of the earth. This respective ska album focuses on much of the work from The Skatalites and Babba Brooks.

The Birth of Ska is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.

This is a tribute to the song writing skills of Bob Andy, by some of the great voices in reggae. Musical backing is provided by great sessions

musicians such as Mafia & Fluxy, Jahpostles Band, Black Steel, and many more - mixes are by Gussie P, Mad Professor and Bunny Tom-Tom. For good measure, there is a previously unreleased song by Bob himself.

The Treasure Isle Recording Studio, which is now acknowledged as the leader in producing the hits of Jamaica-and where Rock Steady all happened. Backing all the tracks on this LP is Tommy McCook and the Supersonics, the original Rock Steady Band. Tommy, on tenor sax, is one of Jamaica’s greatest musicians, and his arrangements on this and other records, as well as his superb solo work are evidence of this. Thanks to the artists, musicians, engineers, and the producer, Duke Reid—here is Rock Steady at its best.

Jamaica’s most successful producer, manager and promoter is undoubtedly Duke Reid. Many may remember him as Duke Reid—The Trojan, with his famous, and for many successive years, top award winning, Trojan Sound System ; and his almost legendary Saturday evening Radio Programme “Treasure Isle Time”. Duke Reid produced and promoted his first record in 1959, and since then has contributed to the success of a vast number of Jamaican artists: Millie Small, Derrick Morgan, Hortense Ellis, Laurel Aitken, The Techniques, Alton Ellis and the Flames, Ken Boothe, Stranger Cole and many others. And as for records-remember “Dukes Cooking”. “Rough and Tough”, “Carry Go Bring Come”, “Musical Communion”, “River Bank”-to name but a few.

Greatest Jamaican Beat is available as a limited edition of 750 individually numbered copies on orange coloured vinyl.

Recent reissue for this Treasure Isle comp originally from 1967.

The Prince became a King, never a truer word spoken when you look at the career of King Jammy. We focus here on the early days of the Dancehall scene which stretched across the 1980’s. Picking up the story at the tail end of the 1970’s, just before the sound became digital and computerised. King Jammy’s production always being of such high quality, that telling the difference between his analogue and digital productions was always a job for the experts. As you can see from the recording details all these tracks were cut in those heady 1977-1979 days. The reggae sound again was about to turn into what we would later know was it’s Dancehall period. Although cut in the late 70’s, some of these tracks would not become hits until 1980’s had arrived. King Jammy pivotal 1985 cut Wayne Smith’s “Under Me Sleng Teng” based on digital computer rhythm, was still a few years away.

We still think these fine tunes we have lined up here for your enjoyment, fall under the same umbrella as they contain the same Dancehall feel where the rhythm has slowed down and the snare sound pronounced. Fine tunes that bring us back to a time and provoke memories when Mr Jammy’s stable of artists never sang so sweeter or sounded better. All the top flight hitters are here, Johnny Osbourne with his place evoking “Trench Town School” and his massive time defining hit, “Folly Ranking”. The mighty Black Uhuru with their political charged “Time To Unite”. The sweet sounding voice of Mr Sugar Minott, pulling us all in with his “Right Track” cut. Anthony Johnson who cut many hits through the 1980’s for Jammy, is here with his telling tale “Get Ready”. Even the aforementioned Wayne Smith sings out his pre-digital hit “Wicked Man”. Hugh Mundeell’s “Bottomless Pit” and Rudo’s ode to the firehouse district scene “Ain’t No House”, all killers and no fillers.

Hope you enjoy the set…..

Studio One, the legendary Jamaican label that pioneered the reggae, ska and dancehall crazes and sparked the careers of Bob Marley, Alton Ellis, Jackie Mittoo and dozens of other reggae luminaries, have released thousands of essential reggae classics over its unrivaled six-decade long history.

The label also had many iconic imprints, with one of the most sought-after being singles issued on the Coxsone imprint (named after Studio One founder and ‘father of reggae music’ Coxsone Dodd) with instantly recognizable blue labels. These singles have come to be known as ‘Blue Coxsone’ in collector’s circles and fetch tidy sums given their limited release and rarity. This limited edition box set features six rare singles all reproduced on the original Blue Coxsone label featuring essential tunes from Joe Higgs, Winston Jarrett, The Sound Dimension, The Melodians and other Studio One icons. Also included is a previously unreleased Blue Coxsone single, CS 7073.

Bad, Bad, Bad is a historical compilation of Clive Hunt’s exceptional 1970s and 80s roots reggae productions, featuring various artists that helped build his reputation. The collection includes rare tracks by Bonny Gayle, Dennis Brown, The Abyssinians, Junior Murvin, Max Romeo, and Marcia Griffiths, among others, including Hunt himself in his ‘Lizzard’ persona and as the lead singer of the In Crowd.