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Los Afroins was the flagship salsa band of the obscure but beloved INS label from Colombia. Their 1975 LP "Goza La Salsa" is just as hard to find as their first record, and contains 10 bright and sassy salsa dura treasures that light up the dance floor with their incessant rhythms, syncopated trumpets and trombone and buoyant melodies. There are smoking covers of hits by Panama's Bush y sus Magníficos ('Salsa Al Pindin') and Bronx timbalero Orlando Marín and His Orchestra ('Está De Bala') as well as updated renditions of old Cuban chestnuts 'La Masacre' (written by Joseíto Fernández of 'Guantanamera' fame) and 'Matusa' (originally titled 'Macusa', composed by Francisco Repilado aka Compay Segundo).

The entire record makes for a very tasty and satisfying party platter filled with guaguancó, mozambique, pachanga, descarga and bolero that deserves to be more accessible and better known by today's fans of Colombian salsa who may have heard of The Latin Brothers or Sonora Carruseles, but have yet to discover the short-lived but highly sought after Los Afroins. "Goza La Salsa" is presented here in facsimile artwork and pressed on 180 gram vinyl.

“The aptly named Goza La Salsa (Enjoy Salsa) is the second album by Los Afroins, the flagship salsa band of the obscure but beloved INS label (Industria Nacional Del Sonido Ltda., Medellín, Colombia). The combo's repertoire focused mostly on cover versions hit tunes from New York, Cuba and Puerto Rico, both classic and contemporary, but for this record, their sophomore outing from 1975, their arrangements got tighter and there are more original compositions, which makes for a satisfying evolution in both style and content. Pianist Agustín "El Conde" Martínez, who would later work with Joe Arroyo and Juan Piña, led the group and did some arranging, with studio session production by INS artistic director Alfredo "Sabor" Linares. The vocals were handled by a pair of fresh-faced singers, Lucho Puerto Rico and Roy "Tayrona" Betancourt, who would later go on to fame in the 1980s, the former with his own Lucho Puerto Rico Y Su Conjunto Sonero and Conjunto Son Del Barrio (both in collaboration with Alfredo Linares), and the latter with Willie Salcedo, Reales Brass De Colombia, and Los Caribes. Additional arrangements were by Luis Felipe Basto of Los Black Stars and Luis E Mosquera, while the rest of the band was made up of INS related studio musicians. Goza La Salsa is just as hard to find as their first record and contains 10 bright and sassy salsa dura treasures that light up the dance floor with their incessant rhythms, syncopated trumpets and trombone and buoyant melodies. There are smoking covers of hits by Panama's Bush y sus Magníficos ('Salsa Al Pindin') and Bronx timbalero Orlando Marín and His Orchestra ('Está De Bala') as well as updated renditions of old Cuban chestnuts 'La Masacre' (written by Joseíto Fernández of 'Guantanamera' fame, and a hit for Cuarteto Caney) and 'Matusa' (originally titled 'Macusa', composed by Francisco Repilado aka Compay Segundo and made famous by Duo Los Compadres). This time around there are six excellent originals with the hottest pair being Lucho Puerto Rico's theme song 'Puerto Rico Power' and the percussion heavy final track, 'Alejada' sung and composed by Roy Betancourt. Just like the first album, the entire record makes for a very tasty and satisfying party platter filled with guaguancó, mozambique, pachanga, descarga and bolero that deserves to be more accessible and better known by today's fans of Colombian salsa who may have heard of The Latin Brothers or Sonora Carruseles, but have yet to discover the short-lived but highly sought after Los Afroins." Pablo E Yglesias DJ Bongohead of Peace & Rhythm

It's been a long, winding road to Hailu Mergia's sixth decade of musical activity. From a young musician in the 60's starting out in Addis Ababa to the 70's golden age of dance bands to the new hope as an emigre in America to the drier period of the 90s and 2000s when he mainly played keyboard in his taxi while waiting in the airport queue or at home with friends. More recently, with reissue of his classic works and a re-assessment of his role in Ethiopian music history, Mergia has played to audiences big and small in some of the most cherished venues around the world. With 2018's critical breakthrough "Lala Belu" Mergia championed himself and consolidated his legacy, producing the album on his own and connecting with listeners through the sheer creative power of his version of modern Ethiopian music. His subsequent performances revealed an artist who is in no way stuck in the nostalgia for the "golden age" sound. The press agreed, including the New York Times, BBC and Pitchfork, calling his music "triumphantly in the present" in its Best 200 Albums of the 2010's list. Mergia's new album "Yene Mircha" ("My Choice" in Amharic) encapsulates many of the things that make the keyboardist, accordionist and composer-arranger remarkable_elements that have persisted to maintain his vitality all these years, through the ebb and flow of his career. The rock solid trio with whom he has toured the world most recently, DC-based Alemseged Kebede (bass) and Ken Joseph (drums), forms the nucleus around which an expanded band makes a potent response to the contemporary jazz future "Lala Belu" promised. "Yene Mircha" calcifies Mergia's prolific stream of creativity and his philosophy that there is a multitude of Ethiopian musical approaches, not just one sound. Enlisting the help of master mesenqo (traditional stringed instrument) player Setegn Atenaw, celebrated vocalist Tsehay Kassa and legendary saxophone player Moges Habte from his 70's outfit Walias Band, Mergia enhances his bright, electric band on this recording with an expanded line up on some songs. Mergia produced the album which features several of his original compositions along with songs by Asnakesh Worku and Teddy Afro. An artist still reinventing his sound every night on stage during his marathon live sets, this 74-year-old icon refuses to make the same album twice. The album feels as urgent and risky as his concerts can be, pushing the band to the outer limits of group improvisation and back with chord extensions during his exploratory solos. "Yene Mircha" captures this live experience and fosters an expansive view of what else could be in store for this tireless practitioner of Ethiopian music.

Only those who read all the credits on record liner notes will know the full details: Areski is of course Brigitte Fontaine's partner in life, but also her creative alter ego, and the composer of the music of most of her songs. Even though it was his wife Brigitte and not him who wrote the lyrics, Areski is a poet in his own right. Furthermore, he is polyvalent: composing, arranging, singing, improvising, playing every possible instrument and even acting! Areski, to sum up, is the perfect mix of the tradition of Munir Bashir with the European sophistication' of someone like Jean-Claude Vannier, one foot permanently in Versailles (where he was born) and the maghreb. Areski, is left bank French songs without the stylistic effects, revised and updated through contact with arab-andalusian music. He is a Living Theatre style happening with a dose of cosmic free jazz, surrealist poetry viewed through the prism of Kabyle culture... All that and a lot more!

Areski honed his talent observing the stars of traditional chaâbi, testing it out in bars and dives before meeting, during military service, the singer Jacques Higelin with whom he would record his first cult album, and who would present him to his wife-to-be, Brigitte Fontaine. Between 1969 and 1980, with her, Areski would contribute an essential chapter to French underground music including classics such as Comme à la radio (with the Art Ensemble of Chicago), Je ne connais pas cet homme, L'Incendie, Le Bonheur and Vous et nous. For all that, Areski has never really tried to have a career under his own name, in spite of the wonderful Un Beau matin first published in 1970, and which it is high time to de (re)discover (better late than never). Those already in the know will not be surprised to see, especially, Jean-Charles Capon, author of the inspired L'Univers-solitude, Brigitte Fontaine of course, or Daniel Vallancien, author of a no-less inspired duo with saxophonist Philippe Maté. All contributing to an acerbic poetic universe, concerned but never militant, and open to worldwide influences long before they became a fashion.

Inspired, poetic, in a word essential: Un Beau Matin is one of the best albums of the French underground produced by Pierre Barouh on his label Saravah, alongside those by Maurice Lemaître, Catharsis, Claude Yvans, Mahjun, Barney Wilen, Cohelmec Ensemble et Michel Roques.

Even without an album out: they have already set the world on fire freaking out audiences all over Europe on their 2019 summer festival tour including Sines in Portugal, WOMAD in UK, Roskilde and WOMEX in Tampere. This young allstar band from Ghana brims with gifted musicians and energy on stage. The 8 piece collective is made up of a young generation of awarded musicians who have backed anyone in Ghana from Azonto sensation Sarkodie to Nigerian superstar 2 Face Idibia, but their passion isn’t local pop but Highlife. And their mission is to bring it back; not only to the world but also to Ghana, where the young generation has forgotten all about this great music.

Santrofi’s debut album Alewa now brings you a new wave of fresh highlife rooted in founded by bassist and producer Emmanuel Ofori who rose from the source having played with Ebo Taylor, Pat Thomas and Kwashibu Area Band and has now formed his own band collective: Santrofi. The 8 musicians are deeply rooted in vintage Ghanaian highlife music in all its forms. The influences range from the riveting fast-paced pulse of 70s dance-guitar highlife, or the other-worldly sound of Highlife funk to the polyrhythmic beats and melodies that took Afrobeat across the globe. The members have toured the world with legends like Ebo Taylor, Pat Thomas, Gyedu Blay Ambolley, Osibisa, George Darko and many, many others. They have learnt from the masters and are now ready to take highlife into the future.

Alewa is a metaphor for a popularly known local black and white striped sweet. It symbolizes the need to recognize, accept, tolerate and embrace racial diversity to build a world with love and unity. On stage: Santrofi breaks down hierarchies the musicians alternate their roles each growing on the other’s talent while harmonizing as a whole. Together they can tear every stage apart. The album was composed arranged, produced and recorded in Ghana in a joint effort by Santrofi. This is only the beginning. Expect more to come!

Santrofi in Akan mythology is a rare and precious bird, identified by its bright colours and four wings. It is so unique, it was forbidden to be hunted. Attempting to catch and lock up the bird will bring you bad luck. If spotted and left to fly away, great luck and fortune can be expected. So let the bird fly!

Pivotal Parisian producer D.K. pays sublime tribute to ancient Vietnamese spirit possession ritual, Hau Dong, on a fresh first vinyl edition of his 2019 cassette for Good Morning Tapes Arriving in the wake of GMT’s prized vinyl editions from Jonnine (HTRK), XVARR, Tapes and more, he Goddess Is Dancing’ is a 40 minute trip that revolves around a handful of pieces of lilting, thmelodic percussion and aqueous atmosphere expressing D.K.’s imaginary interpretation
of music used in Vietnamese ritual music. It unfolds as a ceremony in five parts honouring the mystical goddesses of Forest, Water and Heaven, with music both relaxing and energising in a way that’s intended to aid dancers’ transmogrification from human vessels into spirited beings.
The results are some of D.K.’s lushest in a catalogue that now stretches back to 2014 and takes in a clutch of albums, EPs and singles spanning mystic club music and sanguine home listening for everyone from Antinote to Melody As Truth and 12th Isle. In careful progression, the EP progresses from the deliquescent shimmers and breathy choral synth spirits of ‘The Three Realms’ to the exquisitely poised dream motion of the title song and the hypnotic percolations of ‘Going Into Trance’ on the A-side, before stretching out on the B-side into slow, balmy elegance of ‘Forest
Palace’, and ultimately dissolving any remaining tensions with the dematerialised design of ’Summoning The Spirits’.
In a current field awash with new age ambient references and a searching sense of spirituality, D.K.’s offering is exceptional for the execution of its never cloying, timelessly enchanted appeal.

Two raw Afro Dance-floor Bombs from Pat Thomas & Marijjata both taken from the Coming Home: Original Ghanaian Highlife & Afrobeat Classics 1964-1981 issued on Strur Records in 2016- and now presented on one killer hand-numbered 45 on the Singles only
imprint Mukatsuku.
The A-Side ''I Can Say'' is issued for the very first time on a 45. Punchy brass- and the infectious Chorus drive it till the end in glorious afrocentric style.

On the Flip from 76 the powerful brass section of ''Lets Think It Over '' kicks off kicks off the tune with great impact before what essentially is simply an Afro-Soul Masterpiece! Pat Thomas shows us once again what a great song writer he is not only with his lyrics but also the dynamic arrangements of the funky groove.

Hand-numbered- Ltd. Edition, 500 Units!

Apocalyptic rebetika recordings from the 1930's through to late 50's. Songs of sorrow, poverty, loss and the general end of this god forsaken planet.

"Magnificently hard-core rembetica, from the 1930's till the end of the 1950's. Wretched, bitter, raging; an other-worldly blend of Arab and European music, two steps from Delta Blues; implacably anti-capitalist, existentialist, apocalyptic. Fabulous stuff." - Honest Jon's.

2 track Single from Henry Buckley released by Dub Store Records

The 11th Limited Dance Edition Ranil y su Conjunto Tropical. Fourteen mindblowing Cumbia masterpieces - many of which have never seen wide release outside the Amazonian region. Ranil comes as a Limited Edition LP in Gatefold Cover pressed on 180g high quality virgin vinyl and includes a beautiful LP-size poster. Don't miss this powerfull LP!

*Repress*

We'd like to draw your attention to half Dutch, half Turkish combination Altin Gun, to be released on Bongo Joe records in the near future. Properly done psych funk that really does sound as though it's been made in 70's Turkey (no, really!)

Green Vinyl

As Metal Preyers, London’s Jesse Hackett and Chicago-based Mariano Chavez distill a sozzled, bleary impression of their time spent with Lord Tusk and a crack squad of Ugandan musicians in Kampala, 2019 for the indomitable Nyege Nyege Tapes Documenting the result of six weeks of making music, art and videos, and Waragi Gin-fuelled rides into Kampala’s nightlife, ‘Metal Preyers’ takes form as an industrial/ambient film soundtrack for Chavez and Hackett’s visual art produced under the Teeth Agency moniker. Joined by a full battery of traditional percussion and strings, plus the canny use of whistling and Lord Tusk’s rude sound system sensibilities, the Afro-Anglo-Americano ensemble serve a triple AAA-rated trip that lures listeners into their intoxicated/intoxicating state of mind and effectively connotes the
experience of a jag deep into the belly of Uganda’s thrilling, sprawling capital city at a crossroads of East and Central Africa.
It’s not the first time Jesse Hackett has worked with Ugandan musicians - his 2017 album ‘Ennanga Vision’ saw him teamed with electro-acholi stars Otim Alpha, Geoffrey Opiyo Twongweno, and Albert Bisaso Ssempeke - however the vibe this time is more psychedelic in a road-level, grimy and noisy style thanks to the expanded platte of inputs, including an all-star Ugandan roll call of Otim Alpha, multi-instrumentalist Lawrence Okello, percussionist Omutaba, and Rian Treanorcollaborator Ocen, all girded by the vital ruggedness of London underground don, Lord Tusk.
In their pair of ‘Dream Sequence’ suites the album freewheels with delirious style, from mechanically musical drones in the title track to a quietly febrile conclusion recalling Craig Leon’s ‘Nommos’. Bouts of melodically stressed noise give way to Gin-steeped sing-song, chunks of chopped & screwed gristle, and dizzy clusters of Singeli-esque rhythm in a stop/start, unpredictable manner that frankly hasn’t been done on record quite like this before.
DJs will find ways of working this material into sets, although the album is really best swallowed in one for an intense, soundtrack-like experience that recalls the drunken rowdiness of films like ‘Wake In Fright’ or a febrile Safdie brothers flick set in Uganda, and speaks directly to the thrill of Kampala’s atmosphere at night.

The music of Clan Caima´n is primitive and hypnotic. It is located in the pre-rock era and from there, it proposes a different evolutionary path for music from the 1950' s to present day. Like a different musical development in a parallel timeline. Gamelan, Hawaiian music, surf, exotica, rainforest or aquatic; these elements make up the palette which constructs a mystic and profound music that seeks ancestral connection.

Formed in 2016 by Argentinian musician, composer and producer Emilio Haro, looking to create music generated by group dynamics, Clan Caima´n differs from his past two solo albums ( 'Panora´mico' in 2007 and 'Estrambo´tico' in 2012, both on Radiaciones Armo´nicas) in that these were studio works and not meant to be played live.

The quintet's enigmatic sound is built upon the kalimbafo´n, an instrument created by Haro using several kalimbas, Diego Voloschin's wild and hypnotic percussion (no cymbals, no snare), Gonzalo Cordoba's lap steel and baritone guitar, Facundo Gomez's psychedelic guitar tones and Claudio Iuliano's dry and percussive bass sound. This debut album contains eight anachronistic and oddly familiar compositions that range from introspection to trance, tracing their own sonic landscape.

'Beginning' is, appropriately enough, the world-wide solo debut by Japanese percussionist Mari Sekine. She has been active since 2000 with numerous groups and artists, as well as providing music for the theatre. This latter experience is particularly in evidence throughout this piece, with it's dramatic shifts and changing scenery, forming a very visual and evocative music with over fifteen percussion instruments entering and leaving the stage in their various roles.

... Sekine's voice also takes a turn as a hauntingly benevolent melodic ghost. Fans of Midori Takada will find much to enjoy here, and her use of a wide range of instruments evokes Nana Vasconcelos.

The propulsive rhythms and melodies will please admirers of Balearic grooves, Steve Reich and Roland P. Young. Also on offer here is a funky remix by German DJ/producer Lena Willikens, accentuating the tribal elements inherent in the original.

Poland's Universo brings his tough, dancefloor ready sound to inaugurate Breathing Room Records, a new house label focused on promoting sounds from across the world with one specific connecting element: percussion.

Remastered and reissued for the first time since their original release, AOTN are proud to present three classic cover versions from the lovers rock era. Tough to track down previously, the Sonia version of Easier To Love was always a favourite of lovers fans. After getting a spin on Sam Floating Point's NTS show, it's popularity soared and any remaining copies got quickly hoovered up.

The first press of the 12 comes in a printed AOTN sleeve which is a respectful tip of the hat to the OG dub vendor disco sleeve that many of these original 12s were distributed in.

A very rare Rocksteady album by the Jamaican guitar virtuoso, Ernest Ranglin. Unlike all the other musicians in those days, Ranglin was not allowed to go between studios to record and release music as he wished because he was an exclusive employee of the Federal records. Thus it's really hard to find a Rocksteady record with his name on it. Although whenever he found a spare time, he would go to Duke Reid's studio and play the guitar and bass as a sideman, often playing sessions with Lynn Taitt. According to Ranglin himself, "I felt really comfortable being at Duke Reid's studio", though sadly there have not been a single release of his solo guitar tune which was recorded there.

So here comes the album, it's the rare Rocksteady instrumentals by the man himself. Some of the main features would be "Summertime", "Flamingo" and "Hold Me Tight", the wickedest selection of the moist Rocksteady that will certainly catch your heart. Other than that, there are the uptempo "Sling Shot", the relatively arranged towards pop direction "Don't Sleep In the Subway" and some ballads to represent the Federal's widely ranged style that won't go off after a long time, exactly how this one of the biggest leading labels in Jamaica had thought of. This may not make Rude Boys in downtown growl, although it will clearly last eternally as Ranglin's 60s best album to the future generations.

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Produced By:Richard Khouri

Recorded At:Federal Studio

Engineered By:Louis Davidson

Musicians: Lead Guitar: Ernest Ranglin, Alto Sax: Ernest Ranglin (in Julie)

Venus Volcanism is the musician and electronic artist Rena Rasouli. She presents her first solo mini-album “Rizitiko’ on Optimo’s sub-label, Weaponise Your Sound, using traditional folk songs of her native island Crete as a basis for this work.

‘Rizitiko’ evolved from Rasouli’s thesis titled “the music performances based in traditional dialect focuses on the healing ability of sound”. The songs were created and sung by folk troubadours. Expanding on these oeuvres, Rasouli seized on the idea that the melodic use of voice is the oldest form of therapy in human culture. This primary and ritualistic material was intertwined with electronic and natural ambient soundscapes. The resulting compositions express the omnipresent sensations and emotions that play a key role in the healing process whilst communicating an intense connection to the collective unconscious. Traditionally sung by men there are numerous reasons to believe that many of the songs were initially created by women. To sing them in a female voice projects a different approach to the traditional rendition – one closer to that of a lullaby.

When we talk about Tullio de Piscopo (Naples, 1946) we’re talking of a living legend of drums, whose career dates back to 1969.

In 1971, tired of commuting from Naples to Milan, he moved to Milan for good, where he joined as a drummer the group of Gianni Basso and Oscar Valdambrini. Shortly thereafter, he recorded “Fastness” and “Coagulation”, his very first single on a 45 under the moniker of “Jujuy”, for Aldo Pagani’s label “Analogy”, with the catalogue number “TRE 0”.

Recorded in 1971, but only relesed in 1973, “Fastness” and “Coagulation” are two fully instrumental tracks for solo drums and percussions, catching the spirit of the very early Tullio De Piscopo, before he became the most requested italian drummer from 1974 on, starting an incredibly successfull career still going on.

Our detective work allowed us to unearth the actual multitracks analog master and we’re about to repress this absolute masterpiece for the very first time on a 12” format, as the original 45 now fetches a three-figures sum on the collectors market.

‘If You’re Dreaming’ was tracked with producer Sam Evian in his
home studio in the Catskill mountains of upstate New York. Where
the first album had been a rush of inspired songwriting followed by a
drawn-out process of arrangement and mixing, Burch and Evian
worked with self-imposed time limitations to establish a sharper focus
and get to the core of the new songs. The work was swift but
somehow more relaxed, locking into a groove of tracking the basic
elements and then expanding on the arrangements with overdubs
and auxiliary instrumentation. The end goal was to present not just
an assortment of new songs but craft an album that moved
dynamically through an interconnected emotional arc.

With recurring themes of isolation, weariness and longing, these
songs deliver that emotional arc with a delicate but uncompromising
execution. Burch’s intrinsically catchy songwriting dials down the
urgency of her debut a notch, taking a turn towards airy, jazz-voiced
chords, floating reverb and an expansion of the sonic palate with
unexpected instrumentation. The soft-rock bass grooves and
understated saxophone lines of ‘Not So Bad’ push an impressive pop
structure into exciting new territory and the sweetly melancholic Tell
Me What’s True centres around muted electric piano, its languid but
metered vibe recalling the gentler side of Carole King.

The nuance of arrangements that could sometimes get buried on
debut ‘Quit The Curse’ rises to the surface on patient, opulent tunes
like ‘Every Feeling’ and in the twelve-string guitar hooks of ‘Party’s
Over’. The album drifts dreamily as much as it hones in with a
sharper clarity on some of Burch’s most personal songs.

Even at its most introverted, ‘If You’re Dreaming’ is always warm and
present. It’s a deliberately drawn chapter of Burch’s work, trading in
the wild-eyed and sometimes neurotic party hopping of ‘Quit The
Curse’ for a more solitary walk after midnight. Daring and clearheaded, these songs cut deeper in their subtleties. ‘If You’re
Dreaming’ moves with intention, taking its time revealing new layers
of sophistication and growth in Burch’s always charming songcraft.
Initial LP pressing on purple vinyl with digital download code in spot
varnish sleeve.

After a global trek we're back at base camp with a pair of thrillers from the chiller for your next rumble in the jungle...

Prepare to take a cosmic cruise on the A side with 'Dromedary', a masterclass in daft drum-breaks, Saharan strings and syrupy synth-lines perfect for Arabian nights and disco daze.
This one's been a TD sure shot since our first parties, so it's high time we shared the love boat.

Move to the flip for an interdimensional trip, as TD Transport welcomes you aboard the 'Super Express', a lysergic locomotive burning up the mainline from Mos Eisley to Mumbai.
Linn drum lasers lock into a lurching groove, fuelling the furnace as we blast past Bollywood, take a detour into the Metro Area and arrive right on schedule to save your party.

100% Drum fun guaranteed.

Limited pressing inc. hand numbered insert...

2 track Single from Alton Ellis released by Techniques/Dub Store Records

'The Loser' is gloriously considered as one of the most significant songs and rhythm tracks in the history of Reggae music. Also entitled as 'The Winner', the song is perfectly adapted to the sound system dubplate culture. Talking about the Rocksteady genre, this song cannot be ignored. 'Now We Know' on the flip side is released as a 7" inch single for the first time ever.

Derrick Harriott versions the Motown hit 'Reach Out I Will Be There'. His killer version is a dancehall shaker and many have been searching for this rare piece of vinyl as an essential record for any DJ selection. The Four Tops originally released the song in the mid 60's. The mid-tempo organ instrumental 'Illya Kuryakin' features Ike Bennet's powerful organ solo on the filpside.

In Derrick Harriott's vast catalog, 'Do I Worry' is a Rocksteady tune as important as his other hit 'The Loser'. The B-side features a powerful horn blow and Bobby Ellis' trumpet solo is nicely executed. Reissued with the original recordings on both sides!

Known as a synonym for "killer", this is one of the best singles released on Studio One by Don Drummond, including another precious take that's been previously unreleased. Compared to any other artists, the extreme tension that Don Drummond brings into his sessions were next level. His trombone skills were above genius and it is clear to hear his strong personality and humanity through his music. With his works being released on Studio One and other productions, he had established the "Far Eastern Sound" which still lives today in Jamaica. The fact all the music that was influenced by this sound has been evaluated since therefore it is a proof of how his music is universality. It is interesting that all the unreleased Skatalites tracks from this era have different solo phrases each time, showing how valuable these recordings are for the archive.

A nyabingi style killer instrumental of the roots classic Love Thy Neighbours by Jesus Dread a.k.a. Vivian Jackson.

Created by a combination - the diversity of a series of personalities of the Wailers with the strict Rastaman, Vivian Jackson, this authentic Rastafari sound comes with no compromise.

This is the quintessence of the Wailers lead by Familyman, playing a killer horn instrumental and the dubwise. Arguably one of the most accomplished reggae instrumentals to date.

The Wailers consisting of the Barrett brothers is without a doubt the number one band of the era, showcasing their full confidence which later gets praised by the entire world. The bold and courageous, yet ambitious and highly spirited, everything you need to get out of the Caribbean ghetto to the world is heard in this miraculous recording.

An exotic cover of the standard - by young Monty Alexander for Studio One. Its heavy and exotic arrangement by Monty's own the Cyclones could well be the version of the famous "Summertime" that Jamaica has been proud of, and also out of million others to date this stands out as one of the most distinguished covers of all. From a number of Coxsone's own labels, this is one of the rarest and includes a nice shuffle-instrumental on the other side like the original press. A very rare piece that the collectors have been searching for.