A faultless selection of seriously sublime rock steady from Derrick Harriott. A timeless classic where one of the pivotal pioneers of Jamaican music lays down sweet melodies, mellow grooves and wall to wall soul.

At the same time that Neville ‘Bunny Wailer’ Livingston recorded his debut solo long playing masterpiece, ‘Blackheart Man’, he was also creating a series of singles for his own Solomonic label. These records were every bit as good, at times even better, but they have never been released outside of Jamaica. Until now…

A selection of magical rocksteady music from one of the masters of the genre…One of the forerunners in Jamaican music from its very beginning, Derrick Harriott, along with a stellar cast, showcases the some superb rocksteady.

Miraculously rare and seriously obscure killer dubs… one of the very few hard core seventies dub albums mixed by Errol Brown.

A selection of solid dubs originally recorded by BB Seaton at Duke Reid’s legendary Treasure Isle studio and mixed in-house by the Duke’s nephew Errol Brown. A radical departure for all concerned this bold dub album was never officially released although a few clandestine copies reputedly did the New York rounds at the time

One of the rarest, and greatest, horn instrumental dub albums of the seventies featuring the soaring saxophone of Tommy McCook in combination with Glen Brown, ‘The Rhythm Master’, is finally given a legitimate release.

Featuring the soaring saxophone of Tommy McCook in combination with Glen Brown, ‘The Rhythm Master’, is finally given a legitimate release.

At the same time that Neville ‘Bunny Wailer’ Livingston recorded his debut solo long playing masterpiece, ‘Blackheart Man’, he was also creating a series of singles for his own Solomonic label. These records were every bit as good, at times even better, but they have never been released outside of Jamaica. Until now…

Previously unreleased early shuffle and boogie recordings from the ‘Man from Wareika’: Rico Rodriguez



One of the most talented musicians of his generation, trombonist Rico, was a key player and founding father of Jamaican music who went on to establish ska in Britain in the early sixties and then add authenticity to the Two Tone ska revival of the late seventies. Hear him here at the outset of his incredible musical journey…

The quintessential eighties soundboy burial album

A digital masterpiece, produced by King Tubby, containing ten certified

Digital masterpiece from King Tubby’s re-constructed recording studio. Two of the biggest stars from the dawn of the digital era meet in a head to head clash at the King’s state of the art Firehouse headquarters.

Superlative 70’s dub masterpiece from the Blackheart Man Bunny Wailer

Subtle interpretations of cuts from Bunny’s ‘Blackheart Man’ album together with contemporaneous Solomonic disco mixes with unsung dub masters Sylvan Morris and Karl Pitterson at the control tower

Founder of Jamaica’s first recording studio, Ken Khouri produced early ska classics
14 first-rate ska pieces including previously unreleased materials from undoubtedly the industry leading Federal Records that consisted the virtuoso Ernest Ranglin and co.

Miraculously recorded in 1965 when Ska was at its best, this is one of the rarest and killer LP to date. Llands Plays It All is constructed with a Caribbean coast vibe such as Ska, Jazz, Afto, R&B, Soul, Jump Up, Cha Cha Cha to name a few. However this killer Montegonian band is surprisingly tight, presenting second to none great performances. LP starts with “Jive Samba” by Cannonball Adderley, brilliantly arranged in the Afro-Caribbean Jazz style. Then moving on to some Jamaican R&B, to the featured track of the album “Mughead Ska”, a slightly longer version than the 7” cut (DSR-RN7-01), furthermore there is“Golden Horns”, this is an ultimate selection for all DJ’s and Selectors. This is definitely a must-have for shelves of the Jamaican music lovers.

American rhythm & blues fervour, boosted by a multitude of sound systems playing 78rpm records on increasingly larger sets, gripped Jamaica from the late forties onwards but, towards the end of the decade, the American audience began to move towards a somewhat softer sound. The driving rhythm & blues discs became increasingly hard to find and the more progressive Jamaican sound system operators, realising that they now needed to make their own music, turned to Kingston’s jazz and big band musicians to record one off custom cut discs. These were not initially intended for commercial release but designed solely for sound system play on acetate or ‘dub plates’ as they would later be termed. These ‘specials’ soon began to eclipse the popularity of American rhythm & blues and the demand for their locally produced music proved so great that the sound system operators began to release their music commercially on vinyl and became record producers. Clement ‘Coxsone’ Dodd, Duke Reid ‘The Trojan’ and Prince Buster, who operated his Voice Of The People Sound System, were among the first to establish themselves in this new role and the nascent Jamaican recording industry now went into overdrive.

In 1954 Ken Khouri had numbered among the first far sighted entrepreneurs to produce mento records with local musicians (mento is Jamaica’s original indigenous music) before progressing to opening Jamaica’s first record manufacturing plant. Three years later he moved his operation to Foreshore Road (later renamed Marcus Garvey Drive) where, with the assistance of the inestimable Graeme Goodall, he updated and upgraded his recording studio. The importance of this enterprising move was critical to the development of Jamaican music and its influence both profound and far reaching.

Capture the late eighties zeitgeist with Courtney Melody’s genre defining release. A highly anticipated re-issue of this showcase style album where Courtney Melody’s plaintive singjay style vocals are counteracted and complemented by a selection of King Tubby’s deadly digital dubs.