Prince Junior’s ‘Crucial Boy’ appeared　on the King Jammy’s classic LP [Prince Jammy Presents VOL. 2]. Although he recorded a few songs for King Jammy in 1986, much information about the artist remains unknown. However, this ‘crucial ’song preaches equal rights, Justice and Love & Unity over his high-pitched weeping voice with his conscious and profound lyrics.

Nitty Gritty output his hit songs like 'Hog In A Minty' and 'Run Down The World' at Jammys and he had chemistry with minor chord digital rhythms. 'Good Morning Teacher' on 'Stalag' rhythm is a superb song showcases his unique vocal style and lyrics.

Among rhythms produced in 80's dancehall scene, 'Sleng Teng' by King Jammy and Firehouse produced 'Tempo' are considerably the most respected; however, you can never forget 'Stalag' rhythm by Winston Riley lead Techniques, too. King Jammy reproduced this 'Stalag' rhythm with Sly & Robbie and in result, it created shadier atmosphere in comparison to the original Techniques' version.
This is certainly another anthem of Jammys!

Channel One artist The Jays’ big dancehall tune for King Tubby. Although its pop element is clearly heard this one also consists of tougher side. Skillfully arranged in dancehall fashion yet deeply resonates with the spirit of roots reggae.

In the period of Jammays golden era, Chaka Demus was a prolific artist among others like Admiral Bailey. At this time, Bobby Digital, who was often regarded as the right-hand man of King Jammy, had a popular 'Peanie Peanie' rhythm. 'Original Kuff' was recorded on this rhythm, which can be characterized by its minor chord baseline and choppy riffs and there Chaka Demus performs his catchy lyrics and melody smoothly.

Another extremely rare take to the identical title released on Wild Apache that is known for being played by the mighty Jah Shaka at his sessions. Comparing to the other Stereo One tunes released around the same time, this one is really fantastic and luring, also complimented by refined deejaying Burro Banton. This one will stand as the definition of heavy weight ragga!

Wayne Smith scored numerous hits at Jammys and one well known is 'Under Mi Sleng Teng'. He also released same title album 'Under Mi Sleng Teng' where he showcased wavy & choppy 'E20' and crisp & clear song 'In Thing' on further computerized [Barrington Levy - Come] rhythm.

A few titles has been released on Suguar Minott’s ‘Conscious Lover’ rhythm but ‘Sugar Me’ by Conroy Smith is one of the most wanted records on the rhythm among collectors. On this smooth drifting rhythm, he sings mournfully but also with his sweet lyrics.

From its heart-shaking intro, Conroy Smith’s fresh and piercing voice echo to deliver an intense song ‘Love Affair’. Considerably, the song is known for popularity within the Jammys catalogue. Recorded to the same rhythm track ‘In Thing’ by Wayne Smith.

Robert Lee has proven that he has much ability to bring cool soundsystem tunes with his popular song ‘Come Now’. This time, he did it again with ‘Dreams’to the same rhythm track‘Run Down The World’ by Nitty Gritty.

Authentic 80’s roots capturing the 70’s vibes in solid manner. Female vocal on “Declaration of Rights” rhythm calling for repatriation although on the other hand a slick dancehall cut by Super Black on the very same rhythm.

Opening the new series - recorded on 22nd March 1986, another cut to King Kong’s Victim that has never seen the light of day until today. Backed with Tubbys digital relick on Yabby You masterpiece.

Prolific and long standing label Techniques had numerous hits over the years. However “The Copa Come” is a hidden classic by Michael Prophet and possibly the most dangerous tune released after 1985. Great crossover contains both roots and dancehall goodness.

Even after releasing the legendary “Sleng Teng” rhythm, King Jammy continued to produce hits after hits such as “Punnany”, “Duck” and many more. There is no doubt that he was at the top of the digital dancehall scene back then. Although he had put out an uncountable number of releases towards the end of the 80’s, this is one of the popular and rare tunes among record collectors. Beautifully sang in falset by Cornell Campbell on this melancholic digital rhythm makes it an excellent masterpiece.

Nothing happens without Chuck Turner on those Jammy’s melancholic digital rhythms. Although his compatibility is easily proven on tunes like “We Rule Dancehall” and “Run Around Girl”, this piece sits on top of everything. With his pleasantly different falset voice, Chuck Turner soulfully sings on this exquisite rhythm with significant melody. This brilliant music has even got a slight feeling of a modern piece - that is exactly when you realise the Jammy’s magic touch

Sugar Minott always showcased his versatile talent by singing lover’s rock to dancehall songs and attracted a variety of wide audiences. Certainly, he proves this ability on the ‘Tonight’ rhythm, which is regarded as one of the most popular rhythms among the Jammys catalogue. On the flip side, Pad Anthony sings a soundclash anthem to the same rhythm. The song only appeared on a LP album entitled ‘Sound Clash 89’.

Junior Marvin is apparently more known for his 70's work but he continued his career while dancehall period and released album 'Apartheid' at Jammys. This heavy weight dancehall song 'Jack Slick' was on the album and released on 12" single vinyl. On side B, 'Dancehall Vibes' by Anthony Johnson on the same rhythm with different arrangements was only released on 12" single vinyl.

Another unreleased material from Tubby’s studio. Although dancehall was the thing back then this tune is going to another direction by drawing a great roots vibes.

Cool Ruler a.k.a. Gregory Isaacs’ stunning lovers vocal on heavyweight Jammys digital. Much more focused on vocal compared to the Music Lab cut not to mention the gorgeous chorus part.

Slightly different cut to “Jack Slick” originally released on Live & Love 12” only, this Al Campbell vocal is highly refined and soulful deploring the use of guns and its consequences. A late 80’s killer digital.

Known for his work for Firehouse in the 80's, here comes a long expected reissue of Trevor Levy's lyrically appealing piece. Soulfully singing upon a heavy bouncy rhythm, the structure is simple and that's why it's timeless.

Another unreleased rare material only heard on dubplates previously. Jammy’s iconic heavy bassline and melodious instrumentals in minor scale represent his production style from around 87’. Super Black sorrowfully sings man’s pure heart in this lover’s dancehall tune.

Since the early dancehall period, Echo Minott aka Noel Phillips recorded some songs for King Jammy. After having a hit single ‘Murder Weapon’ on the Signet label in 1992, the deejay became absent in the business and away from Jamaica for nearly 2 year. But he came back to the scene with another hit ‘I Am Back’ produced by King Jammy.

Robert Lee and Bunny General adopted the phrase of a classic song 'Midnight Hour' by Sivertones in their combination song 'Midnight House'. The original press was only available by 12" single vinyl on Unity label.

Arguably one of the best King Tubby’s digital known to mankind. Going through his tapes this was one of the earlier digital sessions took place at Tubby’s dated 19th November 1985. Inner Vibes a.k.a. Dilly Dally lyrically unleashing his strong observation towards one woman. Tracks laid by King Asha and engineered by Peego & Fatman.

Although this Tubby’s version has never been released, “Nothing Don’t Come Easy” ended up being a big hit at Jammys and still been praised today. It’s the mid 80’s interpretation of 70’s roots reggae atmosphere. Hats off to the King!

If you are Tubby freak you may know this dubplate cut. Recorded directly from the mastertape.

Recorded on the very same day as People Music (DSR-LT7-01-A), here comes Junior Murvin cut crying for his brothers in the homeland. On flip side a Delroy Smart vocal on the same rhythm.

Long-expected reissue of Delroy Katt’s killer digital for Vena. This popular rhythm also featured the likes of Ricky Chaplin and Daddy Freddy. On this tune Delroy sings subdued but with sure presence showcasing the highly skilled performance.

A very well-acquainted Dancehall classic rhythm "Tonight". Vena's version is without a doubt one of the top rated remakes alongside Jammys'. Melodious and melancholic arrangement meets Tonny Tuff's gourgeous singing - it's the true charm of Dancehall music.

Half Pint’s massive hit on Sly & Robbie remake of Heavenless for Powerhouse which pretty much needs no introduction. It is said that this it the first ever tune the word “Raggamuffin” was used and has been praised as the dancehall anthem to date!

Super Black, who had very characteristic voice like Wayne Smith and Pad Anthony, released a few memorable songs in the late 80’s. Using his voice as a weapon, here he openly sings about his love relationship with his ex-girl friend.

To explain the Redman International label, without mentioning Carl Meeks is impossible. The ‘Danger’ is Carl’s masterpiece where he sings with his unique Out Of Key style with his sharp lyrics on simple and un-colorful but addictive sounding rhythm to produce another impressive killer tune.

Although Super Black is known for his hits "Deh Wid You", "Rambo We Rambo" at Jammys, the artist also fit well with the Photographer label where he put out a superb song "Just Like A Magic". Among the 80's catalogue of King Tubby, "Rising Star" is very exceptional and features a unique groove, which is created by the solid bass line to bring out the best of Super Black's appealing voice.

Chuck Turner has recorded his impressive songs at Jammys such as 'I Need You' and 'Run Around Girl'. 'We Rule The Dancehall' is one of those and this tough steppers rhythm was build by notable Steelie & Clivie. His melancholy voice is something very contrary to his aggressive lyrics but that's something it makes this record attractive.

Even though time and trends change drastically in the history Jamaican music however Sugar Minott managed to build a firm existance by his natural talent and trustworthy character. When this man sings he can colour anything from roots, dancehall and lovers to his own. “None Stop Rocking” is an excellent song that really showcases his sweet character.

Same rhythm to “Sanchez & Stinger Man - Hello Josephine”, a dangerous Daddy Freddy cut on one of Vena’s most iconic “Turn On The Heat” rhythm has now been pressed on a 7” for the first time. Freddy’s lyrical machine-gun is right up on “Bad Boy A Street”!

Killer digital from one of the iconic figures of the 80's dancehall, Nitty Gritty recorded straight from the master tape. Refined out of key virtuoso stands out on a melancholic heavy weight rhythm.

An absolute must have for every 80’s & 90’s dancehall lovers out there. UU Madoo singing velvety on Skeeter Davis’ all time classic “End Of The Road” then Captain Barkey comes in to hype up every verse ? one of the best examples of how much singer & deejay combination can work well together!

Another unreleased title from one of the popular dancehall artists of the 80’s, Super Black who is also known for his contribution for Jammys. Representing the sounds of Jammys at the time, this refined digital rhythm is built in minor chord with absolute simplicity, creating an excellent chemistry with the melancholic vocal.

You might have seen Jammy playing this devastating sound killer in sessions lately, although before that this Nitty Gritty on Jammy’s ‘Tempo’ has only been heard on dubplates. No one knows why it never came out ? is it because it was a counteraction to Tubby? Or tune that was the lethal weapon of Jammy? There is nothing we can do but imagine those pictures when listening to the intense energy and impact of this tune.

Previously unreleased material from Prince Junior ? known for his killer digital hit “Crucial Boy” produced by Jammy. Taking in the essence of the aboriginal roots flavor along with Jammy’s rugged bassline, it makes up the melancholic digital roots music. Prince Junior approaches this sound killer forcibly and directly, yet sings up softly to showcase his low-keyed performance skills.

It is impossible not to mention Admiral Tibet when talking about Jammy’s golden digital era in the 80’s. With hits like “Running From Reality” and “Reality Time”, this is indeed another killer piece he recorded for Jammy. Working in combination with a jaunty rhythm with rough and tough bassline, the vocal instantly becomes prominent with its unforgettable chorus bringing even more drive to the music. When listening to the version on the flip, there is a great appreciation for utter simplicity in how Jammy builds his rhythms.

Wayne Smith’s ‘My Sweet Love’ is still gaining its reputation and popularity by the 80’s dancehall listeners nowadays. This Jammys’ distinguishing digital sound can be characterized by its wavy base melody so Wayne Smith’s vocal and lyrics can perfectly fits to the rhythm to make his sweet love song convincing.

One of the earliest works from the Redman’s catalogue. Little John, the dancehall veteran, performs on this steady rhythm to showcase his heart touching vocal skill. Pure roots elements are pushed to the forefront in terms of rhythm and song to create another classic Redman sound work.

Since he started back in the 80's, Sanchez has always been at the forefront of the reggae music. “Give My Love” is his top work from the early days and it's a lovers dancehall killer! Another cut on this rhythm is “Al Campell & Horace Andy ? Dancehall Business”.

One of Vena's classic rhythms, Tonight. “Raggamuffin Mi Soup” is a joyful reissue by Thriller U singing mistily and emotionally inna real dancehall fashion! Alog with Little John and Tony Tuff cuts, this one marks the most popular amongst all the rest.

Known for his works for Joe Gibbs in the 70's, a highly significant deejay Trinity had a lesser know phase as a singer Junior Brammer in the 80's. Pricess Street is cryptic but an exquisite killer of Brammer projecting his sense of melodies as well as cool and refined voice.

One of the most famous and popular dubplates from Jammy's vault. Thriller U, who recorded regularly at Jammys, sings on the Dennis Brown's 'Promise Land' rhythm for King Jammys Super Power. And Earl Sixteen performs 'A1 Sound' on 'Trial Crosses' rhythm.

Nitty Gritty updates his major hit song 'Run Round The World' to 'Play Around The World'. This dubplate simply praises King Jammys Super Power and he warns sound boys by singing "Jammys is the sound where play around the world,,, don't test Jammy sound”.

Little John, who was one of the most remarkable figures at various sound system dances for his talent, delivers sorrowful vocal with his distinctive lyrical flow on this song ‘Come Do It To Me’. Recorded to a surging and whirling digital dancehall rhythm track ‘Screechie Across The Border’.

‘Runnings’ by Dave Bailey begins with very rough & tough melodic elevation. This is certainly one of his classic songs! The strong digital track, which was created by magic hands of Redman with profound roots in essence, matches perfectly to Dave Bailey’s melancholy vocal.

Da Da Waps is probably not familiar to many but he recorded many songs, which were mainly included in the Redman produced albums. He sings about the abolished slavery on this digital stepper rhythm. This record is highly regarded as one of sought after vinyls among the Redman’s catalogue.

Dave Bailey’s ‘Concrete Jungle’ within the Redman’s catalogue is considerably one of the most popular tunes. It’s not only an ordinary digital dancehall track, but also roots flavor added to this speedy edgy rhythm where Dave Bailey showcases his cool & smooth vocal to make this tune a killer!

Recorded to the same rhythm track ‘’New Tactics’ by Admiral Tibet. Horace Martin, who is known for his major works during the late 70’s to early 80’s, has released the LP ‘Mix Up’ on the Redman label. This tune here is can be characterized with his deep sounding vocal and Redman’s synthesizer works.

Recorded in 1985, previously unreleased Tubby's early digital super killer recorded from master tape.

Digital goes romantic. Lover’s Rock meets dancehall in King Jammy’s Studio.

Love and romance ina digital style, King Jammy presents songs of devotion over his fresh, hard-hitting computerized rhythms

Out of all Jammy’s gigantic catalogue, “E20” rhythm could be considered as one of the most destructive ones to date. Jammy found the unreleased track on this rhythm from the vault featuring a familiar face of the 80’s dancehall, King Everal melancholy singing this killer!

A mythical tune for all serious digital reggae collectors, finally reissued. The obscure Junior Khadaffy (various spellings!) released only a handful of tunes in the mid-late '80s, but all are fantastic. This one was cut for E&F Studios in the Bronx, ran by the late artist I-Plee. Stereo Fletcher happens to be family to I-Plee, producing several records by the artist for his own labels. But the works went both ways, and Stereo produced this one for release on E&F's in-house label. Slick but killer digital reggae, this one has always reminded us of the production style of Little Kirk's "Weed Them Out", a fantastic arrangement, great vocals and a complex head-nodding rhythm. The original press is extremely rare and the tune is simply too good to remain that way, so here it is, top top top shelf '80s digital, now available for all.

ichael Buckley sings 'Test We' on the King Jammy's computerized version of Studio One foundation 'Rock Fort Rock' rhythm where he showcases his low-key voice and unique flow. On the flip side, Colin Roach performs 'Jammy's Lets Cruise' on another Jammys popular 'China Town' rhythm with melodies of the Anthony Malvo's 'Cruisin' and Bob Marley's 'Nice Time'.

Super Black, one the prominent dancehall singers in 80's, sings his song 'We Rule'　on the Jammys version of 'Stalag' rhythm while Anthony Malvo covers his Digital B hit ‘Sound History' in melody of the Carpenters 'Top Of The World'.

Junior Reid sings 'Puppa Jammys Nice' in Rock 'N' Roll style on this dry and bouncy computerized rhythm while Little John showcases his rhythmical performance on a previously unreleased rhythm, which sounds similar to Jammy's classic 'Love Punanny Bad' rhythm.

Tony Tuff, who was one of predominant figures in the 80’s dancehall scene, showcases his low-keyed performance and sings about careless people who cannot wash, cook, iron, clean, he warns them to learn something. This speedy bouncy rhythm, which is very similar to Redman’s classic rhythm “Koloko”, symbolizes astonishing sound works of Redman’s rhythm building.

Previously unreleased on 7inch vinyl record. Those two songs were only included in the Redman and Carl Meeks’ classic LP [Weh Dem Fah]. ‘Without Your Love’ was recorded on the famous ‘Wicked Can’t Run Away’ rhythm and ‘Red Eye Lover’ was on the popular Sleng Teng (Computer) rhythm.

One of the Redman’s earliest works is a song called ‘When I Release’ by Puddy Roots, who was very active artist during the 80’s. You would be convinced that King Tubby was a part of this production when the tune sounds real heavy with Puddy’s impressive singing style.

Redman has versioned one of the most popular dancehall rhythm of 80’s, “Stalag” to create another unique sound. This track allowed Wayne Palmer to pass his tender lyricisms with his melancholy melodies to listeners.

From 1986, "Duppy" by The Hax. A tune which blew us away from first listen with its amazingly advanced digital riddim, played live and arranged by Leggo's longtime spar Flabba Holt of the Roots Radics. The Hax, another unsung DKR favorite singer who did most of his recording for Leggo, sings "Duppy", delivering a warning with a killer Waterhouse-style vocal…."nuh go dung deh!"

'Rock Them One By One' is a King Jammys' digital remake on 70's classic roots tune 'Wicked Can't Run Away' by Glen Richards. Its version is very detailed to its original but still a tough digital dancehall cut. Eccleton Jarrett's delicate vocal stands out proudly.