Bunny continued to release records throughout the seventies that were never less than excellent and, as the new decade got underway, he came forward with one of his best ever releases: the militant clarion call 'Rise And Shine'. Stretched over two momentous sides of a UK twelve inch release, the record was a huge hit, but has been unavailable ever since. Bunny returned to the song on his superb 'Liberation' album at the close of the decade but the original cut has remained one of the most in-demand records on the 'revival' circuit.

Bunny Wailer, respectfully called “The Blackheart Man”, produced Johnny Scar’s one-off recording ‘United Africa’. The mystic singer wrote this heavy roots song and sang with his unique chant like a voice of the roots reggae icon, Burning Spear. And the song appeared as 12”on the Solomonic Production imprint in 1986.

Master of the Jamaican jazz, Lennie Hibbert, on one to one session with the nyabinghi great Count Ossie. Considering the standard of its time those Gay Feet sessions are somewhat miraculous. Backed by Jamaican soul anthem by Patsy, this record is far from the bloodstream of the time and will surely rated more and more as time goes by.

12"single from the previously released album 'Rockers: Graduation In Zion 1978-1979 (DSR-LP-001)'. Kiddus I originally recorded 'Fire Burn' in 1973 but the master tape went missing. The song was re-recorded at Tuff Gong in 1978 for his debut album 'Jah Power, Jah Glory' but it remained unreleased. Surprisingly, the track has the same bassline to Bunny Wailer's 'Amagideon' and it is said Bunny adopted it from the 'Fire Burn', which were originally recorded in 1973. The most dreadful song amongst his unreleased material and 9 minutes of jazzy performance is just a miracle. The B-side contains a version to the A-side.

Recorded in 1973 accompanied by the Wailers, this truly rare masterpiece was fronted by Don Hutson, an executive of the severe Rastafarian organization, Twelve Tribes of Israel. Produced by former Jamaican National Football Team player, Allan ‘Skill’ Cole, it was released by Tuff Gong in 1973 and known as an extremely rare shot that collectors have been searching for all over the place. This beautifully sparkling classic spiritual reggae piece is undoubtedly one of the top 10s released in 1973. If you love reggae, we presume that you won’t be able to avoid this masterpiece.

In 1966, Bunny Wailer started singing spiritual lyrics before anyone else, and this masterpiece he sung about returning to Africa was written while he was still recording for Studio One. Although it was originally recorded for Studio One, it has never seen the day of light. Then Lee Perry recorded it again and released in 1971. This particular take was recorded especially for the album in 1976 and released from Island Records UK as a single.

Miriam Makeba’s sensational “Pata Pata” timely covered in rocksteady fashion by Patsy Millicent Todd in 1967. Strictly nyahbinghi yet sounding pop somehow - it’s an unmissable tune for those who know.

One of the most remarkable sessions from Sonia Pottinger by matchmaking two of the musical greats to work on an experimental nyabinghi jazz. Backed with a Ken Boothe vocal that surely needs no introduction.

Needless to say one of the top Count Ossie's nyabinghi pieces but also a Jamaican rare groove masterpiece accompanied by Ernest Ranglin and Leslie Butler.

An unimpeachable classic considered to be the pinnacle of Rastafarian inspired music. Master drummer Count Ossie’s band, including the incomparable tenor saxophonist Cedric ‘I’m’ Brooks, recreate a Rasta grounation, or gathering, playing and chanting a sublime supplication, including Bible readings, in praise of Emperor Haile Selassie I

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…

On Keith & Tex' classic tune 'Tonight,' Augustus Pablo's melodica echoes along the entire track mysteriously, while the fascinating female vocalist Fay quotes breathy lines from the popular German soft porn film Bedroom Mazurka. The flip side features Scotty's DJ version to 'Tonight.'

Astonishing nyabinghi vocal by Patsy with prominent vibraphone work by Lennie Hibbert. Another unreleased "The Call Of The Drums" rhythm on B-side which is different cut from DSR-SP7-01.

A minor chord killer instrumental - the corpus of all the Family Man sounds. It is also a monumental piece of the Wailers Band. Like Eastern Memphis, this is one of the most talked about Family Man masterpiece. It clearly shows Family Man’s musical versatility not only as a bassist, but as a master musician. Although funnily enough it was the time when Jamaica was largely dominated by Deejays and Dancehall, the world famous Wailers Band never betrayed their fans by tightly keeping their “Wailers Sound”. It is a pleasure to listen to the strong belief and confidence in their music.

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.

A classic Rasta Man song sung by Bunny Wailer, the most devoted Rastafarian out of all the Wailers. This unforgettable Rasta Man Anthem was released just before one of the most important roots reggae album to date, Blackheart Man dropped. Unlike the original release, this single take is backed with a dub cut.

ah Life ran some sessions in the mid '80s at Channel 1 studio, with the then-resident Gifted Roots Band. None of the tracks from those sessions were ever released, until now! The aforementioned Flick Wilson tune came from those sessions, as do these. Three great vocal cuts on one very tough rhythm.

The first release on Bunny's Solomonic label was the reflective and ambitious 'Search For Love' credited to 'Heat, Air & Water'. Bunny sings this yearning song beautifully, the mournful horns play a variant on the traditional 'Waltzing Matilda' melody and an early incarnation of the I Threes provide the harmonious backing vocals.

Peter Tosh was the first reggae artist to realise the limitless possibilities of the melodica (listen to the Wailers' first Tuff Gong release 'Sun Is Shining') and here he adds its haunting power to one of Bunny's best ever rhythms the prophetic 'Amagideon' from 'Black Heart Man'. The melodica phrases and the subtle, restrained mixing on both sides of this single bring out all the brooding introspection and mystery in the track.

Bunny followed 'Search For Love' with 'Bide Up' another emotional tour de force and with a message so different that it takes a while to fully assimilate. He would later recut the song for his classic solo debut album 'Black Heart Man' but this is the original cut in all its glory. The B-side features one of the two Big Youth versions to the song and the Youth is at his peak here as he reinforces Bunny's message with own his plea for greater understanding: "Be unto one another like a man to a brother…"

Bunny produced a string of hits during the dance hall explosion of eighties where, backed by The Roots Radics, he continued to show the new generation how it should be done. The greatest of his dance hall style records was the self explanatory 'Rule Dance Hall' from 1987 originally released on the album of the same name and subsequently issued as a seven inch single. "East, west north and south I rule the land. I play original style while others play version…"

VinGordon’s rooty horn on top of a Hudson rhythm. Big Youth riding confidently making it a killer deejay and instrumental

Clean reissue of Soul Syndicate's early 80's classic "Kings Highway" w/ version. When there were flooded with dancehall vibes Chinna and co always kept it true to their roots. Timeless pieces.