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 nice shuffle-instrumental on the other side like the original press. A very rare piece that the collectors have been searching for.

The Wailers have recorded a number of tunes for Studio One, however this release still gets talked a lot as its specialty. Recorded just before they left Studio One, this double A-sided single includes two of the best tunes that lead by Bunny Wailer himself. It’s even possible to hear in this excellent music that the time has come to ripen for the band to see the vision of starting up their own Wail ‘N’ Soul ’M’ label. Both sides are identical to its original release.

The both-sided killer Ska instrumental masterpiece - all Ska collectors have been searching for! The Skatalites playing the theme of James Bond’s “From Russia With Love” is a true Ska instrumental masterpiece, which needs no introduction. Like the original release, it’s gorgeously backed with “Cleopatra” on the B-side. Taken straight from the original master-tape, this is a dream come true single!

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 finds 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, it’s got an exotic intro and uptempo “Sling Shot”, 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.

The leading pianist of Jamaican dance music since the 1930s, this is the only jazz album he recorded in the 60s. George Moxey has made an effort in the making of Jamaican dance music since the 1930s, teaching local musicians and has been praised as “Uncle George”. Born in Nassau, the capital of Bahama, Moxey moved to Jamaica in the 1930s where he formed and led an 8-piece band since 1939. His band took a big part in developing the local ballrooms and radio stations, therefore by the 1950s, he was a vital musician in Kingston music scene. This is a lounge style Caribbean jazz by himself and the Ernest Ranglin trio. By the young Ranglin at the time, Moxey must have appeared like a giant although the trio’s performances beautifully support Moxey at all times. It would be hard not to pay attention to the combination of this piano and guitar geniuses, the whole album is mainly constructed with the traditional calypso and jazz standards, though it also contains solo piano and organ ballads as well. As Moxey used to play organs for churches, it’s interesting how you can hear bits and pieces of those influences in his music, however it may be difficult to separate the Churches and Bibles by the background of Jamaican music. After leaving Jamaica, he became an ambassador of the Caribbean music and by the 50s he already become a legend there. This sound is the zest of good ole’ days, daddy Ken Khouri's Federal Records and having it as a real background, Jamaican music develops into Ska, Reggae to modern Ragga. Everything has its own roots, so as the Jamaican music.

Because of his superior talent and intense personality, one of the most ingenious pianists Leslie Butler had a lack of releases, however he was given an exceptional chance by the Federal Records to record this one of the most peculiar albums in the history of Jamaican music. This beautifully finished Jamaican Jazz Funk/Rare Groove album is mostly constructed with the traditional covers that all Jamaicans will know although with the wonderful arrangement, and very Jamaican, ensemble stripping aesthetics give the album a whole new character that can’t be heard elsewhere.This masterpiece should make it to the shelves of not only reggae fans but soul and jazz fans as well. Leslie always committed on making a serious piece of music - never liked to make either of Jamaican popular music or business-like commercial music. He had a strong belief of not letting others to control his talent. Therefore there were often conflicts between him and producers or he was not even given a chance to record anything at all. It’s a really sad story, but this unfortunate musician’s lifestyle can be heard on the recordings such as “Guitar In Ernest – Ernest Ranglin (DSR-LP / CD-501)” and “Reggae Rhapsody – Leslie Butler (DSR-FEDS12-001).” Perhaps with this album in addition, it might be all enough.

"Dem a Lick Shot" was originally released on 7-inch in JA on the Tasha label, and on 12-inch in Canada on the W&B label, in slightly different mixes. It's reissued here equipped with dub, the mix being the same as issued on the 12-inch, with nuff 'lick shot' effects!

A fundamental album released in 1966 that determined the way Rocksteady was going to journey. In 1966, Rude Boys were at the peak of the fame with their notorious behaviors, while Ska gradually started to slow down its tempo, this album paved the way for a newborn music, Rocksteady with rather slower and tighter rhythm approach. This album should be picked one of 10 pieces of the most important album of Reggae history.

It was the Dreadlocks bandwagon in the mid 70’s, but Harriott, who started his career in the music business in the early 50’s, persisted his Afro hairstyle and his signature style of music, Reggae Soul and Lover’s Rock. At that time, music fans only approved serious Roots works but his music choices proved that his production was equally true and great Reggae music. Moreover his music brought to listeners a certain comfort, compared to the heavy weight Roots music that was mainly produced during this period.

Another cover version of an Isaac Hayes’ classic. I Roy is blasting an heavy-weight toasting over the Chosen Few's vocals on the A-side "Tougher Than Tough". A straight cover version by Chosen Few appears on the B-side.

It is an obvious fact that Dreadlocks culture was the trend of the time when this tune was released, but how could we ever imagine Derrick Harriott wearing Dreadlocks? He was wearing Afro instead and showed how he could easily cover Persuaders’ Soul hit. The flip side features another cover of a US Soul track that was transformed to a sweet Lover’s Rock by Harriott’s relative, young Kim Harriott. Apparently Harriott’s surroundings at this time were all wearing Afro even if it was the Dreadlocks era.

These heavy early '80s tunes were produced via the fruitful partnership of Jah Life and Junjo Lawes, and have all been unavailable since their original release. All three were released as mini-discomixes on Jah Life's "Family Album" compilation LP, as well as on UK 12-inch singles and one JA 7-inch single. Again the unbeatable combination of the Roots Radics at Channel 1 studio, and the hard mixing of Scientist at King Tubby's studio and great vocals put these near the top of the heap for early '80s roots reggae. We are also pleased to point out that the dub mix on the B-side of "Alligator Tears" is a previously unreleased dubplate mix!

A long time in the making, part one of a new series of reissues produced by the great Lloyd "Bullwackie" Barnes. So many Wackie's productions are long among our personal favorites, and some helped introduce us to the wonderful world of Jamaican music. We'll be issuing many now hard to find singles as well as some previously LP-only tracks and other surprises! Our first selection of singles all appear, of course, on their original labels. An NYC/JA collaboration with Wackie's producing an early tune by Don Carlos, originally credited as 'Jah Carlos', over a tough Soul Syndicate rhythm. This one is on the Rawse label.

Producer Danny Ffrench's DON 1 label only had a trio of releases, but all were stellar.