Recorded in 1974, this is Junior Murvin's first Roots tune ever. Having always been sought after by collectors, this song is possibly the ultimate classic. This is a completely different take from the one Junior Murvin recorded for Lee Perry in 1977 for the “Police and Thieves” LP distributed by Island. Undoubtedly this is one of Murvin’s best tunes, which should be in every collector’s record box.

Deep late '70s roots from Prince Far I's CRY TUFF label. Only ever released on JA 45, reissued for the first time. A monster instrumental/dub single, Deadly Headley and Asher's killer lick of the 'drum song' riddim, wicked horns, keyboard and melodica at the forefront. RIP Prince Far I, your legacy of music lives on.

This tune was the second Roots tune recorded by Junior Murvin after his first 1974 masterpiece. With different dynamics, this great track was also highly sought after, and considering this tune as one of his few recordings during the period, it should be recognized as an important record and a true masterpiece.

The Channel 1 Lost & Found series of previously unreleased music continues with more killer ten inches. Oneil Dyer's "Apartment" was only ever issued on a small press blank label Hitbound 10" in New York, unnoticed by all but the most hyper astute collectors. Heavy tune, with a killer dub, serious 1982 Scientist/Radics style. The B-side of this record features an unknown killer roots tune from around the same time, dubplate material which unfortunately on tape carried no markings as to who the singer is. We absolutely love good female-voiced roots and this is no exception, purely wicked tune. If anyone knows who sings this tune, let us know, as no one including some of those folks involved in making the tune could place it! One thing that is clear however is the voice of Sugar Minott on harmony. Unfortunately no dub version was found for this tune.

"Power House" by Sir Harry, another rare beast from the vaults. This track is alternately know by several names, usually based on the cryptic words spoken by Sir Harry in the intro, and bears no real official title, the original release being only on a blank label. The title "Power House" comes from Charlie Morgan's excellent Studio 1 discography, and we've used it here as a nod to his invaluable work. But on to the music, Sir Harry's tune is not so much his own, as the old time chatter only interjects a few odd phrases here and there. Really the tune is a phenomenal instrumental workout on the same rhythm as "You Touch My Soul", with organ and bongo drum overdubs propelling the awesome rhythm forward, while the Invaders' vocals are heard ever so faintly in the background, bleeding thru from the other track on the 2-track master.

Though little is recalled about this harmony group from Trenchtown & Greenwich Farm, their small output during the 1970's was deadly enough, cutting records for Studio One (mostly as harmonizers), Prince Jazzbo, GG's, Lloyd 'Printer' Campbell, and most notably, Sir Collins. "You Touch My Soul" is something of legend among collectors and Studio 1 fiends alike. Sir Collins had the distinction of being among a handful of outside producers to have rented Coxsone Dodd's Studio 1, and produced his own music there. "You Touch My Soul" is one such record, unmistakably by its sound, cut at Brentford Road. A deep, uptempo rhythm underpins the Invaders beautiful vocals, while a majestic trombone comes in and out of the mix. The flipside of the record features a straight instrumental version of the rhythm, as originally only released on the very rare NY issue of the tune on the Waricka label (the UK issue on Sir Collins' own Music Wheel label was on a 4-track EP including other vocal cuts by other artists, and no version).

Milton "Keithus I" Samuels is simply put, one of the best yet least-known artists of the 1970s. In the latter half of the decade he self-produced six singles for his own JAH DYNASTY label.

Featuring Earl Sixteen, who later recorded an album at Studio One, the last title of our Derrick Harriott re-issue series is one of the most rare Roots tunes from Harriott’s production. The A-side proves that Roots Reggae was at its pick at the time, and the B-Side, with its militant beat by Winston McAnuff, who renamed himself to Electric Dread, make this record an all-time Roots favorite.

Slave Trade" and "Love and Livity" were both originally released on Jamaican seven-inch, on Leggo's Cash & Carry label, and distributed from his former Orange St. record shop of the same name. Both tunes stand near the top of the heap for hard roots harmony, no small feat.

"Save the Children" is prime '70s roots, killer horns, militant riddim, wailing vocals.

"Wolf in Sheep Clothing" by the Upright Foundation. This was a short-lived group featuring two-thirds of the Gaylads, and this phenomenal piece of Burning Spear-esque roots was produced by Clive for his Wisdom Sounds label in the mid '70s. Reissued for the first time here, this tune is totally infectious and should go straight into the '70s roots harmony classics canon.