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 nyabingi style killer instrumental of the roots classic Love Thy Neighbours by Jesus Dread a.k.a. Vivian Jackson.Created by a combination – the diversity of a series of personalities of the Wailers with the strict Rastaman, Vivian Jackson, this authentic Rastafari sound comes with no compromise.

domestic(Japan) sales only

An experimental and minimalistic early dub instrumental joined by the Soul Syndicate drummer, Max Edwards. Music without commercialism – this minimalistic and repetitive dub instrumental shows the unique musical structure by one of the most future-oriented arrangers, the great Familyman.

Without any explanation, ‘Stop That Train’ by Keith & Tex is a true Rocksteady classic of all times. The song stands tall in Reggae music history and a biggest hit among Derrick Harriott’s catalogue. Side B features Memphis Soul Rocksteady instrumental, just like a trendy song from Stax Records. Now reissued for the first time with these original recordings on both sides.

Recorded in 1964 at the Federal studio, this elegant yet unique previously unreleased album is said to be the origin of the Jamaican Mento meets 4 Beat Jazz. This brilliant album is one of the most important Jamaican Jazz recordings that Ernest Ranglin has ever made. Everything in this album starts with the traditional Caribbean Jazz classics and then develops into 4 Beat Jazz. Produced by Godfather of the Jamaican music, Ken Kouri, this album is nothing but deserves its title. You may want to add this next to the Guitar In Earnest [DSR-LP/CD-501] in your collection.

rom a slightly later date than the Uprising label singles, here's a killer double sided discomix 10" on the Stereo Uprising label. One side features Thomas White's "Ivory Girl", a haunting vocal over a killer Black Ark rhythm. This was originally released on the Hit Run label, licensed to the label while Stereo was in the UK in the early '80s. On the B-side we have the awesome "Crab in a Barrel" by Still Cool. Still Cool was a fantastic harmony group that Stereo produced many tracks with in the late '70s/early '80s. This tune was only ever released as the B-side of the rare NY 12" issue of Still Cool's "To Be Poor Is a Crime" single, popularized in the UK via heavy play by Jah Shaka, who also released it on single on his own label. This "Stereo Uprising" label design was used by Stereo when he was resident in the Bronx and releasing some 12-inch singles.

‘The Loser’is gloriously considered as one of the most significant songs as well as rhythm tracks in the history of Reggae music. Also entitled as‘The Winner’, the song is easily adapted to sound system dubplates. Talking about the genre of Rocksteady, this song cannot be ignored.‘Now We Know’on the flip side is to be released on 7 inch single for the first time ever.

The infamous and legendary "Jah Life in Dub" LP, finally released. Originally slated for release in late '80/early '81, this was to be Jah Life's first dub LP, featuring all exclusive mixes to now-classic Barrington Levy tunes. For one reason or another, the LP was never released. To confuse matters, a couple years later, some of the unused jackets were given to Germain to house an untitled dub LP of his productions. Naturally, we needed to rectify this situation. So here it is, finally released 34 years later! Featuring ten killer dubs to Barrington Levy tunes, ALL MIXED BY SCIENTIST AT KING TUBBY'S. Six out of the ten tracks are previously unreleased mixes, including a dub to the song "Jah Life" which has never been available anywhere before. As an added bonus, the first pressing of this LP will come housed in the original jackets from 1980, which features killer artwork by Oneil Nanco.

The big hit Ska classic everybody loves, sang by one of the top groups of the 60’s!! Along with the Maytals and the Wailers, the Blues Busters were one of the top groups at the time, however commercially they were going more of a mainstream than the others. Since their career goes way back in the late 50’s, they must have been idolized by so many of those who made their debut later in the Ska era. This is an essential mainstream Ska classic by the brilliantly skilled duo in their best form backed by no other than Byron Lee.

From a slightly later date than the Uprising label singles, here's a killer double sided discomix 10" on the Stereo Uprising label. One side features Thomas White's "Ivory Girl", a haunting vocal over a killer Black Ark rhythm. This was originally released on the Hit Run label, licensed to the label while Stereo was in the UK in the early '80s. On the B-side we have the awesome "Crab in a Barrel" by Still Cool. Still Cool was a fantastic harmony group that Stereo produced many tracks with in the late '70s/early '80s. This tune was only ever released as the B-side of the rare NY 12" issue of Still Cool's "To Be Poor Is a Crime" single, popularized in the UK via heavy play by Jah Shaka, who also released it on single on his own label. This "Stereo Uprising" label design was used by Stereo when he was resident in the Bronx and releasing some 12-inch singles.

The Skatalites’ killer shot interpretation of the world’s famous electric guitar inst, and the fully carnival-mode Ska played by a luxurious bunch of musicians. Originally played by the American electric guitar band, this is the proof of how Jamaicans won’t miss no trends. Guaranteed killer up-tempo Ska! Identical to the originals on flip by Jack Sparrow later known as Leonard Dillon of the Ethiopians, this praiseworthy piece features the Wailers on the backing vocal.

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.

Tomorrow's Children were probably favored by uptown youths rather than downtown Rudies because of their funky, hard hitting sounds and lyrics. With those elements, they successfully created own killer style, which can be undoubtedly heard with ‘Bang Bang Rock Steady'. The group also versioned the Beatles' 'Rain' in fine Rocksteady style. The original record was released in 1967.

A rare previously unreleased Rocksteady by Federal’s star singer, Hopeton Lewis. This killer Rocksteady represents one of the traditional elements of Jamaica, as well as the Rude Boy themed warning which could be heard in the lyrics. These types of unreleased materials could only be dug out at such a profound label, Federal.

Finally, a reissue program of Carl "Stereo" Fletcher's amazing mid 1970's Uprising label. Stereo was a singer and producer who's handful of roots reggae releases on his Uprising and Stereo Beat labels in the mid-late '70s are some of the best of the era. Affiliated with the 12 Tribes of Israel musicians, Stereo's productions captured some of their best performances. We'll be (re)issuing some of the best released and previously unreleased cuts from this '70s era and beyond, as Stereo has kept producing right thru to the present day. Thru our previous releases on the Negus Music label (with more yet to come!), you should know how much we like Albert "Ilawi" Malawi. Known as a great drummer and also as selector of the legendary Jah Love sound system, Ilawi is also a fantastic vocalist and here is maybe his best record, one of the best roots records of the 1970's, and a great dub mixed by Sylvan Morris.

Pablove Black was the chief multi-instrumentalist and arranger among the 12 Tribes musicians, as well as a mainstay at Studio 1. He cut this wicked instrumental piece for Stereo's Uprising label, with a nice dub version on the B-side, mixed by Sylvan Morris. A long time hard to find tune that we always felt needed a reissue.

The Cannonball Adderley’s famous Jazz classic beautifully covered into Afro Caribbean Jazz masterpiece. This precious piece digs into depth of the Jamaican music to show unique side of the history. Due to their regular appearances in hotels at Montego Bay, it is reasonable to understand that the band had a range of repertoire other than Ska. The MC's hype heard right after the riff interprets the excitement of the session and creates a great atmosphere. Matching the original release, backed with a prime Jamaican Soul by talented Busty Brown who later recorded with Lee Perry.

Another smash hit Ska masterpiece by the Blues Busters, the superstar duo who had been dominating the Jamaican pop music industry since the 50’s!! Covering the American hits as their specialty, the popular group had left a number of Jamaican souls, although only a few ska hits. Out of those few, this is undoubtedly another one of the most considerable tunes they had left. An excellent singing melody sparkles on top of the Byron Lee’s iconic softly touched bass line.

A magnificent Rocksteady piece in one-off style sang by one of the groups that represent the golden age of Ska. Since the number of their recordings decreased devastatingly after the Ska era, this truly is a rare Rocksteady made in its top form with the veteran’s dignity. In addition, this is the own Rocksteady cover version of one of their first ever recordings at the Coxsone’s in 1960.

Leslie Butler's Jazz approach, which can be heard in the beginning, obviously secures elegance of 'Let Me Come On Home'. Hopeton Lewis also sings sufferer's song on the flipside. Both side are taken straight from the original master tape for this reissue.

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.

First ever re-issue of 1965 Jamaican Latin-Calypso-Jazz album by the piano genius Cecil Lloyd, who led a 20-piece hotel band from the age of seventeen. In 1959, the maestro was asked to record an album for 20th Century Fox and he later released three albums on Studio One. Featuring a solid rhythm section with conga and percussion, A Night in Jamaica was produced by Ken Khouri for Federal's Kentone label. This enduring masterpiece still echoes across the beautiful Caribbean Sea.

A perfect, yet low-keyed, Studio One Rocksteady double A-sided masterpiece!! Recorded in 1967 while Clement Dodd and Soul Vendors were on tour in the UK. The former Jamaican popular singer Owen Gray, who had already been living there then, voiced these unique pieces. It sounds very different from the ones recorded at Brentford Road, although both tunes certainly have the “Coxsone Sound” – A masterpiece that is refined, and maximize the talent of this one-time star. Only ‘The Raver’ was recorded from the original master-tape.

One of the most wanted Ska titles to date, this is an ultimate killer Ska instrumental for all DJs. An exclusive reissue of the utterly rare and unique title amongst all the Ska instrumentals! Some say the title of this super killer masterpiece was taken from the musician Barry Malcolm’s nickname “Mughead”. Backed with an excellent B-side ‘Free For All’just like the original release. There are no more instructions needed for this great release!

Those rare songs did not appear Hopeton Lewis’s classic Rocksteady album Take It Easy. ‘Rock A Shacka’ is truly a Rocksteady classic of all times. It’s a must item for all Rocksteady fans. With his dearest hope, he calmly sings ‘I don’t want no trouble now, no no no. I just can’t take troubles now, no no no. So let’s together in unity, let’s togther in prosperity’ backed by version accompanying heavy bass.

The Renegades consisted of Winston 'Pipe' Matthews, Lloyd 'Bread' McDonald and George 'Buddy' Haye and later became a group called the Wailing Souls. ‘Knocking On My Door’ is one of their earliest Rocksteady works and it was originally released in 1966. It is also one of the rarest records hardly ever found. The record features previously unreleased Ska vocal recording ' Pick Youreself Up' by Hopeton Lewis from the original master tape.

A fantastic Rocksteady song by Hopeton Lewis. At that time, the song come out as a 7inch single and became a hard-to-find record. Featuring previously unreleased horn instrumental track on the B-side.

Honeyed Rocksteady singer singing a sweet and sophisticated sounding original backed with a different take from another popular tune. Henry Buckley was supposed to be the next Rocksteady star after Hopeton Lewis, although in this tune he is credited as Henry IIIrd.Also Buckley was once called as Don Henry, so it seems Federal was perplexed how to promote him, however as a great singer, the quality of his music was always steady and promising. A previously unreleased material on the flip featuring a Rocksteady wedding song which had its name written on the master-tape.

A killer double sider, the A-side is the Carltons aka Carlton Manning aka Carlton & The Shoes, with one of his all time best roots tunes, sublime harmonies. The B-side is the raw rhythm cut of the Upsetters' "Tight Spot", without the Dave Barker chatting and the second organ overdub. A tough early '70s rhythm later re-used by Wackies to great effect.

Killer instrumental 45 on Rawse, spread over two sides. The Wackie's house band under the 'Azul' moniker, with a fantastic piano sound. One of the rarest Wackie's produced singles.