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.

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.

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.

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.

"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.

The mysterious Elijah cut this mellow and heartfelt 2-part single for Sir Collins, then apparently disappeared from the recording scene. But the tune made quite a mark in New York, where it was released on the very rare Bronx-based WARICKA label, enough to have been covered a few years later by KC White (we also reissued his cut, still available, see here!) The tune is also remembered fondly as a New York sound system favorite in the 1970s by those active back then. It was also released on the Ackee label in the UK, memorable roots reggae for sure.

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.

Flick Wilson's "School Days" album has long been one of our all-time favorite LP's through it's killer combination of super heavy Roots Radics rhythms, wild Scientist mixing, and the Flick's unique singing, often with falsetto. Never widely available and only ever released in NYC, it's now deservedly reissued.

An undeniable classic, straight from 29 Maxfield Avenue. Ernest Wilson's "I Know Myself" is simply put one of the best reggae tunes of all time (and our personal favorite rhythm EVER!), criminally unavailable on vinyl for many years. Consider this 10-inch now to be its definitive release, the original vocal paired with THREE DIFFERENT dubs, all of which saw release in various places around the time of the tune's original release back in the late '70s.

The Channel 1 Lost & Found series returns for it's fourth installment and it's the biggest and baddest one yet. Clarence Parks comes in heavy with two awesome tunes, both previously unreleased, again, both sides with dubs. You may recognize the rhythm for "Been So Long" from Half Pint's "Freedom Fighter" and a handful of other tunes, yet another killer Radics riddim employed by several producers working at CH1 at the time. The flip side "Mt. Zion" is a one-away riddim as far as we know, but we wish it wasn't! Heavy stuff, but that's not all…more unreleased Clarence Parks still to come!

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.

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.

The mighty Delroy Wilson, one of Jamaica's biggest artists. "Give Me Your Love" was released on a Delroy LP again on the WARICKA label, which was mostly sold as a blank label pre-release with no cover, although copies with labels and/or a silk-screened cover also exist. This is a phenomenal cut on the mournful and heavy 'Artibella' rhythm, with a killer organ sound that we just love. This tune is backed by a dub cut with horns and bongos, lifted from an extremely rare blank-label Sir Collins compilation LP. We've heard tell that the vocal cut also comes on blank label pre-release 7-inch, but haven't seen it. Can anyone confirm? In any case this tune is one of our favorite of its era, essential to any Delroy Wilson selection.

Awesome second cut on the "Guiding Light" rhythm from the Fashioneers, in this incarnation, just Leonard Billings & Glenford McLeggan, from after Jaiq Sterling had departed. Recorded and mixed at Channel 1, late '70s.

Stephanie Samuels 'Africa We Want to Go', beautiful one-away deep roots with birdsong, truly mystical tune.