Marcia Griffiths' fine cover of Paul McCartney classic. Essential for fans of UK lovers.

Superbly arranged, second to none crossover anthem of reggae soul.

Way ahead of its time, deep reggae funk by Keith Hudson with a hint of dub.

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.

If you are Tubby freak you may know this dubplate cut. Recorded directly from the mastertape.

Recorded in 1985, previously unreleased Tubby's early digital super killer recorded from master tape.

Previously unreleased early shuffle and boogie recordings from the ‘Man from Wareika’: Rico Rodriguez



One of the most talented musicians of his generation, trombonist Rico, was a key player and founding father of Jamaican music who went on to establish ska in Britain in the early sixties and then add authenticity to the Two Tone ska revival of the late seventies. Hear him here at the outset of his incredible musical journey…

Along with Sleng Teng and Tempo, Stalag is without the doubt the biggest dancehall rhythm of the 80's. Bam Bam especially needs no introduction been sampled countless times on various genres and appearing on films etc.

Redman International Dancehall 1985-1989 press sheet by David Katz

Hugh ‘Redman’ James is one of the greatest Jamaican music producers of the late 1980s. Raised in a musical household in the west Kingston slum of Hannah Town, with his mother a sound system selector, Redman gained his initial schooling in the music business from none other than King Tubby, the legendary sound system owner and dub mixer that was responsible for voicing and mixing some of the greatest reggae of all time. After being immersed in sound system culture during his youth in the 1960s and 70s, Redman began sitting in on sessions at King Tubby’s studio, but migrated to Hartford, Connecticut in 1978 in search of steady employment. Returning to Jamaica a few years later, he established a popular sound system in Kingston and began producing music with King Tubby’s assistance in 1985, working with the Roots Radics during a time of great uncertainty in Jamaican music, as the new dancehall style came to prominence; early work featured Gregory Isaacs, Sugar Minott and Frankie Paul, as well as rising stars such as Little John and Horace Martin. Then, following the computerisation of dancehall, Redman began producing some of the most popular music of the day, crafting durable and complex rhythms with a broad team of players that included Steely and Clevie, augmented by members of the Browne Bunch and other players. Redman helped establish a number of total unknowns in this era, including Carl Meeks, Dave Bailey and Wayne Palmer, and became a serious contender for King Jammy’s crown. But the producer was ultimately frustrated by the dramatic changes to sweep Jamaican music in the early 1990s, and subsequently retreated from the music industry Redman International Dancehall 1985-1989 compiles the best work from his glory days, with half of the twelve vocal tracks coming complete with corresponding dub versions.

Recorded on the very same day as People Music (DSR-LT7-01-A), here comes Junior Murvin cut crying for his brothers in the homeland. On flip side a Delroy Smart vocal on the same rhythm.

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.

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.

1976 Twelve Tribes' roots - one of the top tunes from Orthodox camp backed with the version.

Opening the new series - recorded on 22nd March 1986, another cut to King Kong’s Victim that has never seen the light of day until today. Backed with Tubbys digital relick on Yabby You masterpiece.

Sampling one of the greatest classics Black Uhuru left for Jammy’s, the remarkable roots revival tune is finally out on vinyl. Dominating the recent rasta revival movement, Cronixx sings freely bringing new life to the rhythm with his strong message. Representing the excellent side of reggae music of taking lessons from the past.

“Let Africa be our guiding star, OUR STAR OF DESTINY.” Marcus Mosiah Garvey

In 1967 Ras Michael began to play occasional recording sessions for Clement ‘Coxsone’ Dodd with Jackie Mittoo and Soul Vendors at Studio One. Instead of getting paid for his work Ras Michael requested studio time for recordings for his own Zion Disc productions as the Sons of Negus Churchical Host. Seven inch releases at Zion Disc in 1967 and 1968, included ‘A Psalm Of Praises To The Most High’, ‘Come Down’, ‘King’s Highway’ to name a few, and all were unequivocal in form and content. The records did not trouble charts and none were released outside of Kingston…

A seriously sought after classic album of rocksteady and uptempo reggae hits

from 1969

A pair of traditional Japanese folk music reissues sang by Chiemi Eri, one of the top female Showa star singers along with Hibari Misora, best known for her exotic Latin Jazz covers of Japanese folk music in the late 50’s.

Taken from “Chiemi No Minyoshu (Japanese Folk Songbook of Chiemi)”, 10inch LP released in 1958, two of its popular songs are now being reissued on a 7” format. “Otemoyan” is a splendid combination of Japanese folk song with an Afro Cuban rhythm performed by Tokyo Cuban Boys. Coupled with “Kushimoto Bushi”, a folklore from Wakayama prefecture styled in Mambo music.

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.

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.

The Fugitives' thrilling 1967 rocksteady instrumental backed with a previously unreleased cut taken from the master tape.

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.

80's killer roots by Johnny Osbourne included in his classic album “Warrior” for Techniques. Soulful vocal and strong message is second to none. Backed with a straight version.

Not only reggae fans have been after the reissue of this lovers roots classic. “Unity, Love and Strength” starts with smooth piano into sweet dramatic vocal piece backed by the Wailers band. Horace Andy’s falsetto is the perfect touch to this masterpiece.

‘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.

‘Do I Worry’is as important Rocksteady tune as Derrick Harriott’s other hit‘The Loser’in his vast catalog. The B-side features powerful horn blow and Bobby Ellis’ trumpet solo is nicely done. Reissued with these original recordings on both sides.

‘Goodbye Baby’ is another train theme Rocksteady by Keith & Tex who were expert at singing that subject just like their other classic ‘Stop That Train.’ The flip side features a mid-tempo Rocksteady that might sound monotonous in a way but is matching its lyrics beautifully.

Among rhythms produced in 80's dancehall scene, 'Sleng Teng' by King Jammy and Firehouse produced 'Tempo' are considerably the most respected; however, you can never forget 'Stalag' rhythm by Winston Riley lead Techniques, too. King Jammy reproduced this 'Stalag' rhythm with Sly & Robbie and in result, it created shadier atmosphere in comparison to the original Techniques' version.
This is certainly another anthem of Jammys!

Nitty Gritty output his hit songs like 'Hog In A Minty' and 'Run Down The World' at Jammys and he had chemistry with minor chord digital rhythms. 'Good Morning Teacher' on 'Stalag' rhythm is a superb song showcases his unique vocal style and lyrics.

Tonto Irie left some impressive titles within Jammys catalogue. 'General A General' was recorded on 'African Beat' rhythm, which was versioned many times with regardless of musical generations. This newly build digital rhythm kept its original form and Tonto Irie showcased his old school lyrical flow in a Raggamuffin way.

In the period of Jammays golden era, Chaka Demus was a prolific artist among others like Admiral Bailey. At this time, Bobby Digital, who was often regarded as the right-hand man of King Jammy, had a popular 'Peanie Peanie' rhythm. 'Original Kuff' was recorded on this rhythm, which can be characterized by its minor chord baseline and choppy riffs and there Chaka Demus performs his catchy lyrics and melody smoothly.

‘The Ruler’ by Gregory Isaacs was only available for listening on a LP album “Reggae Sound War: Electrocutioner Vol.2”. The reggae crooner gently buries idiot sound bwoys with his killer lyrics and stand tall as the Cool Ruler. Recorded to the same rhythm track ‘Running From Reality’ by Admiral Tibet.