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.

One of the later productions from the Chung brothers and it’s the ultimate reggae soul sound that they wanted to achieve. Although Antrim and other Chung productions produced reggae, it’s clear that they had US sounds such as soul and funk on their horizon.

The Jamaican lovers masterpiece by Sharon Forrester and UK lovers classic.

Superlative reggae soul produced by Mikey Chung for his own Superstar imprint. Having both young Steely and Clevie in the band, when you think of the further development in reggae music, this production was crucial. Compared to Geoffrey’s high quality lustrous reggae soul this Jackson 5 cover is slightly different and lean towards the beauty of Jamaican pops sounds.

Recorded at the same time as The Crashers “Musical Fight” and it’s previously unreleased material. In early 1969 when the second press of Stranger Cole & Patsy’s “True Love” came out, the version was pressed on the B-side. The reason this vocal never came out is still unknown. Backed with Sonia’s favourite The Conquerors good 69’ reggae.

The true genius Keith Hudson introduced highly mutational sounds and sound effects at the time and this Pablo organ cut of “Peter & Judas” is no exception. Slightly different cut to the one included in “Flesh of My Skin Blood of My Blood” known as the monumental and arguably the first reggae concept album that is rated as important as “Blackboard Jungle Dub” in dub music. This cut is the fat original take mixed prior to the LP.

The most sought after Gay Feet rock steady rarity. Johnny & The Attractions draws a clear line between them and rock steady artists back then – diggin’ deep into the sounds. Seems obvious that they were already doing the style later known as roots reggae.

Debut song from The Browne Bunch according to Steely. Triangle, Pyramid and Antrim labels consists of Chung Brothers, Steely & Clevie impacted greatly to the popular crowd within lovers rock circuit and beyond.

Classic aluminium centre adapter for 7” records. Heavy weight, easy to handle and great fit ensuring maximum sound performance. Made in Japan.

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

from 1969

Needless to say one of the top Count Ossie's nyabinghi pieces but also a Jamaican rare groove masterpiece accompanied by Ernest Ranglin and Leslie Butler.

Obscure but undoubtedly a historical nyabinghi masterpiece played byy Count Ossie with organ virtuoso Leslie Butler. Backed with a genre defining "ABC Rock Stedy" by The Gaylads.

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.

The Soul Vendors’ horn inst cover of a mellow Latin tune, backed with the authentic Studio One Rocksteady masterpiece. This gorgeous horn inst Rocksteady features a superb arrangement from King Cannon a.k.a. Carl ‘Cannonball’ Bryan and Roland Alphonso. Like the originals on the other side here comes the one that Island was certainly familiar with back then, the Nat King Cole’s excellent vocal cover from the Hamlins.

Astonishing nyabinghi vocal by Patsy with prominent vibraphone work by Lennie Hibbert. Another unreleased "The Call Of The Drums" rhythm on B-side which is different cut from DSR-SP7-01.

Debut single from Junior Soul aka Junior Murvin for cat loving Sonia Pottinger before he went on to record with Derrick Harriott. Backed with previously unreleased take.

This funky reggae classic go way beyond the boundary of reggae music and reaching to every music lover out there. Beginning with the killer drum break, the Aretha Franklin cover is built to move everyone’s body! Backed with slick instrumentals produced by Lloyd Charmers, it’s about time this 7” gets reissued.

Channel One artist The Jays’ big dancehall tune for King Tubby. Although its pop element is clearly heard this one also consists of tougher side. Skillfully arranged in dancehall fashion yet deeply resonates with the spirit of roots reggae.

Some may call it the original sound tune! This deejay cut strongly represent the new era of reggae music during 1969-70 with a string of new producers landing with serious hits. “Dynamic Fashion” would definitely be one of the top three U-Roy early classics.

A wonderful, previously unreleased Jamaican Ska in one and only jazzy big band style. The length of this recording is slightly longer and all the solo parts are brightly emphasized. A rare piece with an adventurous development which is not quite typical for Jamaican music. A very fine Ska beat on the flip showcasing their original musicality. Also it is nice to see the appearance of Ernest Ranglin on both sides.

“Mash Me Up” sees an appearance of Jesse Royal, a young rasta singer who has previously been featured on Major Lazer projects and causing a buzz in the scene with releases for Over Stand Ent., Biggy, Notis and more. Here he collaborates with US based female singer Jovi Rockwell on an irie and bass heavy shaker.

Superior rock steady from the vaults of Federal Records

The third edition in this universally acclaimed series including giant of the genre, Hopeton Lewis, and a scintillating selection of hit records and previously unreleased material.

Winston Riley started his production career as a singer with an enviable track record, having formed the Techniques in 1962 and hitting the top of the charts two years later with the splendid ‘Little Did You Know’ for Duke Reid’s esteemed Treasure Isle label. When the frantic ska beat slowed down and turned into rocksteady Winston remained the only permanent component of the Techniques, arguably Jamaica’s finest vocal group.

As the beat changed yet again from rock steady to the faster reggae format, Winston’s thoughts turned to production, and he decided to create his own ‘Techniques’ label. A serious man with a serious work ethic, the quality of his music was apparent from the start as he released hit after hit, producing and singing as part of the different combinations of singers and vocal groups that he worked with.