For all collectors here is a great reissue of rare rocksteady from The Gaylads. Wonderful chorus works by the group that are thought to be some of the greatest works the Gaylads after Studio One era.

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

Being known as Crown Prince of Reggae, this is Dennis Brown's commemorated first single and it was written and composed by Dennis himself. This is, of course, before he started recording at Studio One and is one of his best heartwarming songs. Crystalites' killer keyboard instrumental is featured on B-side and has been admired to listeners who have great appreciation for 1969-70’s up-tempo instrumentals.

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.

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.

Beautifully shinning golden female Lover's Rock.At this time, the Wailers band didn't play much of those sweet love songs, however this 7” definitely proves Familyman’s versatile musical orientation. A truly tight rhythm section beautifully blends with this rather unknown singer’s superb voice making these nothing but a masterpiece. A heart calming double-sider.

Ken Khouri’s Federal Records gave Jamaica its musical identity The Federal Record Manufacturing facility was the first pressing plant in Jamaica... their studio gave birth to mento, ska, rock steady and reggae of the highest calibre. This album features an astonishing selection of well known classics and rarities transferred straight from their master tape

American rhythm & blues fervour, boosted by a multitude of sound systems playing 78rpm records on increasingly larger sets, gripped Jamaica from the late forties onwards but, towards the end of the decade, the American audience began to move towards a somewhat softer sound. The driving rhythm & blues discs became increasingly hard to find and the more progressive Jamaican sound system operators, realising that they now needed to make their own music, turned to Kingston’s jazz and big band musicians to record one off custom cut discs. These were not initially intended for commercial release but designed solely for sound system play on acetate or ‘dub plates’ as they would later be termed. These ‘specials’ soon began to eclipse the popularity of American rhythm & blues and the demand for their locally produced music proved so great that the sound system operators began to release their music commercially on vinyl and became record producers. Clement ‘Coxsone’ Dodd, Duke Reid ‘The Trojan’ and Prince Buster, who operated his Voice Of The People Sound System, were among the first to establish themselves in this new role and the nascent Jamaican recording industry now went into overdrive.

In 1954 Ken Khouri had numbered among the first far sighted entrepreneurs to produce mento records with local musicians (mento is Jamaica’s original indigenous music) before progressing to opening Jamaica’s first record manufacturing plant. Three years later he moved his operation to Foreshore Road (later renamed Marcus Garvey Drive) where, with the assistance of the inestimable Graeme Goodall, he updated and upgraded his recording studio. The importance of this enterprising move was critical to the development of Jamaican music and its influence both profound and far reaching.

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.

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.

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.

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.

Previously unreleased vocal materials from master tapes! Eric Monty Morris sings sufferers' protest song, "Blackman work so hard, but white man gets the money, the rich shall be richer, the poor shall be poorer, something must be done soon"… At the time, most of the artists including Eric Monty Morris mainly focused on singing about love but not about conscious themes so the recording was very exceptional. B-side features previously unreleased vocal material as well. It seems that both songs were recorded for the album "Jamaican Skarama (reissued by Dub Store Records: LP/CD503)" but did not end up on the album unfortunately.

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.

Previously unreleased material from Frankie Wilmott recorded straight from the master tape. Known for his 80’s classics such as “Sensimilla” and “Money Gone Down The Drain”, Frankie has been passionately supported from Dancehall fans across the globe. “Why Won’t You Come” features a tight rhythm based around the warm bassline and Frankie’s sensitive vocal excellently resonate throughout the track.

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.

Possibly the first hit from then a newcomer producer Keith Hudson along with the iconic Dennis Alcapone deejay cut this tune will be passed on forever.

Glen Brown pleasantly covering the familiar Beatles classic not to mention stunning arrangement by Bunny Lee. Backed with popular female rocksteady vocal

Previously unreleased material from the original master tape. Ethiopians recorded a couple of songs for Merritone label in 1976. During this proto-reggae/roots period, they surprisingly recorded this roots song ‘You Got To Be Clean’ with lyrics referring to “Zion” in 1966. Side B is a love song that expresses sentimental feelings of a boy who fail in love with a girl.

Joe Higgs was a mentor for many young artists and taught them how to sing as well as about the recording industry. Many followed and learned his lessens and passed it on to coming generations. ‘You Hurt My Soul’ is one of his early recordings with his distinctive singing style. Side B is Merritone cut to the classic reggae instrumental ‘Bad Treatment’. The recordings were released in 1968 and reissued from the original master tape.

The very first Merritone ska classic released under its project the Federal Ska! Featuring a classic Rocksteady tune from no other than Lynn Taitt on the flip. No one else but him should be qualified as the Mr. Rocksteay, Hopeton Lewis presents a rare early Ska! Reminding the good old days in Kingston with slow, nice and easy vibes. On the B-side, Lynn Taitt just proves again how tight and heavy the sound was at the Federal studio back then with this great piece of music.

Although Super Black is known for his hits "Deh Wid You", "Rambo We Rambo" at Jammys, the artist also fit well with the Photographer label where he put out a superb song "Just Like A Magic". Among the 80's catalogue of King Tubby, "Rising Star" is very exceptional and features a unique groove, which is created by the solid bass line to bring out the best of Super Black's appealing voice.