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.

Guitar genius Ernest Ranglin takes time out from his jazz roots and showcases his fluid skills on a selection of sweet, sensational 1969 style crossover hits… a pivotal year for the international success of Jamaican music.

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 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.

Prolific and long standing label Techniques had numerous hits over the years. However “The Copa Come” is a hidden classic by Michael Prophet and possibly the most dangerous tune released after 1985. Great crossover contains both roots and dancehall goodness.

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

A minor chord killer instrumental - the corpus of all the Family Man sounds. It is also a monumental piece of the Wailers Band. Like Eastern Memphis, this is one of the most talked about Family Man masterpiece. It clearly shows Family Man’s musical versatility not only as a bassist, but as a master musician. Although funnily enough it was the time when Jamaica was largely dominated by Deejays and Dancehall, the world famous Wailers Band never betrayed their fans by tightly keeping their “Wailers Sound”. It is a pleasure to listen to the strong belief and confidence in their music.

Extremely rare rocksteady masterpiece recorded in 1967. Curiously sang in Chinese, this novelty record was originally pressed and spread within the Chinese community in Jamaica. Even though comparing to its entire population this island has exceptionally high rate of musical recordings, this could possibly be the only verified track solely sang in Chinese. One that has always been spoken about due to its oddity and should be succeeded eternally.

The astonishing take of previously unpublished Rocksteady - reveals new facts about Studio One’s Ska and Rocksteady! A few years after the Skatalites recorded the famous “Freedom Sounds”, the band has reconstructed as the Soul Brothers and this is the astonishing, previously unpublished take of them playing the Rocksteady version. By the look of the master-tape, it has never even planned to be released as a single and kept especially for the LP release, which might have meant to be the Soul Brothers version of the Skatalites’ iconic “Ska Authentic” album. This seriously rare recording is a must-check for everyone from the beginners of the Jamaican music to the Ska masters. Though as might be expected, we may never be able to measure the depth of the foundation studio.

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.

Double A-sided 7” featuring a killer Ska inst. From Jamaican harmonica virtuoso and Soul Brother’s killer horn Ska instrumental! One of the Studio One titles that the collectors have been looking everywhere to get hold of. Featuring no other than Rude Boy Charlie although it was stated as Bad Boy Charlie on the master-tape. An extremely rare take of Thunderball arranged by Jackie Mittoo on the flip side.

Previously unreleased Joe Higgs' extremely rare rock steady for Gay Feet. On flip a stunning chorus by The Valentines.

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.

The Hippy Boys consists of Aston and Carly Barrett brothers opened up the new era with their original sounds. This double A-sided roots instrumentals 7” was unarguably so ahead of its time

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!

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.

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.

The golden hit of the early 70’s deejay craze in combination with Ken Boothe. The El Paso sound system deejay Dennis Alcapone showcasing repelling force and energy towards the others piling into the scene back then. One of the symbolic classics of the early deejay materials.

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.

A star duo at the Harriott’s production, Keith & Tex’s‘Tonight’is also the everlasting masterpiece in the history of Reggae music. There were many essential songs in his production from 1967 to 68 but‘Tonight’is obviously the most indispensable one. Lynn Tait plays a beautiful instrumental version to Melodians’ hit ‘You’ve Caught Me’ on the flip side. Reissued with these original recordings on both sides.

As Junior Soul, Junior Murvin recorded definitely the greatest Rocksteady tune,「Glendevon Special」 on early days of his recording career. This tune is also unique among Derrick Harriott's catalog and it proves how wide varieties his production was. This song is rare that many collectors have been looking for years.

An unimpeachable classic considered to be the pinnacle of Rastafarian inspired music. Master drummer Count Ossie’s band, including the incomparable tenor saxophonist Cedric ‘I’m’ Brooks, recreate a Rasta grounation, or gathering, playing and chanting a sublime supplication, including Bible readings, in praise of Emperor Haile Selassie I

At the same time that Neville ‘Bunny Wailer’ Livingston recorded his debut solo long playing masterpiece, ‘Blackheart Man’, he was also creating a series of singles for his own Solomonic label. These records were every bit as good, at times even better, but they have never been released outside of Jamaica. Until now…

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.

Marvellous music from Ronnie Nasally… one of the founding fathers of the Jamaican music business

Includes vital vocals from The Blues Busters and The Maytals, eccentric Chinese rock steady from Stephen Chang and one of the first deejay records, ‘Ska-ing West’, from the legendary Sir Lord Comic. Incomparable!

Smooth, sophisticated sounds from the highly respected Jamaican guitarist Ernest Ranglin.

Rare and seriously sought after instrumental album of Gay Feet rocksteady hits from 1968.

Eleven elegant instrumental tracks, and one female vocal, showcasing the tenor sax artistry of master musician Roland Alphonso, ably assisted by Aubrey Adams on organ and the inestimable Lynn Taitt on guitar, interpreting a selection of Mrs Pottinger’s most memorable hits of the era.

‘Freedom Sounds’ is the glorious introduction to the iconic Ska LP “Ska Authentic from Studio One”, and also known as the opening theme for the band’s live performances. What’s more exciting is the early take unearthed for the very first time! Although it nearly got released with the 64-65’ masterpiece ‘From Russia With Love’, then eventually got cancelled due to the release of “Ska Authentic” LP. Compare to the ordinary recording that we’re familiar with, the unreleased take comes rougher but that is also brilliant and it will sound miraculously to all the Ska fans. There have been occasions that the band played this version at number of gigs, though it depends on who was leading the performance.

A great cover version of a Sam Cook hit with beautiful chorus and a killer instrumental that blended Jamaica’s Caribbean roots and Afro-Cuban essence. Jamaica’s favorite American singer, Sam Cook’s hit was beautifully transformed into a sweet and peaceful vocal Ska when it went through Studio One’s unique filter. The tune was taken straight from the master tape. The flip side features a mixed style of Caribbean-decent music that Soul Brothers could play best at and Jackie Mittoo’s burning keyboard maneuver made this killer instrumental best of the best.

Marvellous binghi rock steady masterpiece by Count Ossie led Johnny & The Attractions. An unreleased alternative instrumentalal cut on flip.

Moving rocksteady vocal from Delroy Williams, George Allison, Ricky Grant a.k.a The Afrotones backed with killer funky instrumental from the maestro.

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.

The Celestials trademarked imminent sound can be heard in this elegiac killer Ska instrumental!! The bang on titled ‘Golden Horns’ representing the music itself. If they were ever based in Kingston, they may have had more opportunities for recordings which might have changed the history of Ska music. Such a great band indeed. Although it’s still quite a tune, it may sound a little monotonous on the flip side, showing Thelwell’s personal affection for Carlos Malcolm’s band.

A prominent singer backed by none other than the Skatalites, it is a symbolic Ska beat representing Kentone which will make everyone a smile. Although the Maytals have recorded Ska tunes for Studio One, Prince Buster and many more, they might have taken a further step when recording for the Jamaican music industry’s godfather, Ken Kouri by singing it well tight and fiery. Even for the Federal side, it must have been quite special to hire the Skatalites for this project. One minute and half might be a little too short for an A side, though this one will make you want to slip it in your DJ box every time.

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.

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.

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.

A dignified roots vocal that represents the sounds of the Wailers of the time. In the 60’s, as known as the prime of time for Rocksteady, Jimmy Riley used to sing for a vocal group called the Uniques. Back then, Familyman was playing as a part of the infamous session band, the Hippy Boys in the heart of Kingston.The first ever recording of those two goes way back in 1968, so it must have been quite a reunion in this studio session.This piece was recorded around about the same time as the Cobra Style, and exactly as Familyman plotted, the veteran, Jimmy achieved the great Wailers sound.

In the 60’s, as known as the prime of time for Rocksteady, Jimmy Riley used to sing for a vocal group called the Uniques. Back then, Familyman was playing as a part of the infamous session band, the Hippy Boys in the heart of Kingston.The first ever recording of those two goes way back in 1968, so it must have been quite a reunion in this studio session.This piece was recorded around about the same time as the Cobra Style, and exactly as Familyman plotted, the veteran, Jimmy achieved the great Wailers sound.

The finest instrumental dub that deserves the name, Familyman and the Rebel Arms. A piece never really got released back then.It is Familyman’s specialty to express his infinite creativity on instrumentals. As expected, he easily achieved higher dimension with these two minimalistically structured pieces. Nothing but a Familyman’s sound played by no other than the Wailers band themselves. In addition, he may have played this superb synthesizer himself.Guaranteed you won’t hear this sort of sound anywhere else.

Jackie Mittoo’s all time classic interpreted deadly by Familyman, backed with the one off style instrumental accompanied by astonishingly cool chant.It would never be possible to mass-produce this kind of highly creative and artistic piece by mainstream producers. This would only have happened by the world’s top class band that they are.

Recorded at the same session as Cobra Style, this is a peace and love instrumental that touches your heartstrings. Perhaps designed by Family Man himself, this is a piece to chill out after being done by the killer, Cobra Style as it was originally recorded on the B-side of the same 12” – a must have for the owner of the latter. Although the instrumentals have traditionally been recorded since the 60’s, due to the cut down on the recording cost, it started to diminish since the end of the 70’s and it was really rare to see them in the 80’s, so that make it an undoubtedly precious and prestige instrumental. Comparing this to Cobra Style, there could be an endless discussion arguing which one is better however since they have such different musical concepts to each other, leave them alone to appreciate the true listening experience.

Invaluable hard Dancehall steppers by Family Man produced in the twilight of the Digital era.The Ragga sound at its peak after the Digital Revolution, Family Man still remains to be the trusted person of influence. His iconic hard steppers style bass line is non exceptional at this era, so deep like in immovability like a mountain. Ashanti Wah recorded this piece a few times after, however none of them comes even as close as this cut. Officially first time to be released as a single.