‘Style Scott and Flabba Holt, bedrock of the mighty Roots Radics, holding together the monstrous rhythms, while Adrian Sherwood works his magic at the controls. Features guest appearances from Lee Perry, Michael Franti, and Talvin Singh.’

‘From 1996, with Style Scott gathering even more crack Jamaican players together for the rhythms, featuring musicians who between them had done time in the likes of the Roots Radics, Soul Syndicate, Joe Gibbs’ Professionals, and Bunny Lee’s Aggrovators.
‘This incredible legacy is augmented by Adrian Sherwood’s work at the mixing desk back in London, overdubbing the London-based Skip McDonald and Akabu, and working his sonic magic on the raw material, a true transatlantic dub collaboration.’

‘A brand new set of Dub Syndicate excursions utilising rhythms from their classic 1989 - 1996 period. Adrian Sherwood has gone back to the original tapes, working his mixing desk magic to find new angles on the timeless pulse of Lincoln Valentine ‘Style’ Scott, with fresh overdubs from Cyrus Richard (Dub Asante Band). Featuring new dubs of tracks originally found on albums such as Time Boom X De Devil Dead and Stoned Immaculate.’

‘Probably the best known Dub Syndicate album, this 1991 set was recorded between Jamaica and London, with the rock solid rhythms of band leader Style Scott augmented by a number of additional players, including guitar from Skip McDonald, vocals by Lee Perry and Akabu, samples of the late, great Prince Far I, and keyboards from Keith Levene.’

‘Another great set, with vocal contributions from mainstay Bim Sherman on a cover of Lloyd & Devon’s Cuss Cuss, and Shara Nelson (just prior to Blue Lines) on a version of Serge Gainsbourg’s Je T’aime. Originally released in 1989 and coinciding with the beginnings of Dub Syndicate as a touring unit.’

Roland Al tearing up Louis Jordan in 1962; plus a tasty, doowop-derived ska shuffle.
Both sides previously unreleased.

Rudie gone soft. Irresistible love songs — with simmering brass, splashing cymbals on the A; classy sax on the flip.

Gripping, up-in-your-face account of the story of Judas. Full-on Keith Hudson roots.
And an unmissable nugget of flute-led JA funk, by the Soul Syndicate, on the flip.

Hymning the power of reggae, over a re-licked, surging Conquering Lion, with worrisome Tubbys bass. The dub is here.

Double helpings of riotous, classic dancehall recorded for Jah Thomas’s Midnight Rock label, but previously only issued as a promotional white label. The rhythms are by the Roots Radics, at Channel One. One side each for the deejays, brandishing lyrical cutlasses fit to kill. Early days for Super Cat, but his irresistible rise is already up in your face, plain as day.

From the Black Ark; a local hit in 1975. Clarke’s tale has the hapless, resilient innocence of Buster Keaton. Nice, basic melodica. The production is credited to Mike Johnson — who also stumped up for I-Roy sessions at the Ark around this time — but the rhythm and dub are Upsetters through and through.

Ace 1978 set voiced at King Tubby’s and mixed by Prince Jammy, with Trinity’s younger brother Clint deejaying over tough Aggrovators rhythms like African Roots and Stars, including an excursion on Black Uhuru’s Eden Out There.

‘Yes we nice, yes we nice… Hold them, music, hold them, yes, we control them… no we nah go let them stray.’ Dancehall manners — on the rhythm Delgado used for Rasta People — as clinically murderous as all-time EJ hits for Jammys like Rock Them One By One and Turn Up The Heat.