Out-of-this-world toasting, the absolute bees knees, over Old Fashioned Way; and a stupendous piece of Skatalites, way from creation. Swing baby swing and do your own thing. Uptight and rocking out of sight.
Bims almighty.

An eighties set of Tado’s dubs of rhythms recorded at Ariwa and Easy Street by the Mad Professor and Sid Bucknor.

Hard-to-find sides, including a handful of Upsetters and Tubbys, and a late sixties offering — as Winston Cool — engineered by Andy Capp.

On a Jimmy London; with a Peter Tosh melodica version.

A chacteristically up-for-it and punchy next cut of the Yabby You, with a concussive dub; first out in the mid-eighties.

Deep Berlin steppers. Dubwise traces of our original Lagos recording — the percussion of Yinka Ogunye, the singing of fifties palmwine legend Rolling Dollar, Oscar Olimbi’s guitar lick — blend in with Moritz’ own warm Oberheim voicings, additional drumming, and cool-and-deadly rhythm track. It’s a tough, masterly dance record in fine Rhythm And Sound style (evoking vintage House, too) — which during its ten-and-a-half minutes seems to ponder time elapsed and journeys undertaken.
Reggae Land Dub is the thumping, pared-down dub of Wareika Hill Sounds’ rootical rework of Ise Nla. Magnificent trombone and percussion; expert, classical JA mixing. Brings to mind the versions of Black Man Stand Up Pan Foot.

Like a dream, but authoritatively, this remix from Jamaica magnificently crosses the Afrobeat of Fela Kuti with the grounation reggae tradition of Count Ossie.

Killer deep ska, superbly led by Roland A. Backed with the Black Brothers’ rude boy anthem, Born To Rule.

Head-to-head Bunny-Lee-supervised knees-up-mother-browns.

Masterpiece. Top-drawer songwriting — thoughtful, soulful lyrics and ace tunes — and definitive performances. In the top three Studio One LPs; one of the greatest reggae LPs of all time.