A melodica instrumental right up there with his very best cuts. A lot more exalted — Rockers International style — than his Studio One killers.

The alluring, mystery female vocalist here is cool and deadly amidst the mayhem, beside a tasty harmonica lead. Nice bebop saxophone, too, on the flip.

Triumphantly reviving all-time-classic Jammy’s. Proper dub, too.

Poignantly-reflective next version of Horace’s Jah Is The One rhythm (from the Pure Ranking set), with MR’s unmistakable moves, and dub.

Tough, thumping Jammys from 1989, with expert falsetto singing from CT.

Staggering, stone-classic roots, originally released on Family Man’s handsome imprint in 1972.
Bunny Wailer on percussion; Dirty Harry on fife. Awesome Tubbys dub.
Knockout.

Gorgeous…and backed with rudeboy anthem A Man Of Chances.
Two counts of murder.

‘You think you can hold me down, you think you can tie me down… I’m a man for chances.’

Tough, red-eyed roots, recorded at Wackies with strong Upsetters flavouring.
The dub is minimal, rough and in-your-face… for playing loud.

Characteristically melancholic, wise, masterful singing.
With a bumptious, flirtatious Valentines.

Stately ska loveliness, with Queen Patsy at her very best, disclosing her devotion to Frankie Lymon; and a previously unreleased Webber Sisters on the flip, fizzing with charm.

Legendary Northern — the last record played at the Wigan Casino — this archetypal heart-on-sleeve stomper was originally pressed in 1965 by Motown as a handful of promotional copies on its imprint SOUL. Most of these were destroyed soon afterwards, though people say Berry Gordy has a copy, and another was sold in 2009 for just over twenty-five grand.

Gorgeous singing by Carlton (from Carlton & The Shoes and The Abyssinians), with tasty nyabinghi drumming in the accompaniment.
“I was writing songs but I didn’t record until 1968. I did one song for Lee Scratch Perry. He gave me £5 and then I didn’t hear anything more about it. Then I went down to Mrs Pottinger, did one song for her named Live and Love on the Gay Feet label. It was played on the radio for a couple of days and it wasn’t going anywhere really because she had some good artists down there at the time and they did some songs that were doing well, so my song wasn’t getting much promotion and it wasn’t being played. I think I heard it twice on the radio and then I didn’t hear it anymore.”