Deep, rootical lovers, darkly seething with one-step-at-a-time hurt and steely, vengeful self-esteem. Hypnotic, stripped and disconsolate, with implacable drums and bass, dubwise from the start, the production is classic, unmistakable Wackies, featuring Fabian Cooke’s scattered, abrupt organ stabs and minimal guitar-work, Ras Menelik’s masterful nyabinghi drumming, and harmonic commiseration by Sugar Minott and the Love Joys (with a strangled sob at intervals).
Over six minutes, the extended mix is different to the Love Power LP; and the additional dub, released here for the first time, is unmissable for its extra rawness and dubbed-out emptiness.
Plus thirteen minutes of blissful disco-reggae on the flip: two contrasting dubs of the Giorgio Moroder/Irene Cara/Flashdance cut from Love Power, both previously unreleased and a bit sick.

Heavyweight killer Late Night Blues excursion, with King Tubby.

Swingeing Millsian techno from the geezer formerly known as ∑. Nothing extraneous. Lethal.

Terrific, deep roots, protesting the imprisonment of Desmond Trotter for the 1974 murder of a US tourist in Domenica. (Trots was fingered by a young lady from Antigua called Pretty Pig, the court was told.)
Originally released on the Jumbo Caribbean Disco label run by Brooklyn’s African Record Center shop. Discomixes, both sides.
Don’t miss it.

The recording debut of Baptista from Nagoya in Japan — ‘impulsive and driving but earthy and dark, buzzing with dense energy like a jungle yet spacious like the hall of a mountain king’ — topped off with a remix by Hodge.

From the Life Style LP, produced by Alvin Ranglin in 1981, where it’s entitled I Hold The Handle. The lyrics re-purpose The Heptones, drawing its male-vs-female venom. Barrington’ superb singing luxuriates in this restrained, mid-tempo setting.
Plus dub.

Gospel house the Detroit way. Plus a tough techno-jazz bubbler, and Billy Love in soulful ecstasy, school of Marvin Gaye.