The magnificent Moroccan singer in settings of eighth-century poems by the Sufi saint Rabi’a Al-‘Adawiyya.

The first of two volumes drawing on three stone-classic Blood & Fire compilations: Dub Gone Crazy, Dub Gone 2 Crazy, and Dub Like Dirt. A truly monumental selection of mind-bending mixes by King Tubby, Prince Jammy, Pat Kelly, Phillip Smart, and Scientist. The flip-sides of killer 45s by Johnny Clarke, Cornell Campbell, Delroy Wilson, Horace Andy, Leroy Smart — banger after banger, including nuff anthems — and specials from deep inside Bunny Lee’s archives. Indispensable.

The second of two LP volumes drawing on three stone-classic Blood & Fire compilations: Dub Gone Crazy, Dub Gone 2 Crazy, and Dub Like Dirt. A truly monumental selection of mind-bending mixes by King Tubby, Prince Jammy, Pat Kelly, Phillip Smart, and Scientist. The flip-sides of killer 45s by Johnny Clarke, Cornell Campbell, Delroy Wilson, Horace Andy, Leroy Smart — banger after banger, including nuff anthems — and specials from deep inside Bunny Lee’s archives. Indispensable.

Cedric was a jazz nut. Enrolled at Alpha Boys aged eight, he was soon revelling in Ruben Delgado’s new jazz course. He flourished under Lennie Hibbert’s directorship, before setting out in the early sixties with Sonny Bradshaw’s big band, followed by a residency with Leslie Butler and Hedley Jones playing jazz at Club 35 in Montego Bay; then stints with the bands of Granville Williams, Cecil Lloyd and Teddy Greaves. “Kind of easy listening jazz, mixed with some of the regular pop stuff, for dancing.”
Amazingly, by the end of the decade Cedric was living in Philadelphia, on the verge of moving in with the Arkestra. He jammed up in the hills with Count Ossie, at Rockfort; and towards the end of his life, he jammed on the New York subway. Sonny Rollins was his main man. Have another listen to him on Door Peep Shall Not Enter.

It’s all magnificently expressed in these two highlights of the Africa Calling LP, recorded at Treasure Isle with Errol Brown for producer Sonia Pottinger in 1977.
Expertly explosive brass arrangements and brilliant soloing, electric keys and wah wah guitar gently counterposed to nyabinghi group-drumming; with uncontrived spirituality, nothing easy or halfway-house.
Bim.

Rough! Same rhythm as Frankie Paul’s Leave It To Me. Moody, inimitable, brilliant Jammys, with inspirational singing by the great CC.

Typically fine singing, over crisp, bare Tubbys digi, with strong backing vocals on both sides.
Hey Mr. Cop is a draft of the song he recorded for Bunny Lee, over Rumours; the flip does over his Jammys smash.
Dubplate action.

With a deadly, riding-east tang to the moody rhythm, sublime singing, murderous bass… Scorcher.

Wow.
Deep, dark, synthy mixes of this anthemic, hurting masterpiece; previously unreleased.

The bees knees in soulful rocksteady. The elegant, poised singer rides killer Studio One rhythms by Jackie Mittoo and co, featuring magisterial soloing and beautiful backing vocals. Unmissable classics like How Can I Love Someone and Don’t Know. It’s a must.