Ace late-seventies roots featured in the Deep Roots documentary — so coolly poised — from the Breakfast In Bed hit-maker. Tough Dennis Brown composition, written specially for Sheila.

Heartfelt, blessed early-eighties Maxfield Avenue roots, in short supply from the off. Pressed from the original stamper, Digikiller-style: a few clicks at the start can’t test rudie.

Pious sex-pol, on a tuff Billie Jean lick. ‘When you come home, a next man asleep in your pyjamas… and then you charge fi murder, Jah Jah know. The man them a worries but the woman them a problem.’

Tasty rudeboy anthems from Cedric ‘Congos’ Myton, Devon Russell and co —  a dancehall tribute and a jailhouse portent. Double-bass in the place.

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

Pure loveliness from 1967 — with an acappella version.

All-time rocksteady murder.
The flip’s killer, too. ‘I don’t want no trouble now, no, no, no.’

Trilbies off to the herb superb — with a rocking backbeat, from 1966.
Nice bass on the flip, too — strong, minor-key storybook-soul.

Overproof sufferers by Sweeney Williams, with the Wailers Band.

Late-eighties Callo Collins production of the Youth Promotion cohort.

Rasta Cowboy excursion.

On the Chopper version of Billie Jean.

The great deejay’s deliriously authoritative toast of Satta.
‘Why do the heathen rage? Let us break their bands asunder.’

Crucial version of the Horace; with a nice minor-key flip.

Celebrated late-eighties soundboy business — another of his very best, revived at last.

Ace, quirky one-away — effervescent singing on a bubbling rhythm, with ticking drums and deft keyboard interjections.

Highly recommended — previously unreleased digi fire from the same sessions and mould as He Was A Friend.

The fledgling Wailing Souls, rocking steady but broken-hearted in 1966; backed with the perfect ska antidote, a previously-unreleased Hopeton Lewis pick-me-up.

Bumping rocksteady — with a gospel, Toots flavour to the A; a little more booting rhythm and blues to the flip.

1966 rocksteady, elegantly heartfelt as Nat King Cole.

The greatest rocksteady instrumental of them all.
Haughtily cool and deadly; a stepping razor of a tune. (Just ask the ODB.)
Back in after a long absence. Hail the rebel sound.

Juggernaut version of the Four Tops, with Ike Bennett at the organ leading Ilya Kuryakin on the flip.