Thirteen and twenty-two minute slices of carnival thunder and lightning from the hill above Port Of Spain in Trinidad. Lengths of steel, assorted bits of metal, African drums. An Honest Jon’s recording.

Ace Berlin house, with a chronic case of the Disco Jerks.

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

All Depends is an intimate, spare do-over of the Spiderman rhythm which Yellowman smashed with Operation Eradication: eight minutes of yearning and pleading, dosed with the stylings of the original Night Nurse himself.
I Put My Trust swaps religious for amorous devotion: musically it is more characteristically Wackies, reverberating but crisp as a biscuit, stepping but spaced-out. Neither track appears on the LP, Great Jah Jah.
Warehouse find; last box.

Luxuriant, mesmerizing Black Ark classics.

Spank Rock’s producer actually, XXX-Change.

Carl Craig back on Honest Jon’s, in devastating form: nervy and urgent, epic and apocalyptic, kicking and funky. Lagos re-tooled in Detroit.

Alasdair Roberts, Nancy Elizabeth, Michael Hurley, James Yorkston, Victoria Williams, Richard Youngs: six ravishing, luminous new interpretations. Short-run vinyl sampler, fine pressing, silk-screened sleeves.

Originally released in 1993 on Planet E.

A Lagos fuji session sets Diplo tearing up walls and stomping across the ceiling; a fragment of afro-folk percussion triggers the Generals’ brilliant futurism; and two sumptuous cuts of the original deal.

A graduate of soundsystems like Gemini and Volcano Hi Power, Little John was twelve years old when he voiced this tune, shifting its sights from snitches and stoolies, straight to the head of all party-poopers. It appeared in 1983 during Sugar’s stay in London after Good Thing Going was a national pop hit in 1980, coming on the Stoke Newington label M And M - presumably named after Minott and his then-partner, Coxsone Dodd’s niece Maxine Stowe. Appearing first with Wackies’ pink-to-orange labels, Batta’s cut is a different mix again to the version on his album. He bows to U-Roy at the start, before switching to a more contemporary delivery. Sugar is in attendance throughout, almost as if the pair were taking turns at the mic, before the dub takes over.
Two versions, different dubwise mixes of Sugar Minott’s massive Informer rhythm — both choca with living dancehall vibes and Channel One-style deadliness.
Warehouse find; last box.