Start-to-finish killer combination of heavier-than-lead Roots Radics rhythms, wild Scientist mixing, and the Flick’s unique singing, often falsetto. Kicks off with an Ain’t Too Proud To Beg.

Three edgy, hard-nosed Wackies steppers.
The propulsive version of Home To Africa here is new to the world, from the original session tapes; and twinned with a nuggety version dusted down and polished especially for this release by Lloyd Barnes himself.

One of the top, top Barringtons on Jah Life. Heavy Channel One rhythms, each quite different; with banging dubs.
Barrington has a rather general go at his dad, mister One-Foot. ‘You are my father, so give me tings, give me tings.’ ‘You don’t buy me no shoes so I can do the boogaloo.’

A stupendous haul of sound-system specials and inspired experiments conjured from some of the greatest reggae rhythms of all time, from the inner sanctum of King Tubby’s studio in the mid-seventies (where Philip Smart was second engineer).
Seething with lethal touches of Tubby; dotted with head-spinning walk-ons for Hugh Mundell, Johnny Clarke, Jacob Miller and co; steeped in the genius of young Augustus Pablo, Smart’s childhood friend.
A staggering turn-up. Utterly crucial.

Biff, baff, boof.
Two hunks of deep Wackies roots; and an amazing, previously unreleased coup de grace.
First off, a haunting, dazed, raving account of being kicked out of a squat; with heavy bass, killer organ, sublime backing vocals, and a hurting, searing Stranger Cole. ‘We’ve got to find a better place.’
Then a tough instrumental outing on the same deadly, signature Wackies rhythm as Clive Hunt’s Black Rose, by Wanachi.
And on the flip: stark, visionary, semi-acoustic primitivism, from the same drama school as early Ras Michael & The Sons of Negus.
Unmissable Wackies.

Ten killer dubs of Barrington Levy, mixed at Tubby’s, mostly unreleased. (The album was shelved in late 1980.)

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.

An intrepid, winning survey of Wackies’ precious first forays in Digi. Old boys Horace Andy and Milton Henry deal the aces. Step forward, Chris Wayne.
With three previously-unreleased sides.
Silk-screened sleeve.

Prime, early-eighties Barrington, expertly fronting chunky Radics on rhythms like The Russians Are Coming and Get In The Groove, in Scientist mixes. No losing with those cards.

Both these sides are previously unreleased blends of the old and the new, in extended mixes.
Can’t Fool I re-unites the born-a-fighter roots warrior with Tasha producer George Nicholson, his chum from school — at last voicing a rhythm from the label’s first-ever recording session, at Channel One in 1978, with the Revolutionaries.
Easy Skanking is Alla on a brand new rhythm by Danny Bassie and Barnabas.

Two previously unreleased sides by this compelling singer: Get Up Natty was cut at Channel One in the mid-eighties, with backing by the Gifted Roots Band, featuring some sick synths and effects; No Peace is new, with Icho still in fine voice, debuting a rhythm by Danny Bassie from the Firehouse Crew, and Channel One legend Barnabas.

Two knockout Wackie’s 12” sides, paired together for maximum pressure. Each originally appeared on separate twelves, around ‘85 and ‘80. The A-side is another deadly Sugar shot, one of so many for Wackie’s. Backed here with the more obscure Zion Land, a stunning, shimmering roots chant. Both sides extended mixes.

‘Double-sided murder Wackie’s from 1978. Originally released on the Jumbo Caribbean Disco label from Brooklyn. Big Leg Mary is on the same rhythm as Wayne Jarrett’s killer Come Let’s Go. Wasn’t It You is a different cut from the earlier one on the Senrab label, but equally lethal. Both sides fully smoked-out dubwise trademark Wackie’s style, and essential.’