Desmond Dekker & the Aces – Action! (1968)

‘Following hot on the heels of their Jamaican debut album, 1967’s 007 (Shanty Town), Desmond Dekker & the Aces were ready for Action! the following year. Like its predecessor, Action! bundled up another slew of the quintet’s recent hits, as did its successor, 1969’s The Israelites. All were released only in Jamaica, and the fact that “007” reappeared on the Action! set tells you just how seriously producers took the album market on the island. Even so, with its mix of rocksteady and early reggae hits, Action! has remained a popular album, and has been reissued internationally on several occasions. Now it’s been paired with the equally well recycled Intensified set. In any event, taken together, it’s a solid selection of songs, heavy on the hits, but that’s to be expected, as virtually everything Dekker & the Aces released pre-Leslie Kong’s death in 1971 was, and by and large the group’s albums merely rounded them all up on long-players. There are a few odd omissions — no “Pickney Gal,” for example, or “You Can Get It If You Really Want” — and even stranger, “Israelites” appears under the peculiar title “Poor Me Israelites.” However, all self-respecting fans already have “Pickney” and “Get It” in their collections. So what’s of more interest here are the less recycled numbers, like the ethereal “Fu Man Chu,” the demanding “Gimme Gimme,” and the indeed memorable “Unforgettable,” better known as “Bongo Gal.” Unlike that latter, “Gimme” and “Fu” never saw British release, and seem not to have even received proper Jamaican ones, which makes their appearance here a boon for collectors. And “My Lonely World,” which features an American R&B-styled spoken word break, and the emotive “Personal Possession” rarely turn up on the reissue shelves. That said, so often has the bulk of this set appeared that many fans will have to think hard before parting with their money, but for new aficionados, this is an excellent place to start.’
allmusic

YouTube: Mother Pepper, 007, Coconut Woman, Don’t Blame Me, You’ve Got Your Troubles, Personal possession, , Young Generation, Mother Long Tongue, Keep A Cool Head, Fu Man Chu

Junior Reid – Babylon Release The Chain (1984)

YouTube: Babylon Release The Chain

Tyrone Taylor – Move Up Blackman (1975)

YouTube: Move Up Blackman + Up-Full Version

Dee-Jay Explosion Inna Dancehall Style (1982)

“Significantly expanding on the original LP’s 12 cuts, the CD issue of Dee-Jay Explosion offers 21 sides featuring several top early-’80s dancehall DJs live. Cut at the popular Skateland Roller Disco in Kingston, this Heartbeat collection captures reggae toasters in their element: in front of a very enthusiastic crowd and backed by one of the top sound systems on the island. In this case, it’s the famous Gemini Disco crew who provide the sounds, while original DJ Big Youth acts as host — special mention should also go to producer Gussie Clarke, who taped the proceedings for posterity. So, with all the ‘back room’ credits out of the way, one can enjoy the likes of Eek-A-Mouse, Brigadier Jerry, Sister Nancy, Trinity, Yellowman, and Michigan & Smiley expertly working their way through some vintage Studio One rhythms, all the while touching on politics, Rasta business, sex, violence, poverty, and dancehall culture. Considering its rawness, though, Dee-Jay Explosion is best suited for seasoned fans, not those looking for an introduction to Jamaican DJ culture.”
allmusic

amazon

YouTube: Brigadier Jerry : Going down to Texas, Ganja Clash -Welton Irie, Errol Scorcher – Wife And Sweetheart, Prince Mohammed – Turn Me On, Lee Van Cliff & Ranking Toyan ” Go Down Moses , Go Down & Dreadlocks Party”

Pablo Moses – I Man a Grasshopper (1975)

“It was with this quite astonishing single that Pablo Moses was introduced to the roots reggae world in 1975. Moses penned ‘I Man a Grasshopper’ in response to a real-life incident, when his mother’s lodger informed the police that Moses was smoking marijuana. Moses was particularly incensed because he had deliberately steered clear of the renter, and hypocritically enough, the lodger loved his drink even more than Moses enjoyed his ganja. That fact was reflected in Moses’ lyric ‘That man loves sea and fish bowl,’ an intriguing metaphor for a drunkard. It was several years before the song was actually recorded, when it finally came to the attention of producer Geoffrey Chung, whose guitarist brother Mikey was good friends with Moses. At that point, the producer took the singer straight to the Black Ark studio, with Mikey in tow, and Mike Murray of the In Crowd tossed out the sensational rock guitar leads that sear the backing. The riddim, which also featured Clive Hunt on bass and Robby Lynn on organ, was one of the first true rock-reggae hybrids, an incredible number virtually unique in sound. Released in 1975, ‘Grasshopper’ shredded the Jamaican chart, then hopped off to ravage the reggae scenes abroad. One of the most awesome debuts in Jamaican history.”
allmusic

YouTube: I Man A Grass Hopper / Part II (Custom Disco)

Wailing Souls – Jah Jah Give Us Life To Live (1978)

“In 1971, JoJo Hookim and his brother Ernest entered the music business. The siblings had no previous experience in the industry, and thus, it took several years for them to really have any impact. By 1976, however, their roots sound would rule the island. It was the creation of the house band the Revolutionaries that helped the label reach these heights, the band driven by the phenomenal rhythms of drummer Sly Dunbar and bassist Robbie Shakespeare who were now paired regularly for the first time. ‘Jah Jah Give Us Life’ epitomizes the Channel One sound. The arrangement is dense but the sound so clean one can easily distinguish every instrument, from the pretty keyboard flourishes to the sultry bass line, even as the nyahbinghi-flavored percussion patter powerfully underneath. But this is roots with a kick, and instead of the usual hypnotic atmosphere, there’s an up-tempo swing to it all that defines the rockers style. It’s the perfect accompaniment for the Wailing Souls, as they struggle to stay awake to meet the rising sun, so they can offer up their thanks to Jah. Most roots groups deliver up their devotional songs with reverence, but the Souls instead offer theirs with an unquenchable spirit. Life, Jah’s greatest gift, courses through their performance and across the Revolutionaries’ rhythm.”
allmusic

YouTube: Jah Jah Give Us Life To Live (Extended)

Delroy Wilson – Don’t Look Back

YouTube: Don’t Look Back

Dillinger – Slipe Pen Road Rock + Tell The Truth Version (1977)

YouTube: Slipe Pen Road Rock + Tell The Truth Version

Willie Lindo – Far & Distant (1974), Samba Pa Ti (1976)

“A legendary session guitarist as well as producer for such greats as Beres Hammond and Maxi Priest, Willie Lindo is much too bright a gemstone to be left uncovered. I stumbled onto him on one of my YouTube-digging runs with the homie 80rock when we discovered Midnight, a sumptuous piece of gourmet music. Its sheer brilliance moved me: timeless dub, executed to perfection. After trolling about on eBay, I was lucky enough to find his album on wax. The B-Side sees Lindo cover Al Green and Bobby Womack, converting their slow jams into stoney instrumental masterpieces, a sort of precursor to the hiphop way of sampling and reinterpreting our collective heritage. Fun factoid: Far & Distant was recorded at 220 Marcus Garvey Drive, eight years prior to Rita Marley relocating Tuff Gong International to that address. A relic from an era where being ‘in the studio’ actually meant something, beyond the vapid Twitter broadcasts from would-be artists who swear they’re ‘on the grind’.”
Music Is My Sanctuary

YouTube: Samba patti, Midnight

The Dreads / King Tubby – If Deejay Was Your Trade: The Dreads at King Tubby’s 1974-1977 (1994)

“Although Bunny Lee first entered the music industry back in 1962, he didn’t move into production until 1967. Even as he oversaw a string of hits in the rocksteady age, notably with the Uniques and Roy Shirley, it was the roots age on which Lee really stamped his imprimatur. Carlton ‘Santa’ Davis, drummer with Lee’s studio band, the Aggrovators, created the band’s distinctive ‘flying cymbals’ sound, and with it the producer’s 45s stormed the dancehalls. However, without his own studio, Lee had to be particularly innovative to turn a profit, and the producer’s two-pronged solution would change the course of Jamaican music. To save money, Lee utilized the same backing track for a variety of different releases, popularizing “versions,” a trend that continues today and has yet to peak. Second, rather than having his band waste time learning new songs, Lee set the Aggrovators loose on Studio One and Treasure Isle classics, reinventing these golden oldies in steppers and rockers style. Recycling, too, remains integral to the modern dancehall. Lee’s vocalists happily composed new lyrics for these newly resurrected riddims, but in the end, these innovations favored the DJs, and by the ’80s, the toasters had virtually displaced vocalists in the dancehalls. If Deejay Was Your Trade showcases some of Lee’s best chatterers, all voiced and mixed down at King Tubby’s studio. As listeners have come to expect from Blood & Fire, an excellent booklet is included, providing pocket bios of the DJs as well as any other salient information, and identifying each of the riddims. …”
allmusic

“… So says deejay Big Joe on the opening track on this indispensable compilation of classic mid-seventies deejay sides from the Bunny Lee stable courtesy of a new reggae label inaugurated by Dub Catcher’s very own Steve Barrow. Without pretension to the intrepid weirdness of a Lee Perry, nor the deep spiritual vibe of an Augustus Pablo or Yabby U, Edward ‘Bunny’ Lee’s name may not enjoy the mythical status afforded these contemporaries, but they didn’t call him Striker Lee the Hit Man for nothing. Bunny simply gave the people what they wanted, and those records appearing on his Jackpot, Justice, Attack and Hot Stuff labels, almost always carrying a thunderous King Tubby dub on the reverse, were among the most popular of their day. Listening to this album you feel as if you are right there in Tubby’s studio; Tubbs is at the board and the deejays are lined up and ready. Bunny’s irrepressible spirit fills the room, he knows what he wants and if the deejay runs out of lyrics, well, Bunny will always proffer a couplet or two. Tubbs lines up the tape, Bunny shouts “Go deh now”, and the Aggravators new cut of John Holts ‘Ali Baba’ rhythm cranks out over the headphones. …”
Blood and Fire

YouTube: Tradition Skank, If Deejay Was Your Trade – Listening Samples