Jah Walton – Gourmandizer / Mighty Two – Mandizer Rock (1976)

“I once saw some raw footage of a, sadly unfinished, documentary about life in Jamaica. The snippet showed an elderly, proud rastaman who declared that it’s nearly impossible to die of starvation on the island. The country indeed produces a very rich and great variety of fruits and vegetables and it may come as no surprise that many also have a song of praise to their name. The mighty Gourmandizer is one such tune. Gourmandizer also marked the debut of a new dj on the scene. Born in St. Ann, a son of the legendary drummer Count Ossie, the consistently sharp dressed Jah Walton quickly made waves with his vegetarian lifestyle promosong and never looked back. … After which the Joe Gibbs version of the ‘Unchained’ riddim is unleashed (a next cut to ‘Schooling the beat’ off of African Dub part I) with Jah Walton explaining he ‘nah deal wid pork.’ It’s hard to believe this is the first recording of this dj, as it is delivered in such a fine and confident style, you’d expect the man on the mic to be more experienced. I guess it’s fair to say Jah Walton is a natural talent. …”
Pressure Beat (Video)
YouTube: Jah Walton – Gourmandizer

Culture & Prince Mohammed – Zion Gate – Forty Leg Dread (1977)

“Culture updates the Paragons’ classic Studio One rocksteady anthem ‘My satisfaction‘ and turn it into a real roots reggae ‘n rockers tune. The superb ‘Zion Gate’ owes a lot to its blueprint, but both Joseph Hill and Lloyd’s Parks’ Professionals add enough of their own to mold it into something truly unique. So much so, in fact, that the tune inspired a whole series of next cuts, still going on well into the 2000’s, all bearing ‘Zion Gate’ as name for the riddim, rather than ‘My satisfaction.’ …”
Pressure Beat
Discogs
YouTube: Culture & Prince Mohammed – Zion Gate – Forty Leg Dread, Joe Gibbs & The Professionals – Zion Rock

Bim Sherman meets Horace Andy and U black – In A Rub A Dub Style (1979)

“Originally released in 1982, this killer slab combines the talents of two of reggae’s greatest male vocalists: the smoking DJ and producer Jah Whoosh, and Prince Jammy at Studio 1 and King Tubby’s. Not that any other recommendation is necessary, but while we’re at it, all of the tracks are eerie and atmospheric in soulful dub style, played by Leroy Wallace, Sly Dunbar, Errol Flabba Holt, Bingy Bunny, Ansel Collins, and others. Of the ten tracks here, six feature the A-sides with the combined dub flipsides tacked onto the ends. It works like a charm. A clear standout is Bim Sherman’s opener, ‘It Must Be a Dream,’ with the dubwise elements added after his extended vocal, including a killer trombone solo by Vincent Gordon. Horace Andy’s babymaker ‘Tonight’ is the dub version, but there’s enough of his utterly sensual vocal to make the dread elements of dub come through in the track’s eroticism. ‘Dread Pan Some’ and its dub feature U. Black and Andy interweaving their vocals together. Black’s DJ toasting style is not as radically in your face as some of his predecessors, though it’s just as effective in this context. This collection culls some rare tracks, and places them in a sequence that maximizes the dubwise trance elements and possesses true dread force. Recommended.”
allmusic
Discogs
YouTube: Bim Sherman meets Horace Andy and U black – In A Rub A Dub Style

Rod Taylor – “His Imperial Majesty” / “Sun Moon and Stars” (1978)

“… After years of requests we are pleased to offer a limited edition of ‘His Imperial Majesty’ by Rod Taylor mixed by King Tubby coupled with ‘Sun Moon and Stars’ recorded by The Roots Radics, mixed by Mervyn Williams at Aquarius. A must for those who love the roots.”
Mikey Dread
Soundcloud: Rod Taylor – His Imperial Majesty Mikey Dread & King Tubby
YouTube: His Imperial Majesty + Mikey Dread & King Tubby, Rod TAYLOR & Joseph COTTON “His Imperial Majesty” (Live), Sun Moon & Stars (Extended) – 10inch / Dread At The Control

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”

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

Jah Woosh

“In a crowded field, toaster Jah Woosh — born Neville Beckford in Kingston, Jamaica, in 1952 — left his mark on the roots age with a string of popular singles and a series of seminal albums. Haile Selassie’s 1966 state visit to Jamaica prompted Beckford’s conversion to Rastafarianism, and Prince Lloyd’s Sound System made an equal musical impact, providing a launching pad for Beckford’s career. He teamed up with friend Reggae George as Neville & George, but the pair famously failed auditions for both Coxsone Dodd and Duke Reid, bringing the partnership to a swift end. George Bell, however, sent the newly christened Jah Woosh into the studio in 1972, although ‘Morwell Rock’ never gained a proper release. …”
allmusic

“Neville Beckford (1952 – 21 February 2011), better known as Jah Woosh, was a Jamaican reggae deejay and record producer, primarily known for his work in the 1970s. Born in Kingston, Jamaica, Beckford served an apprenticeship as a mechanic before forming a duo with Reggae George, Neville & George, and auditioning for Jamaica’s top producers. Unsuccessful as a duo, they both went on to solo careers. Beckford became the resident deejay on Prince Lloyd’s sound system, and was noticed by producer George Bell, who took him into the studio to record ‘Angela Davis’, now under the pseudonym Jah Woosh. Although the single was not a hit, it prompted Rupie Edwards to produce the debut album, Jah Woosh, released in 1974 on the United Kingdom Cactus label. Chalice Blaze and Psalms of Wisdom followed in 1976, these three albums establishing a reputation in the UK. A string of albums and singles followed through the 1970s and early 1980s. Woosh also contributed to Adrian Sherwood’s Singers & Players collective.”
Wikiedia

YouTube: So We Stay, Goosie Leg, Walls Of Babylon, Dread Situation (Psalms Of Wisdom), Psalm 121, Guiding Star / Guiding Star Dub, Religious Dread, Live Upright, African Sound, Shine Eye Girl (D.J Legend)

King Stitt – Coxsone Downbeat Dancehall ‘ 63 Party (1992), Reggae, Fire, Beat (2008)

“Born Winston Cooper, King Stitt was one of the early DJs on the reggae scene. Spotted by Count Machuki at a dance, Stitt was asked to try his hand at DJing because of his spectacular dance moves. Born with facial disfigurement, Stitt used it as a gimmick, taking advantage of the islanders’ love for Westerns and calling himself the Ugly, after Sergio Leone’s The Good, the Bad, and the Ugly. Initially, people went to his shows to find out if he really was ugly or not. After a time, he came into his own as a DJ without needing the gimmick, using ideas taken from radio DJs in Miami and New Orleans that came over the broadcasts to Jamaica. He began working with Coxsone Dodd, and then moved on to Clancy Eccles, with whom he produced a number of works that met with success in both Jamaica and the U.K.– ‘Fire Corner,’ ‘Herbman Shuffle,’ and ‘Van Cleef’ (because Lee Van Cleef was the ‘ugly one’ in the movie). Now, he works at Coxsone’s Studio One from time to time.”
allmusic

YouTube: King Stitt Coxsone Downbeat Dancehall ‘ 63 PARTY – Studio 1 (1 roland alponso – four corners 2 owen gray – on the beach 3 coxsone dodd – the shock 4 coxsone dodd – paradise plum), Reggae, Fire, Beat, King Alpha (The Beginning), Dance Beat 1, Jump For Joy, Soul Language, Herbsman Shuffle, Lick It Back, Lee Van Cleef, On The Street, Vigorton Two, Oh Yeah, Fire Corner, I For I, In The City, Rub A Dub, Sounds Of The 70’s, Christmas Tree, King Of Kings, Queen Omega (The End)

Dillinger – Freshly (1976)

“For reasons He kept unto Himself, the Lord relayed a long list of dietary dos and don’ts to Moses and Aaron, thus instructing the children of Israel in a Kosher kitchen regiment. Rastafarians ingested these same rules found in Leviticus 11, which is where Dillinger turned for his sermon on living ‘Freshly’. ‘Man shall not live by bread alone, but by the word that proceedeth out of the mouth of Jah,’ the DJ begins, and after 40 days and nights in the wilderness, Natty Dread is hungry, but no mutton for him, no steak, just stepped grape. Out of the wilderness and down into Kingston, through the valley of death, the toaster walks reciting his dietary rules all the way. Overseen by Yabby You, and utilizing a stark version of his own ‘Jah Vengeance’ rhythm, this fierce dread masterpiece from 1974 gave Dillinger his first big hit, many more were to follow.”
allmusic

YouTube: Freshly

U-Roy – Dread in a Babylon (1975)

‘Even without the music, this album would still leap off the racks; its photo of U Roy exhaling a mushroom cloud of marijuana smoke from his ever-available pipe ranks among the all-time greatest covers, regardless of genre. However, U Roy doesn’t have any trouble coming across as a distinctive presence; his scattershot repertoire of barks, chants, and screams is as critical or more important as the deft, unobtrusive backing woven behind him. U Roy imposes his own willful style, regardless of setting. Sometimes he pulls off a positively poppy veneer on tracks like “Runaway Girl” or “Silver Bird”; other times, he extemporizes slightly ahead of the beat on “Natty Don’t Fear” or “The Great Psalms.” His lyrics run the gamut of Rastafarian concerns, from facing adversity (“Dreadlocks Dread”) to female troubles (“I Can’t Love Another”) and royalist run-ins (“Chalice in the Palace”). The uncredited musicians stay out of the way (although they get their own album-closing instrumental, “Trench Town Rock”). This album ranks among the ’70s dub masterpieces, even if the odd lyrical clinker keeps it from perfection; “Runaway Girl”‘s glistening skank can’t paper over its sexism (which suggests the girl in question “may be nice/but you’re not that smart”). Even so, sometimes an artist only needs charisma to get across, and U Roy handily wins on that score.’
allmusic

‘… Mixing together fantastic dub beats, and also being largely responsible for the practice of “toasting,” it is due to the efforts and vision of U-Roy that there is a hip-hop genre today. While he continues to make music today, there is perhaps no better a representation of his sound, and no more important a record for so many genres then U-Roy’s brilliant 1975 release, Dread In A Babylon. As the 1960’s turned into the 1970’s, portable sound systems became more readily available, and large dance parties began to move out of the dance halls and into open, public spaces. This trend, which occurred across the globe, made the necessity of a DJ far more important. Yet, it was far more then just playing songs; the DJ had to be able to keep the crowd’s mood good with his skills on the microphone. Presenting clever rhyming and commentary, which took on the name “toasting,” this is where the entire hip-hop genre began. In fact, early hip-hop DJ’s, like DJ Kool Herc and Afrika Bambaataa were far more akin to “toasters” then they were to modern day emcees. Among all these early toasters, U-Roy was unquestionably the finest of the group, and the rhymes that he presented over early dub plates are like nothing else found at the time. U-Roy’s debut record completely changed the face of Jamaican music, proving that there was far more to the island then just the reggae sound. The cover of Dread In A Babylon has also become massively memorable, as there are actually four different versions, all featuring the same theme: U-Roy disappearing behind a giant cloud of smoke. Without question, one of the most iconic album covers in history, many make the case that, even without the fantastic music, the album would have done well simply by this cover.’
The Daily Guru

YouTube: Dread In A Babylon – runaway girl, chalice in the palace, i can’t love another, dread locks dread, the great psalms, natty don’t fear, african message, silver bird, listen to the teacher, trench town rock