- 01“Double Barrel”As far as I know Ansell [Collins] made both riddim tracks, for “Double Barrel” and “Monkey Spanner”, long before Winston Riley got hold of them.from the chapter
- 02“Monkey Spanner”As far as I know Ansell [Collins] made both riddim tracks, for “Double Barrel” and “Monkey Spanner”, long before Winston Riley got hold of them.from the chapter
- 03“You Don't Care”Treasure Isle was Duke Reid's, which kicked off with the Techniques’ ‘You Don't Care’; Studio One and Coxsone were dedicated Dodd; Amalgamated catered for Joe Gibbs; Dandy for Dandy Livingstone's UK productions; High Note handled Sonia Pottinger; while Blue Cat, Big Shot and Duke featured a number of different producers (the latter being originally strictly Duke Reid, but soon branching out).from the chapter
- 04“Door Peep”If for no other reason, the enterprise ought to be remembered for releasing Burning Spear's ‘Door Peep’ in the UK years before most young British reggae buyers, black or white, had the remotest idea what a dreadlock was.from the chapter
- 05“You Got Soul”They were Johnny Nash's smooove rocksteady reading of ‘You Got Soul’ (Top 10 in February); Desmond Dekker's ‘Israelites’, the first reggae number 1; and Harry J All-Stars’ syncopated Winston Wright-organ workout ‘The Liquidator’ (Top 10 in November), on the Trojan/B&C exclusively Harry Johnson label Harry J.from the chapter
- 06“Israelites”They were Johnny Nash's smooove rocksteady reading of ‘You Got Soul’ (Top 10 in February); Desmond Dekker's ‘Israelites’, the first reggae number 1; and Harry J All-Stars’ syncopated Winston Wright-organ workout ‘The Liquidator’ (Top 10 in November), on the Trojan/B&C exclusively Harry Johnson label Harry J.from the chapter
- 07“The Liquidator”They were Johnny Nash's smooove rocksteady reading of ‘You Got Soul’ (Top 10 in February); Desmond Dekker's ‘Israelites’, the first reggae number 1; and Harry J All-Stars’ syncopated Winston Wright-organ workout ‘The Liquidator’ (Top 10 in November), on the Trojan/B&C exclusively Harry Johnson label Harry J.from the chapter
- 08“Return of Django”…or of the popping, snapping skinhead variety – and ushered in what would be known as the Trojan explosion; a big bang made official by the British pop chart of 15 November 1969, which featured three Trojan/B&C singles in its Top 20: the Upsetters’ ‘Return of Django’ (number 5), ‘Wonderful World, Beautiful People’ by Jimmy Cliff (number 7) and ‘Liquidator’ still hanging in there at number 17.from the chapter
- 09“Wonderful World, Beautiful People”…or of the popping, snapping skinhead variety – and ushered in what would be known as the Trojan explosion; a big bang made official by the British pop chart of 15 November 1969, which featured three Trojan/B&C singles in its Top 20: the Upsetters’ ‘Return of Django’ (number 5), ‘Wonderful World, Beautiful People’ by Jimmy Cliff (number 7) and ‘Liquidator’ still hanging in there at number 17.from the chapter
- 10“Liquidator”…or of the popping, snapping skinhead variety – and ushered in what would be known as the Trojan explosion; a big bang made official by the British pop chart of 15 November 1969, which featured three Trojan/B&C singles in its Top 20: the Upsetters’ ‘Return of Django’ (number 5), ‘Wonderful World, Beautiful People’ by Jimmy Cliff (number 7) and ‘Liquidator’ still hanging in there at number 17.from the chapter
- 11“It Mek”At the end of 1969 Desmond Dekker's total sales had been sufficiently swollen by ‘Israelites” Top 10 follow-up ‘It Mek’ to have surpassed Cliff Richard's during the year, while Johnny Nash, with ‘I Know You Got Soul’ and ‘Cupid’, was also in the ten best-selling male artists' list.from the chapter
- 12“I Know You Got Soul”At the end of 1969 Desmond Dekker's total sales had been sufficiently swollen by ‘Israelites” Top 10 follow-up ‘It Mek’ to have surpassed Cliff Richard's during the year, while Johnny Nash, with ‘I Know You Got Soul’ and ‘Cupid’, was also in the ten best-selling male artists' list.from the chapter
- 13“Cupid”At the end of 1969 Desmond Dekker's total sales had been sufficiently swollen by ‘Israelites” Top 10 follow-up ‘It Mek’ to have surpassed Cliff Richard's during the year, while Johnny Nash, with ‘I Know You Got Soul’ and ‘Cupid’, was also in the ten best-selling male artists' list.from the chapter
- 14“Young, Gifted and Black”The following couple of years were even better, with an enormous proportion of these tunes being on Trojan/B&C labels: Bob & Marcia's ‘Young, Gifted and Black’ and ‘Pied Piper’; Boris Gardiner's ‘Elizabethan Reggae’; Nicky Thomas's ‘Love of the Common People’; Desmond Dekker's ‘You Can Get It If You Really Want’; Jimmy Cliff's ‘Wild World’; the Pioneers' ‘Long Shot Kick de Bucket’ and ‘Let Your…from the chapter
- 15“Pied Piper”The following couple of years were even better, with an enormous proportion of these tunes being on Trojan/B&C labels: Bob & Marcia's ‘Young, Gifted and Black’ and ‘Pied Piper’; Boris Gardiner's ‘Elizabethan Reggae’; Nicky Thomas's ‘Love of the Common People’; Desmond Dekker's ‘You Can Get It If You Really Want’; Jimmy Cliff's ‘Wild World’; the Pioneers' ‘Long Shot Kick de Bucket’ and ‘Let Your…from the chapter
- 16“Elizabethan Reggae”…couple of years were even better, with an enormous proportion of these tunes being on Trojan/B&C labels: Bob & Marcia's ‘Young, Gifted and Black’ and ‘Pied Piper’; Boris Gardiner's ‘Elizabethan Reggae’; Nicky Thomas's ‘Love of the Common People’; Desmond Dekker's ‘You Can Get It If You Really Want’; Jimmy Cliff's ‘Wild World’; the Pioneers' ‘Long Shot Kick de Bucket’ and ‘Let Your Yeah…from the chapter
- 17“Love of the Common People”…with an enormous proportion of these tunes being on Trojan/B&C labels: Bob & Marcia's ‘Young, Gifted and Black’ and ‘Pied Piper’; Boris Gardiner's ‘Elizabethan Reggae’; Nicky Thomas's ‘Love of the Common People’; Desmond Dekker's ‘You Can Get It If You Really Want’; Jimmy Cliff's ‘Wild World’; the Pioneers' ‘Long Shot Kick de Bucket’ and ‘Let Your Yeah Be Yeah’; Greyhound's ‘Black and White’…from the chapter
- 18“You Can Get It If You Really Want”…on Trojan/B&C labels: Bob & Marcia's ‘Young, Gifted and Black’ and ‘Pied Piper’; Boris Gardiner's ‘Elizabethan Reggae’; Nicky Thomas's ‘Love of the Common People’; Desmond Dekker's ‘You Can Get It If You Really Want’; Jimmy Cliff's ‘Wild World’; the Pioneers' ‘Long Shot Kick de Bucket’ and ‘Let Your Yeah Be Yeah’; Greyhound's ‘Black and White’, ‘Moon River’ and (as Freddie Notes and the Rudies)…from the chapter
- 19“Wild World”…Gifted and Black’ and ‘Pied Piper’; Boris Gardiner's ‘Elizabethan Reggae’; Nicky Thomas's ‘Love of the Common People’; Desmond Dekker's ‘You Can Get It If You Really Want’; Jimmy Cliff's ‘Wild World’; the Pioneers' ‘Long Shot Kick de Bucket’ and ‘Let Your Yeah Be Yeah’; Greyhound's ‘Black and White’, ‘Moon River’ and (as Freddie Notes and the Rudies) ‘Montego Bay’; Horace Faith's ‘Black…from the chapter
- 20“Long Shot Kick de Bucket”…Boris Gardiner's ‘Elizabethan Reggae’; Nicky Thomas's ‘Love of the Common People’; Desmond Dekker's ‘You Can Get It If You Really Want’; Jimmy Cliff's ‘Wild World’; the Pioneers' ‘Long Shot Kick de Bucket’ and ‘Let Your Yeah Be Yeah’; Greyhound's ‘Black and White’, ‘Moon River’ and (as Freddie Notes and the Rudies) ‘Montego Bay’; Horace Faith's ‘Black Pearl’; Max Romeo's ‘Wet Dream’ (his…from the chapter
- 21“Let Your Yeah Be Yeah”…Reggae’; Nicky Thomas's ‘Love of the Common People’; Desmond Dekker's ‘You Can Get It If You Really Want’; Jimmy Cliff's ‘Wild World’; the Pioneers' ‘Long Shot Kick de Bucket’ and ‘Let Your Yeah Be Yeah’; Greyhound's ‘Black and White’, ‘Moon River’ and (as Freddie Notes and the Rudies) ‘Montego Bay’; Horace Faith's ‘Black Pearl’; Max Romeo's ‘Wet Dream’ (his own composition, but turned…from the chapter
- 22“Black and White”…of the Common People’; Desmond Dekker's ‘You Can Get It If You Really Want’; Jimmy Cliff's ‘Wild World’; the Pioneers' ‘Long Shot Kick de Bucket’ and ‘Let Your Yeah Be Yeah’; Greyhound's ‘Black and White’, ‘Moon River’ and (as Freddie Notes and the Rudies) ‘Montego Bay’; Horace Faith's ‘Black Pearl’; Max Romeo's ‘Wet Dream’ (his own composition, but turned down by John Holt, Derrick Morgan…from the chapter
- 23“Moon River”…People’; Desmond Dekker's ‘You Can Get It If You Really Want’; Jimmy Cliff's ‘Wild World’; the Pioneers' ‘Long Shot Kick de Bucket’ and ‘Let Your Yeah Be Yeah’; Greyhound's ‘Black and White’, ‘Moon River’ and (as Freddie Notes and the Rudies) ‘Montego Bay’; Horace Faith's ‘Black Pearl’; Max Romeo's ‘Wet Dream’ (his own composition, but turned down by John Holt, Derrick Morgan, Roy Shirley and…from the chapter
- 24“Montego Bay”…Want’; Jimmy Cliff's ‘Wild World’; the Pioneers' ‘Long Shot Kick de Bucket’ and ‘Let Your Yeah Be Yeah’; Greyhound's ‘Black and White’, ‘Moon River’ and (as Freddie Notes and the Rudies) ‘Montego Bay’; Horace Faith's ‘Black Pearl’; Max Romeo's ‘Wet Dream’ (his own composition, but turned down by John Holt, Derrick Morgan, Roy Shirley and Slim Smith before producer Bunny Lee talked Max into…from the chapter
- 25“Black Pearl”…World’; the Pioneers' ‘Long Shot Kick de Bucket’ and ‘Let Your Yeah Be Yeah’; Greyhound's ‘Black and White’, ‘Moon River’ and (as Freddie Notes and the Rudies) ‘Montego Bay’; Horace Faith's ‘Black Pearl’; Max Romeo's ‘Wet Dream’ (his own composition, but turned down by John Holt, Derrick Morgan, Roy Shirley and Slim Smith before producer Bunny Lee talked Max into voicing it himself); and Dave…from the chapter
- 26“Wet Dream”…Shot Kick de Bucket’ and ‘Let Your Yeah Be Yeah’; Greyhound's ‘Black and White’, ‘Moon River’ and (as Freddie Notes and the Rudies) ‘Montego Bay’; Horace Faith's ‘Black Pearl’; Max Romeo's ‘Wet Dream’ (his own composition, but turned down by John Holt, Derrick Morgan, Roy Shirley and Slim Smith before producer Bunny Lee talked Max into voicing it himself); and Dave & Ansell Collins's ‘Double…from the chapter
- 27“Reggae in Your Jeggae”…the more underground skinhead side was throwing up its own lower-profile big sellers, some of which were obvious to the point of being exploitative, others somewhat unexpected: Dandy's ‘Reggae in Your Jeggae’ and ‘Move Your Mule’; Symarip's ‘Skinhead Moonstomp’; King Stitt's ‘Herbman Shuffle’; Andy Capp's ‘Pop-a-Top’ and ‘The Law’; Derrick Morgan's ‘Moon Hop’, the Ethiopians' ‘The Whip’…from the chapter
- 28“Move Your Mule”…side was throwing up its own lower-profile big sellers, some of which were obvious to the point of being exploitative, others somewhat unexpected: Dandy's ‘Reggae in Your Jeggae’ and ‘Move Your Mule’; Symarip's ‘Skinhead Moonstomp’; King Stitt's ‘Herbman Shuffle’; Andy Capp's ‘Pop-a-Top’ and ‘The Law’; Derrick Morgan's ‘Moon Hop’, the Ethiopians' ‘The Whip’, ‘Everything Crash’ and…from the chapter
- 29“Skinhead Moonstomp”…own lower-profile big sellers, some of which were obvious to the point of being exploitative, others somewhat unexpected: Dandy's ‘Reggae in Your Jeggae’ and ‘Move Your Mule’; Symarip's ‘Skinhead Moonstomp’; King Stitt's ‘Herbman Shuffle’; Andy Capp's ‘Pop-a-Top’ and ‘The Law’; Derrick Morgan's ‘Moon Hop’, the Ethiopians' ‘The Whip’, ‘Everything Crash’ and ‘Reggae Hit the Town’; the…from the chapter
- 30“Herbman Shuffle”…some of which were obvious to the point of being exploitative, others somewhat unexpected: Dandy's ‘Reggae in Your Jeggae’ and ‘Move Your Mule’; Symarip's ‘Skinhead Moonstomp’; King Stitt's ‘Herbman Shuffle’; Andy Capp's ‘Pop-a-Top’ and ‘The Law’; Derrick Morgan's ‘Moon Hop’, the Ethiopians' ‘The Whip’, ‘Everything Crash’ and ‘Reggae Hit the Town’; the Upsetters' ‘Clint Eastwood’, ‘Dry Acid’ and…from the chapter
- 31“Pop-a-Top”…the point of being exploitative, others somewhat unexpected: Dandy's ‘Reggae in Your Jeggae’ and ‘Move Your Mule’; Symarip's ‘Skinhead Moonstomp’; King Stitt's ‘Herbman Shuffle’; Andy Capp's ‘Pop-a-Top’ and ‘The Law’; Derrick Morgan's ‘Moon Hop’, the Ethiopians' ‘The Whip’, ‘Everything Crash’ and ‘Reggae Hit the Town’; the Upsetters' ‘Clint Eastwood’, ‘Dry Acid’ and ‘Live Injection’; the…from the chapter
- 32“Pop-a-Top”Dandy’s ‘Reggae in Your Jeggae’ and ‘Move Your Mule’; Symarip’s ‘Skinhead Moonstomp’; King Stitt’s ‘Herbman Shuffle’; Andy Capp’s ‘Pop-a-Top’ and ‘The Law’; Derrick Morgan’s ‘Moon Hop’, the Ethiopians’ ‘The Whip’, ‘Everything Crash’ and ‘Reggae Hit the Town’.from the chapter
- 33“The Law”…being exploitative, others somewhat unexpected: Dandy's ‘Reggae in Your Jeggae’ and ‘Move Your Mule’; Symarip's ‘Skinhead Moonstomp’; King Stitt's ‘Herbman Shuffle’; Andy Capp's ‘Pop-a-Top’ and ‘The Law’; Derrick Morgan's ‘Moon Hop’, the Ethiopians' ‘The Whip’, ‘Everything Crash’ and ‘Reggae Hit the Town’; the Upsetters' ‘Clint Eastwood’, ‘Dry Acid’ and ‘Live Injection’; the Kingstonians'…from the chapter
- 34“Moon Hop”…unexpected: Dandy's ‘Reggae in Your Jeggae’ and ‘Move Your Mule’; Symarip's ‘Skinhead Moonstomp’; King Stitt's ‘Herbman Shuffle’; Andy Capp's ‘Pop-a-Top’ and ‘The Law’; Derrick Morgan's ‘Moon Hop’, the Ethiopians' ‘The Whip’, ‘Everything Crash’ and ‘Reggae Hit the Town’; the Upsetters' ‘Clint Eastwood’, ‘Dry Acid’ and ‘Live Injection’; the Kingstonians' ‘Sufferah’; the Hot Rod All Stars'…from the chapter
- 35“The Whip”…‘Reggae in Your Jeggae’ and ‘Move Your Mule’; Symarip's ‘Skinhead Moonstomp’; King Stitt's ‘Herbman Shuffle’; Andy Capp's ‘Pop-a-Top’ and ‘The Law’; Derrick Morgan's ‘Moon Hop’, the Ethiopians' ‘The Whip’, ‘Everything Crash’ and ‘Reggae Hit the Town’; the Upsetters' ‘Clint Eastwood’, ‘Dry Acid’ and ‘Live Injection’; the Kingstonians' ‘Sufferah’; the Hot Rod All Stars' ‘Skinhead Speaks His Mind’…from the chapter
- 36“Everything Crash”…Jeggae’ and ‘Move Your Mule’; Symarip's ‘Skinhead Moonstomp’; King Stitt's ‘Herbman Shuffle’; Andy Capp's ‘Pop-a-Top’ and ‘The Law’; Derrick Morgan's ‘Moon Hop’, the Ethiopians' ‘The Whip’, ‘Everything Crash’ and ‘Reggae Hit the Town’; the Upsetters' ‘Clint Eastwood’, ‘Dry Acid’ and ‘Live Injection’; the Kingstonians' ‘Sufferah’; the Hot Rod All Stars' ‘Skinhead Speaks His Mind’; King Horror's…from the chapter
- 37“Reggae Hit the Town”…Symarip's ‘Skinhead Moonstomp’; King Stitt's ‘Herbman Shuffle’; Andy Capp's ‘Pop-a-Top’ and ‘The Law’; Derrick Morgan's ‘Moon Hop’, the Ethiopians' ‘The Whip’, ‘Everything Crash’ and ‘Reggae Hit the Town’; the Upsetters' ‘Clint Eastwood’, ‘Dry Acid’ and ‘Live Injection’; the Kingstonians' ‘Sufferah’; the Hot Rod All Stars' ‘Skinhead Speaks His Mind’; King Horror's ‘Cutting Blade’ and ‘Loch…from the chapter
- 38“Clint Eastwood”…King Stitt's ‘Herbman Shuffle’; Andy Capp's ‘Pop-a-Top’ and ‘The Law’; Derrick Morgan's ‘Moon Hop’, the Ethiopians' ‘The Whip’, ‘Everything Crash’ and ‘Reggae Hit the Town’; the Upsetters' ‘Clint Eastwood’, ‘Dry Acid’ and ‘Live Injection’; the Kingstonians' ‘Sufferah’; the Hot Rod All Stars' ‘Skinhead Speaks His Mind’; King Horror's ‘Cutting Blade’ and ‘Loch Ness Monster’; practically anything…from the chapter
- 39“Dry Acid”…‘Herbman Shuffle’; Andy Capp's ‘Pop-a-Top’ and ‘The Law’; Derrick Morgan's ‘Moon Hop’, the Ethiopians' ‘The Whip’, ‘Everything Crash’ and ‘Reggae Hit the Town’; the Upsetters' ‘Clint Eastwood’, ‘Dry Acid’ and ‘Live Injection’; the Kingstonians' ‘Sufferah’; the Hot Rod All Stars' ‘Skinhead Speaks His Mind’; King Horror's ‘Cutting Blade’ and ‘Loch Ness Monster’; practically anything recorded in…from the chapter
- 40“Live Injection”…Andy Capp's ‘Pop-a-Top’ and ‘The Law’; Derrick Morgan's ‘Moon Hop’, the Ethiopians' ‘The Whip’, ‘Everything Crash’ and ‘Reggae Hit the Town’; the Upsetters' ‘Clint Eastwood’, ‘Dry Acid’ and ‘Live Injection’; the Kingstonians' ‘Sufferah’; the Hot Rod All Stars' ‘Skinhead Speaks His Mind’; King Horror's ‘Cutting Blade’ and ‘Loch Ness Monster’; practically anything recorded in Britain by Laurel…from the chapter
- 41“Sufferah”…Law’; Derrick Morgan's ‘Moon Hop’, the Ethiopians' ‘The Whip’, ‘Everything Crash’ and ‘Reggae Hit the Town’; the Upsetters' ‘Clint Eastwood’, ‘Dry Acid’ and ‘Live Injection’; the Kingstonians' ‘Sufferah’; the Hot Rod All Stars' ‘Skinhead Speaks His Mind’; King Horror's ‘Cutting Blade’ and ‘Loch Ness Monster’; practically anything recorded in Britain by Laurel Aitken; and all of Lloyd Charmers'…from the chapter
- 42“Skinhead Speaks His Mind”…‘The Whip’, ‘Everything Crash’ and ‘Reggae Hit the Town’; the Upsetters' ‘Clint Eastwood’, ‘Dry Acid’ and ‘Live Injection’; the Kingstonians' ‘Sufferah’; the Hot Rod All Stars' ‘Skinhead Speaks His Mind’; King Horror's ‘Cutting Blade’ and ‘Loch Ness Monster’; practically anything recorded in Britain by Laurel Aitken; and all of Lloyd Charmers' rude reggae output – often recorded as…from the chapter
- 43“Cutting Blade”…‘Everything Crash’ and ‘Reggae Hit the Town’; the Upsetters' ‘Clint Eastwood’, ‘Dry Acid’ and ‘Live Injection’; the Kingstonians' ‘Sufferah’; the Hot Rod All Stars' ‘Skinhead Speaks His Mind’; King Horror's ‘Cutting Blade’ and ‘Loch Ness Monster’; practically anything recorded in Britain by Laurel Aitken; and all of Lloyd Charmers' rude reggae output – often recorded as Lloydie and the Lowbites.from the chapter
- 44“Loch Ness Monster”…‘Everything Crash’ and ‘Reggae Hit the Town’; the Upsetters' ‘Clint Eastwood’, ‘Dry Acid’ and ‘Live Injection’; the Kingstonians' ‘Sufferah’; the Hot Rod All Stars' ‘Skinhead Speaks His Mind’; King Horror's ‘Cutting Blade’ and ‘Loch Ness Monster’; practically anything recorded in Britain by Laurel Aitken; and all of Lloyd Charmers' rude reggae output – often recorded as Lloydie and the Lowbites.from the chapter
- 45“Red Red Wine”British-based performers included Dandy and Laurel Aitken, Tony Tribe (‘Red Red Wine’), the Rudies/Greyhound, Rico Rodriguez, Owen Grey, King Horror, Nicky Thomas, the Mohawks and numerous ‘all stars’ and one-hit wonders.from the chapter
- 46“The Horse”After all, Pama may have flopped with ‘Young, Gifted and Black’, but we should be thanking them for ‘The Horse’ by Theo Beckford, Pat Kelly's ‘How Long Will It Take’ and Lester Sterling's ‘Bangarang’.from the chapter
- 47“How Long Will It Take”After all, Pama may have flopped with ‘Young, Gifted and Black’, but we should be thanking them for ‘The Horse’ by Theo Beckford, Pat Kelly's ‘How Long Will It Take’ and Lester Sterling's ‘Bangarang’.from the chapter
- 48“Bangarang”After all, Pama may have flopped with ‘Young, Gifted and Black’, but we should be thanking them for ‘The Horse’ by Theo Beckford, Pat Kelly's ‘How Long Will It Take’ and Lester Sterling's ‘Bangarang’.from the chapter
- 49Tighten UpAlbums remained strictly collections of singles, with Trojan's now-legendary Tighten Up series being the case in point.from the chapter
- 50Club ReggaeFollowing suit by retailing at 14s 6d or 19s 6d, Club Reggae, This Is Reggae, Reggae Hits, Straighten Up (Pama’s answer to Tighten Up, with sleeves tacky enough to make Trojan’s lewd efforts look classy), Reggae Jamaica and Reggae Chartbusters all became multi-volume series, cutting across the companies’ different labels and producers.from the chapter
- 51This Is ReggaeFollowing suit by retailing at 14s 6d or 19s 6d, Club Reggae, This Is Reggae, Reggae Hits, Straighten Up (Pama’s answer to Tighten Up, with sleeves tacky enough to make Trojan’s lewd efforts look classy), Reggae Jamaica and Reggae Chartbusters all became multi-volume series, cutting across the companies’ different labels and producers.from the chapter
- 52Reggae HitsFollowing suit by retailing at 14s 6d or 19s 6d, Club Reggae, This Is Reggae, Reggae Hits, Straighten Up (Pama’s answer to Tighten Up, with sleeves tacky enough to make Trojan’s lewd efforts look classy), Reggae Jamaica and Reggae Chartbusters all became multi-volume series, cutting across the companies’ different labels and producers.from the chapter
- 53Straighten UpFollowing suit by retailing at 14s 6d or 19s 6d, Club Reggae, This Is Reggae, Reggae Hits, Straighten Up (Pama’s answer to Tighten Up, with sleeves tacky enough to make Trojan’s lewd efforts look classy), Reggae Jamaica and Reggae Chartbusters all became multi-volume series, cutting across the companies’ different labels and producers.from the chapter
- 54Reggae Jamaica…or 19s 6d (seventy-three and ninety-eight pence, respectively), Club Reggae, This Is Reggae, Reggae Hits, Straighten Up (Pama's answer to Tighten Up, with sleeves tacky enough to make Trojan's lewd efforts look classy), Reggae Jamaica and Reggae Chartbusters all became multi-volume series, cutting across the companies' different labels and producers to deliver the best-value reggae imaginable.from the chapter
- 55Reggae Chartbusters…or 19s 6d (seventy-three and ninety-eight pence, respectively), Club Reggae, This Is Reggae, Reggae Hits, Straighten Up (Pama's answer to Tighten Up, with sleeves tacky enough to make Trojan's lewd efforts look classy), Reggae Jamaica and Reggae Chartbusters all became multi-volume series, cutting across the companies' different labels and producers to deliver the best-value reggae imaginable.from the chapter
- 56UndertakerDerrick's spaghetti-western series of Crystalites instrumentals – the Undertaker songs – were skinhead favourites along with Lee Perry's cowboy classics ‘Django’, ‘Clint Eastwood’, ‘Van Cleef’ etc.from the chapter
- 57“Django”Derrick's spaghetti-western series of Crystalites instrumentals – the Undertaker songs – were skinhead favourites along with Lee Perry's cowboy classics ‘Django’, ‘Clint Eastwood’, ‘Van Cleef’ etc.from the chapter
- 58“Van Cleef”Derrick's spaghetti-western series of Crystalites instrumentals – the Undertaker songs – were skinhead favourites along with Lee Perry's cowboy classics ‘Django’, ‘Clint Eastwood’, ‘Van Cleef’ etc.from the chapter
- 59“Singer Man”His own naturally soulful alto was also very well received covering Motown songs, and with the Kingstonians’ ‘Sufferah’, ‘Singer Man’ and ‘Good Ambition’ he produced some of the very few records that were equally revered by both black and white audiences.from the chapter
- 60“Good Ambition”His own naturally soulful alto was also very well received covering Motown songs, and with the Kingstonians’ ‘Sufferah’, ‘Singer Man’ and ‘Good Ambition’ he produced some of the very few records that were equally revered by both black and white audiences.from the chapter
- 61“White Christmas”Noticeably, when the Wailers cut their version of Irving Berlin's ‘White Christmas’ for Studio One in the early 1960s with little regard for potential European sales, Peter Tosh altered the lyric to I'm dreaming of a white Christmas / Not like the ones we used to know…from the chapter
- 62“BBC”In 1970, Nicky Thomas even wrote and recorded a song called ‘BBC’, which took as its subject matter the Corporation's shameful treatment of reggae both on and off the airwaves.from the chapter
- 63“Everything I Own”True, Trojan were back at number 1 for four weeks in 1974 with Ken Boothe's ‘Everything I Own’, a massive sound-system hit from about a year previously, and John Holt's ‘Help Me Make It Through the Night’ was in the Top 20 in January the next year, but by then the company was in dire straits.from the chapter
- 64“Help Me Make It Through the Night”True, Trojan were back at number 1 for four weeks in 1974 with Ken Boothe's ‘Everything I Own’, a massive sound-system hit from about a year previously, and John Holt's ‘Help Me Make It Through the Night’ was in the Top 20 in January the next year, but by then the company was in dire straits.from the chapter
- 65Screaming TargetIn spite of Trojan dipping a toe into roots – with ‘Screaming Target’, ‘Beat Down Babylon’ and ‘Ital Dub’, for example – its boss had so little understanding of the music that he didn’t really know how to market it.from the chapter
- 66“Beat Down Babylon”In spite of Trojan dipping a toe into roots – with ‘Screaming Target’, ‘Beat Down Babylon’ and ‘Ital Dub’, for example – its boss had so little understanding of the music that he didn't really know how to market it.from the chapter
- 67“Ital Dub”In spite of Trojan dipping a toe into roots – with ‘Screaming Target’, ‘Beat Down Babylon’ and ‘Ital Dub’, for example – its boss had so little understanding of the music that he didn't really know how to market it.from the chapter