- 01“Satta Massa Gana”Hence the Abyssinians’ ‘Satta Massa Gana’ was still languishing on the shelf; Burning Spear was confined to a lengthy period of woodshedding at Studio One; and Joe Gibbs wasn't to invest in that area until he opened his own recording facility at the back of his shop in 1970.from the chapter
- 02“Rasta Put It on”Their rude-boy dramas are well known, but prior to that among the group's mainstream Studio One output in the early sixties was a single called ‘Rasta Put It on’ and Peter Tosh's solo ventures, ‘Maga Dog’ and ‘Rasta Shook Them up’.from the chapter
- 03“Maga Dog”Their rude-boy dramas are well known, but prior to that among the group's mainstream Studio One output in the early sixties was a single called ‘Rasta Put It on’ and Peter Tosh's solo ventures, ‘Maga Dog’ and ‘Rasta Shook Them up’.from the chapter
- 04“Rasta Shook Them up”Their rude-boy dramas are well known, but prior to that among the group's mainstream Studio One output in the early sixties was a single called ‘Rasta Put It on’ and Peter Tosh's solo ventures, ‘Maga Dog’ and ‘Rasta Shook Them up’.from the chapter
- 05“Shocks of Mighty”Dave Barker performed singing and toasting duties for Perry around this time – it's Dave who comes with ‘This i-i-i-s Upsetter… Sounds of now…’ to introduce late-1960s Upsetter hit ‘Shocks of Mighty’ – and he regularly sang additional harmonies with the Wailers or substituted for an absentee member.from the chapter
- 06“Prisoner of Love”The tune came out as “Prisoner of Love”, and was a hit, and it worked because Scratch gave me the chance to do what I felt.from the chapter
- 07“Duppy Conqueror”The songs that came out of those sessions include ‘Duppy Conqueror’, ‘Small Axe’, ‘Kaya’, ‘400 Years’, ‘Mr Brown’ ‘Cross the Nation’, ‘Rebel Hop’, ‘African Herbsman’ and ‘Soul Rebel’.from the chapter
- 08“Small Axe”The songs that came out of those sessions include ‘Duppy Conqueror’, ‘Small Axe’, ‘Kaya’, ‘400 Years’, ‘Mr Brown’ ‘Cross the Nation’, ‘Rebel Hop’, ‘African Herbsman’ and ‘Soul Rebel’.from the chapter
- 09“Kaya”The songs that came out of those sessions include ‘Duppy Conqueror’, ‘Small Axe’, ‘Kaya’, ‘400 Years’, ‘Mr Brown’ ‘Cross the Nation’, ‘Rebel Hop’, ‘African Herbsman’ and ‘Soul Rebel’.from the chapter
- 10“400 Years”The songs that came out of those sessions include ‘Duppy Conqueror’, ‘Small Axe’, ‘Kaya’, ‘400 Years’, ‘Mr Brown’ ‘Cross the Nation’, ‘Rebel Hop’, ‘African Herbsman’ and ‘Soul Rebel’.from the chapter
- 11“Mr Brown”The songs that came out of those sessions include ‘Duppy Conqueror’, ‘Small Axe’, ‘Kaya’, ‘400 Years’, ‘Mr Brown’ ‘Cross the Nation’, ‘Rebel Hop’, ‘African Herbsman’ and ‘Soul Rebel’.from the chapter
- 12“Cross the Nation”The songs that came out of those sessions include ‘Duppy Conqueror’, ‘Small Axe’, ‘Kaya’, ‘400 Years’, ‘Mr Brown’ ‘Cross the Nation’, ‘Rebel Hop’, ‘African Herbsman’ and ‘Soul Rebel’.from the chapter
- 13“Rebel Hop”The songs that came out of those sessions include ‘Duppy Conqueror’, ‘Small Axe’, ‘Kaya’, ‘400 Years’, ‘Mr Brown’ ‘Cross the Nation’, ‘Rebel Hop’, ‘African Herbsman’ and ‘Soul Rebel’.from the chapter
- 14“African Herbsman”The songs that came out of those sessions include ‘Duppy Conqueror’, ‘Small Axe’, ‘Kaya’, ‘400 Years’, ‘Mr Brown’ ‘Cross the Nation’, ‘Rebel Hop’, ‘African Herbsman’ and ‘Soul Rebel’.from the chapter
- 15“Soul Rebel”The songs that came out of those sessions include ‘Duppy Conqueror’, ‘Small Axe’, ‘Kaya’, ‘400 Years’, ‘Mr Brown’ ‘Cross the Nation’, ‘Rebel Hop’, ‘African Herbsman’ and ‘Soul Rebel’.from the chapter
- 16“Crime Don't Pay”It was practically a repeat of Horace's namesake Bob Andy's Studio One situation when, some five years previously, that singer (also a big star and again a righteous Rastaman) was nominated to carry the label's torch for the protest music of the times by mixing the very conventionally recorded conscious (‘Crime Don't Pay’, ‘I Got to Go Back Home’, ‘My Time’, etc.) into his largely lovers’ output.from the chapter
- 17“I Got to Go Back Home”It was practically a repeat of Horace's namesake Bob Andy's Studio One situation when, some five years previously, that singer (also a big star and again a righteous Rastaman) was nominated to carry the label's torch for the protest music of the times by mixing the very conventionally recorded conscious (‘Crime Don't Pay’, ‘I Got to Go Back Home’, ‘My Time’, etc.) into his largely lovers’ output.from the chapter
- 18“My Time”It was practically a repeat of Horace's namesake Bob Andy's Studio One situation when, some five years previously, that singer (also a big star and again a righteous Rastaman) was nominated to carry the label's torch for the protest music of the times by mixing the very conventionally recorded conscious (‘Crime Don't Pay’, ‘I Got to Go Back Home’, ‘My Time’, etc.) into his largely lovers’ output.from the chapter
- 19“Rock to Sleep”I get quite a hostile reaction, even though I still sing a lot of love songs: “Rock to Sleep”, “Natty Dread a Weh She Want”, “Girl I Love You”, “You Are My Angel”.from the chapter
- 20“Natty Dread a Weh She Want”I get quite a hostile reaction, even though I still sing a lot of love songs: “Rock to Sleep”, “Natty Dread a Weh She Want”, “Girl I Love You”, “You Are My Angel”.from the chapter
- 21“Girl I Love You”I get quite a hostile reaction, even though I still sing a lot of love songs: “Rock to Sleep”, “Natty Dread a Weh She Want”, “Girl I Love You”, “You Are My Angel”.from the chapter
- 22“You Are My Angel”I get quite a hostile reaction, even though I still sing a lot of love songs: “Rock to Sleep”, “Natty Dread a Weh She Want”, “Girl I Love You”, “You Are My Angel”.from the chapter
- 23“Skylarking”As a result, during and after Horace's time at Studio One, although his songbook continued to contain its share of superior smoochers, it was laced with the likes of ‘Every Tongue Shall Tell’, ‘Skylarking’, ‘Conscious Dreadlocks’, ‘Spying Glass’ and ‘Money Money’.from the chapter
- 24“Conscious Dreadlocks”As a result, during and after Horace's time at Studio One, although his songbook continued to contain its share of superior smoochers, it was laced with the likes of ‘Every Tongue Shall Tell’, ‘Skylarking’, ‘Conscious Dreadlocks’, ‘Spying Glass’ and ‘Money Money’.from the chapter
- 25“Spying Glass”As a result, during and after Horace's time at Studio One, although his songbook continued to contain its share of superior smoochers, it was laced with the likes of ‘Every Tongue Shall Tell’, ‘Skylarking’, ‘Conscious Dreadlocks’, ‘Spying Glass’ and ‘Money Money’.from the chapter
- 26“Money Money”As a result, during and after Horace's time at Studio One, although his songbook continued to contain its share of superior smoochers, it was laced with the likes of ‘Every Tongue Shall Tell’, ‘Skylarking’, ‘Conscious Dreadlocks’, ‘Spying Glass’ and ‘Money Money’.from the chapter
- 27“Bongo Red”He was a hands-on producer with the Gladiators, and they ended up with a catalogue that includes ‘Bongo Red’, ‘A Prayer to Thee’, ‘Tribulation’, ‘Jah Jah Go before Us’ and ‘Roots Natty’, and which brought them international acclaim continuing well into the 1980s.from the chapter
- 28“A Prayer to Thee”He was a hands-on producer with the Gladiators, and they ended up with a catalogue that includes ‘Bongo Red’, ‘A Prayer to Thee’, ‘Tribulation’, ‘Jah Jah Go before Us’ and ‘Roots Natty’, and which brought them international acclaim continuing well into the 1980s.from the chapter
- 29“Tribulation”He was a hands-on producer with the Gladiators, and they ended up with a catalogue that includes ‘Bongo Red’, ‘A Prayer to Thee’, ‘Tribulation’, ‘Jah Jah Go before Us’ and ‘Roots Natty’, and which brought them international acclaim continuing well into the 1980s.from the chapter
- 30“Jah Jah Go before Us”He was a hands-on producer with the Gladiators, and they ended up with a catalogue that includes ‘Bongo Red’, ‘A Prayer to Thee’, ‘Tribulation’, ‘Jah Jah Go before Us’ and ‘Roots Natty’, and which brought them international acclaim continuing well into the 1980s.from the chapter
- 31“Roots Natty”He was a hands-on producer with the Gladiators, and they ended up with a catalogue that includes ‘Bongo Red’, ‘A Prayer to Thee’, ‘Tribulation’, ‘Jah Jah Go before Us’ and ‘Roots Natty’, and which brought them international acclaim continuing well into the 1980s.from the chapter
- 32“Move Outta Babylon”It was at his instigation that the Aggrovators developed the ‘flying cymbal’ sound, a brisk, skimming with a clipped end to it, tsssst… tsssst… tsssst… hi-hat led drum pattern, said to be Kingston's answer to American soul producers Gamble & Huff's incredibly popular Sound of Philadelphia – Johnnie Clarke's ‘Move Outta Babylon’ is classic flying cymbal.from the chapter
- 33“Live Up Jah Man”For the second half of the decade, Johnnie Clarke was the ranking roots singer with a string of wonderfully recorded hits for Bunny Lee – ‘Live Up Jah Man’, ‘African People’, ‘Blood Dunza’, ‘Move Outta Babylon’ and ‘None Shall Escape His Judgement’ – all cut in King Tubby's toilet.from the chapter
- 34“African People”For the second half of the decade, Johnnie Clarke was the ranking roots singer with a string of wonderfully recorded hits for Bunny Lee – ‘Live Up Jah Man’, ‘African People’, ‘Blood Dunza’, ‘Move Outta Babylon’ and ‘None Shall Escape His Judgement’ – all cut in King Tubby's toilet.from the chapter
- 35“Blood Dunza”For the second half of the decade, Johnnie Clarke was the ranking roots singer with a string of wonderfully recorded hits for Bunny Lee – ‘Live Up Jah Man’, ‘African People’, ‘Blood Dunza’, ‘Move Outta Babylon’ and ‘None Shall Escape His Judgement’ – all cut in King Tubby's toilet.from the chapter
- 36“None Shall Escape His Judgement”For the second half of the decade, Johnnie Clarke was the ranking roots singer with a string of wonderfully recorded hits for Bunny Lee – ‘Live Up Jah Man’, ‘African People’, ‘Blood Dunza’, ‘Move Outta Babylon’ and ‘None Shall Escape His Judgement’ – all cut in King Tubby's toilet.from the chapter
- 37“Two Sevens Clash”Culture's ‘Two Sevens Clash’ was a Mighty Two (Gibbs' & Thompson) production, a tune that showed off the trio's stark harmonies, their terrifyingly righteous approach to Rastafari – this was dread in all senses of the word – and leader Joseph Hill's sense of the dramatic to a stunning, ominous effect.from the chapter
- 38“Burn Babylon”Sylford Walker took time out from Glen Brown to cut ‘Burn Babylon’ at Joe Gibbs’, which, contrary to the tone of the title, was one of the breeziest, sunniest, musically optimistic slices of roots reggae without the Mighty Diamonds' name on it.from the chapter
- 39“Heavy Manners”Prince Far-I's ‘Heavy Manners’ was a thunderous comment on the state of emergency which had been introduced as a measure against organized street violence.from the chapter
- 40“Uptown Top Ranking”Then there was Althea & Donna's international hit ‘Uptown Top Ranking’, as promoted by Mikey Dread (see chapter 13).from the chapter
- 41“I'm Still in Love with You”ET's expertise is again in evidence as he deftly deconstructs Alton Ellis's ‘I'm Still in Love with You’, then redefines it by working echoed snatches back into the melody with enough spring to launch Trinity's Big Youth-ish (therefore always tuneful) paean to his own sartorial impressiveness.from the chapter
- 42“Money in My Pocket”On the plus side, in the second half of the 1970s the Joe Gibbs labels were home to a fantastic variety of reggae music, some of it genuinely mould-breaking, among which were an enormous number of unforgettable songs – ‘Money in My Pocket’, ‘Rockers No Crackers’, ‘Malcolm X’, ‘Heart and Soul’, and ‘African Queen’… But such variation precludes any definitive sound.from the chapter
- 43“Rockers No Crackers”On the plus side, in the second half of the 1970s the Joe Gibbs labels were home to a fantastic variety of reggae music, some of it genuinely mould-breaking, among which were an enormous number of unforgettable songs – ‘Money in My Pocket’, ‘Rockers No Crackers’, ‘Malcolm X’, ‘Heart and Soul’, and ‘African Queen’… But such variation precludes any definitive sound.from the chapter
- 44“Malcolm X”On the plus side, in the second half of the 1970s the Joe Gibbs labels were home to a fantastic variety of reggae music, some of it genuinely mould-breaking, among which were an enormous number of unforgettable songs – ‘Money in My Pocket’, ‘Rockers No Crackers’, ‘Malcolm X’, ‘Heart and Soul’, and ‘African Queen’… But such variation precludes any definitive sound.from the chapter
- 45“Heart and Soul”On the plus side, in the second half of the 1970s the Joe Gibbs labels were home to a fantastic variety of reggae music, some of it genuinely mould-breaking, among which were an enormous number of unforgettable songs – ‘Money in My Pocket’, ‘Rockers No Crackers’, ‘Malcolm X’, ‘Heart and Soul’, and ‘African Queen’… But such variation precludes any definitive sound.from the chapter
- 46“African Queen”On the plus side, in the second half of the 1970s the Joe Gibbs labels were home to a fantastic variety of reggae music, some of it genuinely mould-breaking, among which were an enormous number of unforgettable songs – ‘Money in My Pocket’, ‘Rockers No Crackers’, ‘Malcolm X’, ‘Heart and Soul’, and ‘African Queen’… But such variation precludes any definitive sound.from the chapter
- 47“Fade Away”Junior Byles cut the enduring roots classic ‘Fade Away’ there, likewise Leroy Smart and ‘Ballistic Affair’, while John Holt's ‘Up Park Camp’ and Barry Brown's ‘Far East’ were all Channel One solo protest classics.from the chapter
- 48“Ballistic Affair”Junior Byles cut the enduring roots classic ‘Fade Away’ there, likewise Leroy Smart and ‘Ballistic Affair’, while John Holt's ‘Up Park Camp’ and Barry Brown's ‘Far East’ were all Channel One solo protest classics.from the chapter
- 49“Up Park Camp”Junior Byles cut the enduring roots classic ‘Fade Away’ there, likewise Leroy Smart and ‘Ballistic Affair’, while John Holt's ‘Up Park Camp’ and Barry Brown's ‘Far East’ were all Channel One solo protest classics.from the chapter
- 50“Far East”Junior Byles cut the enduring roots classic ‘Fade Away’ there, likewise Leroy Smart and ‘Ballistic Affair’, while John Holt's ‘Up Park Camp’ and Barry Brown's ‘Far East’ were all Channel One solo protest classics.from the chapter
- 51“Things and Time”The end products were the textbook-perfect conscious vocalizing of the Wailing Souls (‘Things and Time’, ‘Joy within Your Heart’, ‘Very Well’ and ‘War’), the Meditations (‘Woman Is Like a Shadow’), and a pre-Puma Jones Black Uhuru, who cut ‘The Sun Is Shining’ there, not to mention Channel One's greatest triumph, the Mighty Diamonds.from the chapter
- 52“Very Well”The end products were the textbook-perfect conscious vocalizing of the Wailing Souls (‘Things and Time’, ‘Joy within Your Heart’, ‘Very Well’ and ‘War’), the Meditations (‘Woman Is Like a Shadow’), and a pre-Puma Jones Black Uhuru, who cut ‘The Sun Is Shining’ there, not to mention Channel One's greatest triumph, the Mighty Diamonds.from the chapter
- 53“War”The end products were the textbook-perfect conscious vocalizing of the Wailing Souls (‘Things and Time’, ‘Joy within Your Heart’, ‘Very Well’ and ‘War’), the Meditations (‘Woman Is Like a Shadow’), and a pre-Puma Jones Black Uhuru, who cut ‘The Sun Is Shining’ there, not to mention Channel One's greatest triumph, the Mighty Diamonds.from the chapter
- 54“Woman Is Like a Shadow”The end products were the textbook-perfect conscious vocalizing of the Wailing Souls (‘Things and Time’, ‘Joy within Your Heart’, ‘Very Well’ and ‘War’), the Meditations (‘Woman Is Like a Shadow’), and a pre-Puma Jones Black Uhuru, who cut ‘The Sun Is Shining’ there, not to mention Channel One's greatest triumph, the Mighty Diamonds.from the chapter
- 55“The Sun Is Shining”The end products were the textbook-perfect conscious vocalizing of the Wailing Souls (‘Things and Time’, ‘Joy within Your Heart’, ‘Very Well’ and ‘War’), the Meditations (‘Woman Is Like a Shadow’), and a pre-Puma Jones Black Uhuru, who cut ‘The Sun Is Shining’ there, not to mention Channel One's greatest triumph, the Mighty Diamonds.from the chapter
- 56“Country Living”…culture, and therefore moved towards the minor keys instead of the traditional Impressions-based upfulness, the Mighty Diamonds reintroduced plaintive, intricate old-time singing but with thoroughly modern sentiments. ‘Right Time’, ‘Country Living’, ‘I Need a Roof’, ‘Have Mercy’, ‘Them Never Love Poor Marcus’, ‘Africa’ and ‘Why My Black Brother Why?’… it's an impressive list that goes on and on.from the chapter
- 57“I Need a Roof”…culture, and therefore moved towards the minor keys instead of the traditional Impressions-based upfulness, the Mighty Diamonds reintroduced plaintive, intricate old-time singing but with thoroughly modern sentiments. ‘Right Time’, ‘Country Living’, ‘I Need a Roof’, ‘Have Mercy’, ‘Them Never Love Poor Marcus’, ‘Africa’ and ‘Why My Black Brother Why?’… it's an impressive list that goes on and on.from the chapter
- 58“Have Mercy”…culture, and therefore moved towards the minor keys instead of the traditional Impressions-based upfulness, the Mighty Diamonds reintroduced plaintive, intricate old-time singing but with thoroughly modern sentiments. ‘Right Time’, ‘Country Living’, ‘I Need a Roof’, ‘Have Mercy’, ‘Them Never Love Poor Marcus’, ‘Africa’ and ‘Why My Black Brother Why?’… it's an impressive list that goes on and on.from the chapter
- 59“Them Never Love Poor Marcus”…culture, and therefore moved towards the minor keys instead of the traditional Impressions-based upfulness, the Mighty Diamonds reintroduced plaintive, intricate old-time singing but with thoroughly modern sentiments. ‘Right Time’, ‘Country Living’, ‘I Need a Roof’, ‘Have Mercy’, ‘Them Never Love Poor Marcus’, ‘Africa’ and ‘Why My Black Brother Why?’… it's an impressive list that goes on and on.from the chapter
- 60“Africa”…culture, and therefore moved towards the minor keys instead of the traditional Impressions-based upfulness, the Mighty Diamonds reintroduced plaintive, intricate old-time singing but with thoroughly modern sentiments. ‘Right Time’, ‘Country Living’, ‘I Need a Roof’, ‘Have Mercy’, ‘Them Never Love Poor Marcus’, ‘Africa’ and ‘Why My Black Brother Why?’… it's an impressive list that goes on and on.from the chapter
- 61“War Inna Babylon”Max Romeo truly laid his smutty ‘Wet Dream’ image to rest with the searing roots anthems ‘War Inna Babylon’, ‘One Step Forward’ and ‘Chase the Devil’.from the chapter
- 62“One Step Forward”Max Romeo truly laid his smutty ‘Wet Dream’ image to rest with the searing roots anthems ‘War Inna Babylon’, ‘One Step Forward’ and ‘Chase the Devil’.from the chapter
- 63“Chase the Devil”Max Romeo truly laid his smutty ‘Wet Dream’ image to rest with the searing roots anthems ‘War Inna Babylon’, ‘One Step Forward’ and ‘Chase the Devil’.from the chapter
- 64Party TimeThe Heptones cut the Party Time LP with Perry at the Ark, which includes the title track, ‘Mr President’ and ‘Sufferahs’ Time' and is among the best work the group ever did.from the chapter
- 65“Mr President”The Heptones cut the Party Time LP with Perry at the Ark, which includes the title track, ‘Mr President’ and ‘Sufferahs’ Time' and is among the best work the group ever did.from the chapter
- 66“Sufferahs’ Time”The Heptones cut the Party Time LP with Perry at the Ark, which includes the title track, ‘Mr President’ and ‘Sufferahs’ Time' and is among the best work the group ever did.from the chapter
- 67“Curly Locks”Junior Byles’ other landmark tune ‘Curly Locks’, a masterpiece of lovers’ roots, is a Black Ark production.from the chapter
- 68“Dreadlocks in Moonlight”The Meditations, Jimmy Riley and Scratch himself (the tune that titled this chapter, ‘Dreadlocks in Moonlight’, is one of his best) all made brilliant singles.from the chapter
- 69Colombian CollyJah Lion half-spoke, half-sung through the edgy Colombian Colly LP.from the chapter
- 70“Police and Thieves”We all know about Junior Murvin's ‘Police and Thieves’ which, along with its numerous versions, could only have happened there.from the chapter
- 71Heart of the CongosThe Congos' majestic Heart of the Congos album is really nothing less than the Heart of the Black Ark.from the chapter
- 72East of the River NileHeart of the Congos is one of the most consummate reggae albums ever made, nosing in front of masterpieces like East of the River Nile and Right Time.from the chapter
- 73Right TimeHeart of the Congos is one of the most consummate reggae albums ever made, nosing in front of masterpieces like East of the River Nile and Right Time.from the chapter
- 74“False Rasta”Although the catalogue contained such tunes as ‘False Rasta’, ‘Earth Wind and Fire’, ‘Let's Get Started’, ‘Blackman's Heart’ and ‘Africa Must Be Free by 1983’, and the delicate, subtly produced sides left nobody in any doubt as to Pablo's commitment to musical roots, you felt this was only the hors-d'oeuvre for his instrumental and dub entrée.from the chapter
- 75“Earth Wind and Fire”Although the catalogue contained such tunes as ‘False Rasta’, ‘Earth Wind and Fire’, ‘Let's Get Started’, ‘Blackman's Heart’ and ‘Africa Must Be Free by 1983’, and the delicate, subtly produced sides left nobody in any doubt as to Pablo's commitment to musical roots, you felt this was only the hors-d'oeuvre for his instrumental and dub entrée.from the chapter
- 76“Let's Get Started”Although the catalogue contained such tunes as ‘False Rasta’, ‘Earth Wind and Fire’, ‘Let's Get Started’, ‘Blackman's Heart’ and ‘Africa Must Be Free by 1983’, and the delicate, subtly produced sides left nobody in any doubt as to Pablo's commitment to musical roots, you felt this was only the hors-d'oeuvre for his instrumental and dub entrée.from the chapter
- 77“Blackman's Heart”Although the catalogue contained such tunes as ‘False Rasta’, ‘Earth Wind and Fire’, ‘Let's Get Started’, ‘Blackman's Heart’ and ‘Africa Must Be Free by 1983’, and the delicate, subtly produced sides left nobody in any doubt as to Pablo's commitment to musical roots, you felt this was only the hors-d'oeuvre for his instrumental and dub entrée.from the chapter
- 78“Africa Must Be Free by 1983”Although the catalogue contained such tunes as ‘False Rasta’, ‘Earth Wind and Fire’, ‘Let's Get Started’, ‘Blackman's Heart’ and ‘Africa Must Be Free by 1983’, and the delicate, subtly produced sides left nobody in any doubt as to Pablo's commitment to musical roots, you felt this was only the hors-d'oeuvre for his instrumental and dub entrée.from the chapter
- 79“Lamb's Bread”His Pantomine and South East Music labels will be better remembered for quality than quantity – Sylford Walker's ‘Lamb's Bread’ and ‘Chant Down Babylon’ and the instrumentals ‘Dirty Harry’ and ‘More Music’ led by Tommy McCook, Niney, aka The Observer, or, even as his mum knew him, Winston Holness, had hits with Dennis Brown (‘Wolves and Leopards’), Johnnie Clarke, Max Romeo (‘Rasta Bandwagon’)…from the chapter
- 80“Chant Down Babylon”His Pantomine and South East Music labels will be better remembered for quality than quantity – Sylford Walker's ‘Lamb's Bread’ and ‘Chant Down Babylon’ and the instrumentals ‘Dirty Harry’ and ‘More Music’ led by Tommy McCook, Niney, aka The Observer, or, even as his mum knew him, Winston Holness, had hits with Dennis Brown (‘Wolves and Leopards’), Johnnie Clarke, Max Romeo (‘Rasta Bandwagon’)…from the chapter
- 81“Dirty Harry”His Pantomine and South East Music labels will be better remembered for quality than quantity – Sylford Walker's ‘Lamb's Bread’ and ‘Chant Down Babylon’ and the instrumentals ‘Dirty Harry’ and ‘More Music’ led by Tommy McCook, Niney, aka The Observer, or, even as his mum knew him, Winston Holness, had hits with Dennis Brown (‘Wolves and Leopards’), Johnnie Clarke, Max Romeo (‘Rasta Bandwagon’)…from the chapter
- 82“More Music”His Pantomine and South East Music labels will be better remembered for quality than quantity – Sylford Walker's ‘Lamb's Bread’ and ‘Chant Down Babylon’ and the instrumentals ‘Dirty Harry’ and ‘More Music’ led by Tommy McCook, Niney, aka The Observer, or, even as his mum knew him, Winston Holness, had hits with Dennis Brown (‘Wolves and Leopards’), Johnnie Clarke, Max Romeo (‘Rasta Bandwagon’)…from the chapter
- 83“Wolves and Leopards”…than quantity – Sylford Walker's ‘Lamb's Bread’ and ‘Chant Down Babylon’ and the instrumentals ‘Dirty Harry’ and ‘More Music’ led by Tommy McCook, Niney, aka The Observer, or, even as his mum knew him, Winston Holness, had hits with Dennis Brown (‘Wolves and Leopards’), Johnnie Clarke, Max Romeo (‘Rasta Bandwagon’), Junior Delgado, Gregory Isaacs, the Morwells and a pre-Black Uhuru Michael Rose.from the chapter
- 84“Rasta Bandwagon”…than quantity – Sylford Walker's ‘Lamb's Bread’ and ‘Chant Down Babylon’ and the instrumentals ‘Dirty Harry’ and ‘More Music’ led by Tommy McCook, Niney, aka The Observer, or, even as his mum knew him, Winston Holness, had hits with Dennis Brown (‘Wolves and Leopards’), Johnnie Clarke, Max Romeo (‘Rasta Bandwagon’), Junior Delgado, Gregory Isaacs, the Morwells and a pre-Black Uhuru Michael Rose.from the chapter
- 85Presenting the MorwellsThe Morwells (Blacka Wellington and Bingy Bunny) produced two excellent albums themselves, Presenting the Morwells and Crab Race.from the chapter
- 86Crab RaceThe Morwells (Blacka Wellington and Bingy Bunny) produced two excellent albums themselves, Presenting the Morwells and Crab Race.from the chapter
- 87“Ain't That Loving You”Dennis Brown and Freddie McGregor (who came later) were longstanding sound-system heroes with a seamlessly blended range of material, among which was ‘Here I Come', ‘Money in My Pocket’, ‘Ain't That Loving You’, ‘Things in Life’, ‘Cassandra’, ‘Wolf and Leopard’ and ‘No Man Is an Is an Island’ for the former; ‘I Man a Rasta’, ‘Rastaman Camp’, ‘Bobby Bobylon’, ‘Natural Collie’, ‘Big Ship’ and ‘Love…from the chapter
- 88“Things in Life”…McGregor (who came later) were longstanding sound-system heroes with a seamlessly blended range of material, among which was ‘Here I Come', ‘Money in My Pocket’, ‘Ain't That Loving You’, ‘Things in Life’, ‘Cassandra’, ‘Wolf and Leopard’ and ‘No Man Is an Is an Island’ for the former; ‘I Man a Rasta’, ‘Rastaman Camp’, ‘Bobby Bobylon’, ‘Natural Collie’, ‘Big Ship’ and ‘Love Ballad’ for the…from the chapter
- 89“Cassandra”…McGregor (who came later) were longstanding sound-system heroes with a seamlessly blended range of material, among which was ‘Here I Come', ‘Money in My Pocket’, ‘Ain't That Loving You’, ‘Things in Life’, ‘Cassandra’, ‘Wolf and Leopard’ and ‘No Man Is an Is an Island’ for the former; ‘I Man a Rasta’, ‘Rastaman Camp’, ‘Bobby Bobylon’, ‘Natural Collie’, ‘Big Ship’ and ‘Love Ballad’ for the latter.from the chapter
- 90“Wolf and Leopard”…McGregor (who came later) were longstanding sound-system heroes with a seamlessly blended range of material, among which was ‘Here I Come', ‘Money in My Pocket’, ‘Ain't That Loving You’, ‘Things in Life’, ‘Cassandra’, ‘Wolf and Leopard’ and ‘No Man Is an Is an Island’ for the former; ‘I Man a Rasta’, ‘Rastaman Camp’, ‘Bobby Bobylon’, ‘Natural Collie’, ‘Big Ship’ and ‘Love Ballad’ for the latter.from the chapter
- 91“No Man Is an Is an Island”…McGregor (who came later) were longstanding sound-system heroes with a seamlessly blended range of material, among which was ‘Here I Come', ‘Money in My Pocket’, ‘Ain't That Loving You’, ‘Things in Life’, ‘Cassandra’, ‘Wolf and Leopard’ and ‘No Man Is an Is an Island’ for the former; ‘I Man a Rasta’, ‘Rastaman Camp’, ‘Bobby Bobylon’, ‘Natural Collie’, ‘Big Ship’ and ‘Love Ballad’ for the latter.from the chapter
- 92“Rastaman Camp”…McGregor (who came later) were longstanding sound-system heroes with a seamlessly blended range of material, among which was ‘Here I Come', ‘Money in My Pocket’, ‘Ain't That Loving You’, ‘Things in Life’, ‘Cassandra’, ‘Wolf and Leopard’ and ‘No Man Is an Is an Island’ for the former; ‘I Man a Rasta’, ‘Rastaman Camp’, ‘Bobby Bobylon’, ‘Natural Collie’, ‘Big Ship’ and ‘Love Ballad’ for the latter.from the chapter
- 93“Bobby Bobylon”…McGregor (who came later) were longstanding sound-system heroes with a seamlessly blended range of material, among which was ‘Here I Come', ‘Money in My Pocket’, ‘Ain't That Loving You’, ‘Things in Life’, ‘Cassandra’, ‘Wolf and Leopard’ and ‘No Man Is an Is an Island’ for the former; ‘I Man a Rasta’, ‘Rastaman Camp’, ‘Bobby Bobylon’, ‘Natural Collie’, ‘Big Ship’ and ‘Love Ballad’ for the latter.from the chapter
- 94“Natural Collie”…McGregor (who came later) were longstanding sound-system heroes with a seamlessly blended range of material, among which was ‘Here I Come', ‘Money in My Pocket’, ‘Ain't That Loving You’, ‘Things in Life’, ‘Cassandra’, ‘Wolf and Leopard’ and ‘No Man Is an Is an Island’ for the former; ‘I Man a Rasta’, ‘Rastaman Camp’, ‘Bobby Bobylon’, ‘Natural Collie’, ‘Big Ship’ and ‘Love Ballad’ for the latter.from the chapter
- 95“Big Ship”…McGregor (who came later) were longstanding sound-system heroes with a seamlessly blended range of material, among which was ‘Here I Come', ‘Money in My Pocket’, ‘Ain't That Loving You’, ‘Things in Life’, ‘Cassandra’, ‘Wolf and Leopard’ and ‘No Man Is an Is an Island’ for the former; ‘I Man a Rasta’, ‘Rastaman Camp’, ‘Bobby Bobylon’, ‘Natural Collie’, ‘Big Ship’ and ‘Love Ballad’ for the latter.from the chapter
- 96“Love Ballad”…McGregor (who came later) were longstanding sound-system heroes with a seamlessly blended range of material, among which was ‘Here I Come', ‘Money in My Pocket’, ‘Ain't That Loving You’, ‘Things in Life’, ‘Cassandra’, ‘Wolf and Leopard’ and ‘No Man Is an Is an Island’ for the former; ‘I Man a Rasta’, ‘Rastaman Camp’, ‘Bobby Bobylon’, ‘Natural Collie’, ‘Big Ship’ and ‘Love Ballad’ for the latter.from the chapter