If any album could conjure up the revolutionary spirit of Jamaica in the mid 1970’s, Tapper Zukie’s invincible M.P.L.A. set would surely be a fighting contender. The coming together of great rhythms and meaningful lyrics in a time of unrest in the country seemed to have made the album all the more urgent and relevant. As time would tell it would also prove to be a lasting success, not only with the hard core reggae fans but also their punk counterparts. Who embraced its militant themes and crossed the album over to a whole new audience.

Tapper Zukie (b. David Sinclair, Kingston, Jamaica.) had already returned from a trip to London England by the mid 70’s. Initially sent with help from his parents, brother Blackbeard and producer Bunny ‘Striker’ Lee to remove the youth from his troublesome ways on the streets of Kingston, Jamaica. He had performed some live shows in London and made some recordings for Larry Lawrence, that produced his debut ‘Jump and Twist’. Alongside other recordings that would emerge as his ‘Man A Warrior’ set. But feeling homesick he had returned to Jamaica in 1974 to work with Bunny Lee.

His work would consist of arranging sessions and colle¬cting payments to bodyguard, the now very successful producer. His frustration of Bunny Lee’s reluctance to record him led him cutting ‘Judge I Oh Lord’ for producer Lloydie Slim. Bunny Lee’s then recording of Tapper’s ’Natty Dread Don’t Cry’ and its subsequent release aboard, led to an altercation between Tapper and producer. The police had to be called and an offer to provide the singer with a set of rhythms put this matter to rest. The eight rhythms and a further two from Jo Jo Hookim and Ossie Hibbert alongside some free studio time at King Tubby’s Studio would result in the M.P.L.A album.

The rhythm provided by Jo Jo Hookim was a Channel One studio cut by The Revolutionaires based on Little Richards ‘Freedom Blues’ and provided the backdrop to M.P.L.A. The Ossie Hibbert rhythm again cut at Channel One based on The Royals ‘Pick Up The Rockers’ would provide the backdrop to Tapper’s ‘Pick Up The Rockers’. These and the remaining Bunny Lee rhythms, were all cut in a one hour session, at King Tubby’s Studio. ’Don’t Get Crazy’ cut on a rhythm based on the Joe Frazier rhythm to Tony Brevett’s ‘Don’t Get Weary’. ‘Go De Natty’ cut on Cornell Campbell’s ‘Please Be True’, originally a cut to Alexander Henry’s ‘Please Be True’. ‘Stop The Gun Shooting’ runs over Horace Andy’s ‘Skylarking’.’Ital Pot’ cut on Johnny Clarke’s version of Burning Spear’s ‘Creation Rebel. ‘Marcus’ see’s Tapper professing over Johnny Clarke’s ‘Poor Marcus’ .’Chalice To Chalice’ pulls on Johnny Clarke’s ‘Give Me a Love’,’ Don’t Deal With Babylon’ answers Junior Ross and The Spears ‘Babylon Fall’ and ‘Freedom’ rides on the great rhythm of Junior Ross and The Spears ‘Liberty’.

An outstanding album cut by one of Jamaica’s finest DJ’s and producers the mighty Tapper Zukie. We hope you enjoy this now timeless set.

TRACK LISTING

1 Pick Up The Rockers
2 M.P.L.A.
3 Don’t Get Crazy
4 Go De Natty
5 Stop The Gun Shooting
6 Ital Pot
7 Marcus
8 Chalice To Chalice
9 Don’t Deal With Babylon
10 Freedom
11 Pick Up The Dub*
Source: Tappa Zukie ‘Pick Up The Rockers’
12 Dub M.P.L.A.*
Source: Tappa Zukie ‘M.P.L.A.’

Dillinger one of the most consistently successful DJ’s to come out of Jamaica, fondly remembered for his massive ‘Cocaine In My Brain’ hit from the great CB200 album and the later reworked ‘Marijuana In My Brain’ which gave Dillinger crossover hits in both England and Europe. But the versatile DJ has many more strings to his bow.

Dillinger (born. Lester Bullocks,1953 Kingston, Jamaica) began his musical venture around 1971, working as a DJ to Sound Systems run by Prince Jackie and El Brasso.1974 saw his first vinyl release in the form of ‘Freshly’ for Producer Yabby U and in 1975 he came with the great ‘Brace A Boy’ for the young Mr Augustus Pablo.But his first album release was through Coxsone Dodd’s Studio One setup, where he let Dillinger fire some vocals over classic Rocksteady rhythms. It took the form of ‘Ready Natty Dreadie’. It was his time at Joseph ‘Jo Jo’ Hookim’s Channel One Studio that produced his second album set(a crossover release and fore mentioned) the timeless 1976 classic ‘CB 200’. It contained three big singles in ‘Plantation Heights’, ‘Cocaine In My Brain’ and ‘Crank Face’. The reworked ‘ Marijuana In My Brain’ even became a No 1 hit in Holland in 1979.

This set of tunes are taken from his classic 70’s period when Mr Dillinger could do no wrong. Alongside the big ‘Cocaine’ and ‘Marijuana’ hits the great opening track ‘Love Is All I Bring’ sees him working over Alton Ellis ‘Still In Love With You’ which Itself turned into ‘3 Piece Suite’. ‘Money Alone Is Not All’ where he works over Barry Brown’s ‘Mr Money Man’, ‘Hear and Deaf’ working over Johnny Clarke’s ‘Nobodies Business’. ‘King Pharaoh Was A Baldhead’ has him working Frankie Jone’s ‘ Jesse Black’ cut. ‘Concubine’ reworks the Mighty Diamond’s ‘Mother Winney’ and ‘Time So Hard’ sees Dillinger telling it like it is over Ronnie Davis’ original ‘ Time So Hard’ cut, empathizing the points in fine style.

A classic set of tunes all ‘Killer No Filler’ from the master of rhyme himself we hope you agree…..

TRACK LISTING

1. Love Is All I Bring
2. Cocaine In My Brain
3. Time So Hard
4. Don’t Want To Wait In Vain
5. Money Alone Is Not Enough
6. Some More Love
7. Hear And Deaf
8. Marijuana In My Brain
9. Bathe In A Washpan
10. King Pharaoh Was A Bald Head
11. Dub It In A Three Mile
12. I Want To Squeeze You
13. Rastafari Rule
14. Concubine
15. Mickey Mouse Crab Louse *
16. The Tuffest Of The Past *

The 'skinhead' sound grew from the music that was coming out of Jamaica around 1968 to 1971 and was adopted by the British youth. The music seemed tailor made for their sharp look and natty dress style, a style that was heavily influenced by the Jamaican 'rude boy' look. The skinhead movement started around 1968 and by the following year it became the style fashion of English teenagers. The uniform consisted of boots, braces and jeans and the upbeat sound of reggae seemed to match the style perfectly. The tempo of the music seemed to pick up around 1966 to 1968 - the Rocksteady period, which was when the earlier Ska sound slowed down.
The sound system dances needed a slower bear to swing the night away to, some say to cater for the extreme heatwave that hit Jamaica around that time.
Here's a bunch of tunes that would have provided a sound track to those heady times, so sit back and enjoy some of the tunes the youths were listening to when the skinheads hit town….

TRACK LISTING

Side One
Track 1 Copycats-Derrick Morgan & Owen Grey
Track 2 Children Get Ready-The Versatiles
Track 3 Hey Boy,Hey Girl-Derrick & Patsy
Track 4 Scarface-Bunny Lee Allstars
Track 5 Bangarang-Stranger Cole & Lester Sterling
Track 6 Rhythm Hips-Ronald Russell
Track 7 River To The Bank-Derrick Morgan

Side Two
Track 8 The Worm-Lloyd Robinson
Track 9 Drink & Gamble-Young Freddie
Track 10 Last Flight To Reggae City-Stranger Cole & Lester Sterling
Track 11 Push Push-The Termites
Track 12 The Horse-Eric Barnett
Track 13 Lets Have Some Fun-Dervon & The Tartans
Track 14 Buy Me A Rainbow-Max Romeo
Track 15 Q Club-Lennox Brown*
Track 16 The Return Of Al Capone-Peter Tosh*
Track 17 Girl What Are You Doing To Me -Owen Grey*

The Rude Boy moniker has its roots firmly set in the downtown districts of Kingston, Jamaica. Alongside the regular Ska/Rocksteady sounds coming out of the sound systems, there was an undercurrent theme to some songs that spoke of the struggles of the youth, of their confrontation, arrests and run ins with the establishment. Some of these songs praised the Rude Boys for their stance and style while other songs were more in contempt with the Rude Boy’s attitudes, comings ,goings and violent behaviour. For this release we have put together a set of tunes that the Jamaican Rude Boys would have been listening to at the sound systems on the lawns and street corners. Not only the more obvious Rude Boy tunes like ‘Gunmen Coming to Town’ , ‘Dreader than Dread’, ‘Moon Hop’ but also some of the tunes that made the sound systems rock well into the night.

TRACK LISTING

1 Fat Man - Derrick Morgan
2 Wine And Grine - Lloydie & The Lovebites
3 Love Is All I Have - Phyllis Wilson
4 Put Yourself In My Place - Delroy Wilsom
5 Rainbow Into Rio Mino - Rico Rodriguez
6 I Love You - Derrick Morgan
7 Dreader Than Dread - Honey Boy Martin
8 Gunmen Coming To Town - The Heptones
9 Rub Up, Push Up - Justin Hinds
10 Soul Voyage - Lester Sterling
11 Moon Hop - Derrick Morgan
12 Fat Girl,sexy Girl - John Holt
13 Reggae Hit The Town - The Ethiopians
14 How Long - Pat Kelly

Horace Andy has always commanded a place high on the list of Reggae singers from Jamaica. His distinctive haunting vocal style stands strong on any rhythm, song or style he chooses to cover.Of the singers on that long list he has managed more so than any other to crossover to a new generation of listeners due to his individual style helped also by his collaborations with the likes of Massive Attack, Horace began his musical career at Coxonne Dodds Studio One,After numerous singles and with two albums worth of material Horace moved on to work with many of the top flight Jamaican producers, among them Keith Hudson, Augustus Pablo and Niney the Observer. But it was his work with producer Bunny Striker Lee in the 70’s that he cut most of his hits for and its from this stable of work we have compiled this set.
So sit back and enjoy the one and only Horace Andy….

TRACK LISTING

A1. You Are My Angel
A2. My Guiding Star’money
A3. Just Say Who
A4. Money Money
A5. Skylarking
A6. Something On My Mind
A7. Riding For A Fall
B1. Zion Gate
B2. Natural Mystic
B3. Love Of A Woman
B4. Don’t Try To Use Me
B5. Man Next Door
B6. Better Collie
B7. No Man Is An Island

The Sound of Studio One can be identified by the great singers that it cultivated along the many great songs that these singers released. But as studio 1’s dominance was slowly pulled away by the up and coming new breed of producers many of the artists would inevitably end up working for these new camps and so the songs and singers found a new audience. The reggae sound of the Studio 1 would make a great combination and the man to pull this was together Bunny Lee.

The 1960’s in Jamaica was run by two main factions, Coxsonne’s Studio 1 and Duke Reid’s Treasure Isle. These two leading protagonists saw what some of the other great Sound System men like ‘ Tom The Great Sebastian’ had not taken onboard, that when the tunes they imported began to dry up from the USA, their future lied in producing music. Tunes that suited the musical styles that the people of Jamaica still enjoyed. By the late 1960’s thse supremacy was being challenged by the up and coming new producers on the scene, Lee Perry being one, and the other being ‘Ghost of the Studios’ himself, Bunny Lee. Bunny ‘Striker’ Lee may have inherited the moniker ‘Striker’ from his liking of a particular TV show called ‘The Hitch-Hiker’, but it would soon stand also for the considerable hits he would obtain as he was declared producer of the year in Jamaica in 1969, 1970,1971 and 1972.
For this release, we have compiled many of the great Studio hits that Bunny Lee recorded with the singers that had originally cut at the famed Studio 1. Bunny Lee’s sprinkling of magic over some classic tunes….the sound of Studio 1 backed up this time Bunny ‘Striker’ Lee’s set of star musicians The Aggravators. Proving you can’t keep a good tune down, or a great producer pushing forward…..Bunny Lee strikes back….
Hope you enjoy the set…..

Maximum iration on this latest compilation from Kingston Sounds, which shines a spotlight on the Rockers Sound (aka Steppas),whic was created during  mid 70’s sessions by The Revolutionaires band at Channel 1.  
Drummer Sly Dunbar came up with a new ‘Militant’ style double drumming on the snare drum that seemed to add some credence to the political /Rasta based lyrics that were so prominent around this time. For this compilation, Kingston Sounds have pulled together some of the best cuts from this period when producer Bunny Lee was on the top of his game and the sound in town to get on board with was ‘Rockers’... So sit back and enjoy another period in Reggae’s history that still sounds as good as when it was created way back when... EVERYTHING ROCKERS....

Vocalists don't come more legendary than Jackie Edwards, and the smooth operator has lent his sweet tones to hundreds of ska, R&B, soul and rocksteady records. He was there at the birth of Island Records and his distinctive soulful voice has rightly given him the moniker of the Original Cool Ruler. A renowned singer from the earliest days of Jamaican recording Jackie Edwards presented future Island Records owner Chris Blackwell with two outstanding tunes in 1959. The first a sentimental ballad “Your eyes are Dreaming” and a Latin beat tune “Tell me Darling”.  His song writing skills were much in so demand and his popularity of such importance that when Chris Blackwell went to London in1962 to set up his record company he took his top Balladeer Jackie with him. This would pay dividends when a UK group Blackwell had signed called The Spencer Davis Group went on to release two of Jackie’s compositions “Keep on Running” and “Somebody Help Me”, which topped the British charts in 1966. Here Kingston Sounds have compiled some of Jackie Edwards finest songs, each covering a different reggae style but all sung to perfection.. Hope you enjoy the set....

STAFF COMMENTS

Patrick says: Killer collection of tunes from the 'original cool ruler' here! Plucked from throughout Jackie's long career the set covers R&B, rocksteady, soul and ska, but it's the righteous roots grooves of "Wad-Ada" and "So Jah Say" that are turning me out!

1973-1976 was a period in Reggae’s history when the music coming from Kingston, Jamaica was at its peak.

So many talented singers,who sang soulful / righteous songs found their way onto tape. Maybe it was the competition between the studios like Randys, Channel 1 and Harry J’s and the quality of the singers available to sing these tunes. But whatever caused the explosion the mighty voices of Horace Andy, Cornell Campbell, Johnny Clarke and Ronnie Davis never sounded better.

The tracks as you can see here were culled together from sessions recorded at the fore mentioned legendary studios. Then taken to King Tubby’s home style studio at 18 Drummlie Ave in the Waterhouse district of Kingston. This is where the great Dubmaster himself would record the vocal tracks. A method in which he preferred to work and then mix the tracks Tubby style. We have travelled to Jamaica and listened to hours of master tapes to bring this set to you. So please sit back and enjoy what we believe to be a wicked set by Kingston’s finest.

Tapper Zukie is not only a successful recording artist in his own right but a well respected producer also. In the mid 1970s he set up his own record label Stars to help nurture the many artists who were rising in Kingston, Jamaica.

In doing so he created a great catalogue of reggae music that few artists have bettered. For this release with the help of Tapper Zukie himself, Kingston Sounds have picked the highlights of the Star label to make this great album. The set includes tracks Prince Alla, Cornell Campbell, Dennis Brown, Horace Andy, The Mighty Diamonds, The Mighty Diamonds, Alton Ellis and many more. All the artists are stars and all the tracks shine...

Rocksteady took over Orange Street, Kingston, Jamaica around 1966, the same time that an extreme heat wave hit the Jamaican Island. While Jamaican independence in 1962 provided the spark for the energised party rhythms of ska, four year later the soundsystem crowds were yearning for something with a bit more soul, and a bit slower. The raised temperatures of 1966 proved to be the tipping point, and rocksteady was born. A short-lived sound from the island, supplanted by the early stirrings of reggae by 1968, rocksteady would see some of the power escape from the big three producers - Clement "Coxsone" Dodd, Prince Buster, and Duke Reid - who up to that period ruled the airwaves. It was time to make room for a new wave of up-and-coming producers who also had something to offer the people. So sit back and enjoy some rocksteady straight from the dances of Jamaica. Includes tracks by Roy Shirley, Glen Adams, Lester Sterling, Uniques, Errol Dunkley, George Dekker, Don T. Lee, Webber Sisters, Alva Lewis.

Ska was the name given to the music that came out of Jamaica between 1961/66. Based on the American R&B and doo wop records that the sound systems in Kingston Town used to play. But the American records style started to mellow out while the Jamaicans preferred a more up-beat sound. So the sound system bosses became record producers, creating their own tunes to cater for this demand. Sir ‘Coxonne’Dodd and Duke Reid led the way getting the island's top musicians in the studio to make music. The subtle switch in the rhythm that emphasised the offbeat made the music unmistakably Jamaican, and ska was born.

WIRL Records(West India Records Limited) was set up by the Jamaican politician Edward Seaga in the late 1950s. He had supervised the recording of an album of ethnic Jamaican music and needed an outlet for its eventual release. In 1962 the year of Jamaican Independence, Seaga became a member of Parliament, representing the Jamaican Labour Party. He then decided to sell the label to Bryon Lee, the sale led to a name change from WIRL to Dynamic Sounds.

Kingston Sounds have compiled some of the best scorching ska sounds that came out of WIRL vaults - and they still sound as fresh today as the day they were first recorded.

Leroy Smart the self proclaimed ‘Don’ carries much respect in the Jamaican musical community. He came through the Alpha boys school in Kingston that provided JA with the cream of Jamaican artistic talent, including such legends as Don Drummond, Tommy Mc Cook and Johnny Dizzy Moore to name but a few.

Leroy Smarts talent lay in his attacking vocal style that gives his lyrics and tune that extra meaning. His best work came in the heady mid 70s working with ‘The Hitmaker from Jamaica’ Mr. Bunny 'Striker' Lee. Bunny put Leroy Smart's vocals on some of his best rhythms starting in 1973 with ‘God Helps The Man’ and ‘Wreck Up My Life’. Other killer hits were to follow such as ‘Mr.Smart’, ’Pride and Ambition’, ’Bad Minded People’ and the attacking ‘Mr. Richman’. All tracks telling it like it is...

Kingston Sounds have compiled all these cuts together, every song a story in itself, told only as Leroy Smart could.

Lee Perry began his entry into the music business at the age of 16. Moving up to Kingston Town and working around various Sound Systems, before finding employment at Coxonne Dodd’s Studio One set up, in the late 50s early 60s. Perry started out as a record scout, organising sessions and supervising auditions at Dodd’s record shop on Orange Street. Helping to make hits for Delroy Wilson and the Maytals, which would lead to his own vocal records released through Studio One, the musical backing for which, came from legendary Studio One house band The Skatalites.

A dispute over credits and money saw Perry leave Studio One and work with various producers including Clancy Eccles and JJ Johnson, before arriving at the door of producer Joe Gibbs in 1967. Here he would write songs and produce hits for artists such as, Errol Dunkley and the Pioneers. Again lack of musical credit and financial reward saw Perry move on this time to WIRL (West Indies Records Limited) Records, working alongside manager Clifford Rae, who would provide studio time and pay for pressings in return for helping to promote and distribute WIRL product, which Perry would carry out on his trusted Honda 50 motorcycle around Kingston town.

This period at WIRL saw some inspired work from Perry. ‘Run For Cover’ was another musical blow to a previous employer, Coxonne Dodd and featured the Sensations on backing vocals and Lynn Taitt’s guitar picking skills. ‘People Funny Boy’ was a massive hit for Perry going on to sell over 60,000 copies. Joe Gibbs would be at the end of this musical attack. Perry had felt Joe Gibbs had turned his back on him, after he had provided hits for groups like The Pioneers. The song would be one of the first records to feature a new beat (reggae) inspired by the sounds coming out of a Pocomania Church, Perry had heard one night. The congregation inside, wailed in a more slower way than the current musical style of the time, ska.

Perry worked up this new style with Clancy Eccles, who would come under attack himself in ‘You Crummy’. Their closeness, which as detailed in that song would find them, ‘Even shared the same Gal’ but ‘Now it’s plain to see we reached the end’. ‘Set Them Free’ was an answer record to Prince Buster’s ‘Judge Dread’ (which had featured Perry on it) a plea to the Judges in Jamaica that handed out extremely harsh sentences to the young offenders of the time. The track was cut on the same rhythm as ‘Run For Cover’. ‘Django Shoots First’ inspired by the Spaghetti Western film of the same name, features Sir Lord Comic. One of the early DJ’s who used a jive talking style over rhythms. ‘Night Doctor’ was a hit instrumental that featured the organ talents of Ansel Collins, that really push the tune along. ‘Something You Got’ was a cover of an USA R&B track by Chris Kenner and ‘Wind Up Girl’ was cut at the same session. ‘Water Pump’ was a rude style track that was cut later and originally released in 1974. As was ‘People Sokup Boy’ a later version of ‘People Funny Boy’. ‘Labrish’ was one of the first great talk over tunes that features Lee Perry and producer Bunny ‘Striker’ Lee talking about the Political situation in Jamaica at the time and their own financial situation and stories of various comrades. The track was originally released in 1973. Bunny Lee would play a major part in lee Perry’s career around this time and they were very close, often sharing sessions and rhythms. Ironically it would be Bunny Lee that took over Perry’s roll at WIRL and become responsible for the label's products in years to come. Clifford Rae who give control to Bunny for a lot of the WIRL product and even gave him his shop 101 Orange Street. So here we have a collection of music born out of a time spent at WIRL Records and providing an important chapter in Lee Perry’s career and indeed to the story of reggae itself.

The Ethiopians are one of the great vocal groups to come out of Jamaica. Singing songs of life and times as they found them, themes that resonated with the people of the Island that made them such a treasured group. Lenard Dillon, the founding member of the Ethiopians, began his singing career at Clement ‘Coxonne’ Dodd’s Studio One. Initially he recorded under the name of Jack Sparrow, and backed by the Wailers, cutting ‘Ice Water’ and ‘Suffering In The Land’. Under The Wailers encouragement, he went on to form his own vocal group. Recruiting singers Stephan Taylor and Aston 'Charlie’ Morris to become The Ethiopians. They cut ‘Live Good’, ‘Why You Gonna Leave Me Now’ and ‘Owe Me No Pay Me’. Although receiving favourable response, Aston Morris decided to leave the band and the remaining pair carried on and cut ‘I’m A Free Man’ and ‘Don Dead Already’ and ‘For You’. On meeting contract builder Leebert Robertson who had recently returned to live in Jamaica,  he said he wanted to get into the music business, a session was booked for Treasure Isle Studios. The session produced their seminal ‘Train To Skaville’ track, which became an immediate hit in Jamaica and in the UK, when in 1967 it reached number 40 in the charts. They also cut ‘Engine 54’, which became the title of their debut album.

Its follow up ‘I Need You / Do It Sweet’, did not fare so well and the band moved over to Sonia Pottinger’s stable, where they cut ‘The Whip / Cool It Amigo’ which revived their fortunes and proved another big hit for the band. Two more hits followed ‘Stay Loose Mama’ and ‘The World Goes Ska’, after which the band decided to return to a trio, adding Melvin ‘Mellow’ Reid to the line up. The band now hit another run of successes with producer JJ Johnson ‘Everything Crash, ’Gun Man’, ‘Hong Kong Flu’ and ‘The Selah’. Many hits followed leading the band to work with a variety of Jamaican producers. Such tracks as ‘I Want To Be a Better Man, ‘ Conquering Lion’, ’Fire A Mus Mus’ Tail’, and the timeless ‘Reggae Hit The Town’ to name a few. Two albums ‘Reggae Power’ (1969) and ’Woman Capture Man’ (1970), pulled a lot of these tunes together. Sadly Taylor was killed in 1975 after been struck by a van in a road accident. Dillon returned to Port Antonio till 1977, when he was persuaded to return to Treasure Isle studios with producer Niney The Observer and cut the Rasta based album ‘Slave Call’. Additional members who joined for this album were Bro Fatty, Bro Ewing, Bro T, Mello and Hychi Dread. An album that showed all the Ethiopians magic had not been lost.

For this release Kingston Sounds have included the full ‘Slave Call’ set, alongside some of the band's early hits including the original version of ‘Train To Skaville’, ‘Engine 54’, the great and poignant ‘Everything Crash’, ‘Reggae Hit The Town’ and ‘The Selah’. An interesting set to remind us what a great group the Ethiopians really were.

If any album could conjure up the revolutionary spirit of Jamaica in the mid 1970s, Tapper Zukie’s invincible 'MPLA' set would surely be a fighting contender. The coming together of great rhythms and meaningful lyrics in a time of unrest in the country seemed to have made the album all the more urgent and relevant. As time would tell it would also prove to be a lasting success, not only with the hard core reggae fans but also their punk counterparts.Who embraced its militant themes and crossed the album over to a whole new audience.

Tapper Zukie hooked up with producer Bunny Lee. His work consisted of arranging sessions, collecting payments and acting as a bodyguard to Lee. His frustration of Lee’s reluctance to record him led him cutting ‘Judge I Oh Lord’ for producer Lloydie Slim. Bunny Lee’s then recording of Tapper’s ’Natty Dread Don’t Cry’ and its subsequent release aboard, led to an altercation between Tapper and the producer. The police had to be called and an offer to provide the singer with a set of rhythms put this matter to rest. The eight rhythms and a further two from Jo Jo Hookim and Ossie Hibbert alongside some free studio time at King Tubby’s Studio would result in the 'MPLA' album.

The rhythm provided by Jo Jo Hookim was a Channel One studio cut by The Revolutionaires based on Little Richards ‘Freedom Blues’ and provided the backdrop to 'MPLA'. The Ossie Hibbert rhythm again cut at Channel One based on The Royals 'Pick Up The Rockers’ would provide the backdrop to Tapper’s ‘Pick Up The Rockers’. These and the remaining Bunny Lee rhythms, were all cut in a one hour session at King Tubby’s Studio. ’Don’t Get Crazy’ cut on a rhythm based on the Joe Frazier rhythm to Tony Brevett’s ‘Don’t Get Weary’.‘Go De Natty’ cut on Cornell Campbell’s ‘Please Be True’, originally a cut to Alexander Henry’s ‘Please Be True’. ‘Stop The Gun Shooting’ runs over Horace Andy’s ‘Skylarking’.’Ital Pot’ cut on Johnny Clarke’s version of Burning Spear’s ‘Creation Rebel. ‘Marcus’ see’s Tapper professing over Johnny Clarke’s ‘Poor Marcus’ .’Chalice To Chalice’ pulls on Johnny Clarke’s ‘Give Me a Love’,’ Don’t Deal With Babylon’ answers Junior Ross and The Spears ‘Babylon Fall’ and ‘Freedom’ rides on the great rhythm of Junior Ross and The Spears ‘Liberty’. An outstanding album cut by one of Jamaica’s finest DJs and producers the mighty Tapper Zukie. We hope you enjoy this now timeless set.

To celebrate Jamaica’s 50 Years of Independance 1962-2012, Kingston Sounds have put together a series of releases that cover the musical styles that reggae mutated into through its history: ska, rocksteady, roots reggae, dub, DJ style and dancehall. So, Listen Up! and enjoy!

Welcome to the Dancehall Sound from Jamaica. The sound that grew out of the dances in Jamaica around the beginning of the 1980s.The musical style again slowed the reggae beat down to give an uncluttered, sparse backdrop, allowing the singers and DJ’s more space to express themselves. Dancehall has never stopped but turned to a digital beat around the mid-80s. So Listen Up! to some early Dancehall classics that set the style for the years that followed.

To celebrate Jamaica’s 50 Years of Independance 1962-2012, Kingston Sounds have put together a series of releases that cover the musical styles that reggae mutated into through its history: ska, rocksteady, roots reggae, dub, DJ style and dancehall. So, Listen Up! and enjoy!

The DJ phenomenon started way back in the ska era in the late 1950’s with the likes of Count Machuki and Sir Lord Comic who could be found shouting introductions to the big tunes of the day. This would grow to almost question and answer sessions over the original vocals. This Deejay jive talk so popular in the dancehalls and sound system gatherings transferred to vinyl and became another chapter in the evolving sound of reggae.

To celebrate Jamaica’s 50 Years of Independance 1962-2012, Kingston Sounds have put together a series of releases that cover the musical styles that reggae mutated into through its history: ska, rocksteady, roots reggae, dub, DJ style and dancehall. So, Listen Up! and enjoy!

Welcome to the dub sound from Jamaica. The vocal records cut back to the bones of bass & drums, with the instruments and vocals faded in and out sometimes with echo and reverb to make a great new version! Although remembered as an early 70s phenomenom, the dubbed sound can be dated back as early as 1968. But by the mid-70s it became the norm for records to carry a version (dub) B-side and in fact many records were brought for this reason especially if they were known to come from the hands of the dub master himself King Tubby. So sit back and enjoy this dub excursion, many from the hands of King Tubby but all classics in their own right.

Dennis Alcapone, initially inspired by DJ U Roy, was soon to challenge his crown in the early part of the 70s releasing over 100 hit tunes. He could weave his vocal magic over any tune / rhythm that came his way and take it to another place. Alcapone began DJing (toasting) for the El Paso Hi–Fi Sound System around 1969. His first releases resulted from working with producer Keith Hudson, a succession of hits followed. Dennis moved camp to work with producer Duke Reid reworking some fresh ideas over classic Treasure Isle rhythms. He then went on to work with many top producers between 1970 - 1973, including Coxonne Dodd, Lee Perry, Sir JJ, Winston Riley, Joe Gibbs, Prince Buster all provided an outlet for his musical endeavours.

Another great relationship was his work for producer Bunny Lee, again scoring some big hits including, ‘Guns Don’t Argue’ and ‘Ripe Cherry’ the later adding a twist to Bunny’s massive hit of the time ‘Cherry Oh Baby’. Kingston Sounds have looked to this period in Dennis’s career where there is a wealth of great music.‘Go Deh’ (on Leroy Smart's ‘How Long’), ‘Eternal Life’ (Johnny Clarke’s version of Peter Tosh’s ‘Legalise It’) 'Steve Austin' (The Six Million Dollar Man tale over Leroy Smart’s ‘Pride and Ambition’), 'Wise Man From The East' (Johnny Clarke’s ‘You Have Caught Me Baby’), It Must Come (Delroy Wilson’s ‘Better Must Come’), 'Blessed Are The Meek' (Slim Smith’s ‘Blessed Are The Meek’) to name but a few. Dennis left Jamaica in 1973 just after being awarded the Cup for Best DJ by Swing magazine. With his signature shout of "Yeah Yeah Yeah!" you knew he was going to mash up the dance wherever his musical talents led him.

To celebrate Jamaica’s 50 Years of Independance 1962-2012, Kingston Sounds have put together a series of releases that cover the musical styles that reggae mutated into through its history: ska, rocksteady, roots reggae, dub, DJ style and dancehall. So, Listen Up! and enjoy!

Part three brings us the roots reggae sound. A period in Jamaican music's history that followed the two year supremacy of rocksteady, which had beun to tail off around the end of 1968. The reggae sound did not come initially from the chop of the gui- tar but from the stabs from the keyboard / organ that produced that jeggae / jerking feel. The roots element can be heard in the heartfelt lyrics and the stories told in the songs. So sit back and enjoy some roots reggae straight from the heart of Jamaica...

To celebrate Jamaica’s 50 Years of Independance 1962-2012, Kingston Sounds have put together a series of releases that cover the musical styles that reggae mutated into through its history: ska, rocksteady, roots reggae, dub, DJ style and dancehall. So, Listen Up! and enjoy!

Welcome to the ska beat, the sound that came from Jamaica between 1961 and 1967. Based on the American R&B and doo-wop records that the sound systems in Kingston Town used to play. The American records style started to mellow out while the Jamaicans preferred a more upbeat sound. So to meet this demand the sound system bosses became record producers to cater for this demand. Sir Coxonne, Duke Reid lead the way by putting the top musicians on the Island in the studio to make this ska sound! Here for your enjoyment is a selection of some of the top tunes that made ska so great.

To celebrate Jamaica’s 50 Years of Independance 1962-2012, Kingston Sounds have put together a series of releases that cover the musical styles that reggae mutated into through its history: ska, rocksteady, roots reggae, dub, DJ style and dancehall. So, Listen Up! and enjoy!

Welcome to the rocksteady sound from Jamaica. Towards the end of 1965, some say due to the energy-saping heatwave that was hitting the Island, the people that followed the sound system dances demanded a slower beat so they could still move and groove to at the all night musical affairs. So the jerky ska swing was slowed down to a steady beat that also allowed songs and vocalists to shine through. So sit back and enjoy the tunes that rocked JA between 1966-1968 - the rocksteady sound that hit the town.

Niney the Observer, one of Jamaica’s great producers, cultivated a distinctive sparse / heavy sound to his productions.Add to this the poignant lyrics that many of these tunes carried, builds to a roots music catalogue that few could match. Winston Holness, aka Niney the Observer (named due to a workshop accident in which he lost a thumb!), began his musical induction working for producer Bunny Lee in the late 60s.Around 1968 Niney worked alongside Lee Perry for producer Joe Gibbs eventually taking over Perry’s role as ‘in house’ producer in 1968, when Perry decided to go his own way and start his own label.

Niney by now had learned his craft ,especially known for building strong original rhythms which he put to good work on his first production called ‘Mr Brown’ / ‘Everybody Bawling’ for DJs Dennis Alcapone and Lizzy. This was a hometown hit in Jamaica but its follow up in 1970, Niney’s ‘Blood & Fire’ featuring Niney himself on vocals was a runaway hit selling over 30,000 copies in Jamaica alone. Niney’s production work hit another high around 1973 when he began working with singer Dennis Brown. The records initially were released on Joe Gibbs label but soon appeared on Niney’s own imprint ‘Observer’ label. Hit after hit came from this chemistry that flowed between Niney and Dennis Brown, ’Westbound Train’ following in 1974 with, ‘Cassandra’, ‘I Am The Conqueror’ and the timeless ‘No More Shall I Roam’.

Kingston Sounds have culled some great tunes that Niney added his magic production skills to around this time, they show his vast talents and also the cross-section of artists that he worked with. Dennis Brown provides ‘Stages of Life’ alongside Leroy Smarts classic ‘Mr Richman’, Max Romeo ‘Don’t Be Prejudice’, Bob Andy ‘War War’, Delroy Wilson ‘Pretty Girl’. Ken Boothe provides us with two cuts, ‘Namibia’and ‘Peaceful Day’, vocal legend Alton Ellis features with ‘Change My Life’ and vocal groups are represented by the Versatiles ‘Trust The Book’ and Tamlins ‘Give It Up’. A great selection of songs that work so well together, not only because of the heartfelt singing that the artists put across but also the songs are interlinked by Niney’s rich studio style… Hope you enjoy the set……

Prince Alla began his singing career working for producer Joe Gibbs. Cutting three tracks as a member of the vocal group the Leaders around 1968 and a solo single ‘Woo Oh Oh’.1969 saw Blake follow his strong Rastafarian faith by moving into the Rasta camp of Prince Emmanuel Edwards initially in Spainish Town and later moving to Greenwich Farm. It was at the latter that he crossed paths with Tapper Zukie who was just beginning to work as a producer as well as a singer. Prince Alla played Tapper a tune he had written called ‘Bosrah’ ('Bozrock'),so blown away with the tune that Tapper took Prince Alla up to Lee Perry’s Black Ark studio’s to record the track.The results were great so they worked on various other tracks ‘Funeral’ which was a 12’’ version to the track ‘Daniel’ and another track called ‘Heaven Is My Roof’ which would go on to be the title track to the album Tapper Zukie would release to showcase his recordings cut with Prince Alla. It is this collection of songs and their extended versions ‘Black Man (Daniel mix featuring Tapper Zukie),‘Bosrah Dub’, ‘Funeral Dub’ that we have put together for this release. Alongside three classic extra cuts, ‘Hail Rastafari’, ‘Black Roses’ and the sublime title track to this collection ‘Royal Throne Room’ that completes this set.

The shuffle rhythm that was born from the American rhythm and blues tunes that hit Jamaica in the 1950s would soon fuse under its Jamaican influence and find an emphasis on the second and fourth bars of the beat. This off-beat would create the ska sound and no fine exponent of this in the sounds early days was Theo Beckford. Theophilus 'Easy Snapping' Beckford (born 1935, Kingston, Jamaica) began his musical career in the mid 50s and had after only two years mastered his instrument of choice the piano. His first hit for Coxonne Dodd's Worldisc label was the classic "Easy Snapping". He had created his own laid back style that simply rolled off his piano and his musical arrangements became the backbone of so many early Ska tunes. His services were soon in demand with not only Coxonne Dodd but all the other top flight producers of the time, Duke Reed, Beverley's, Prince Buster and Clancy Eccles. His session work alongside his playing as part of the big group of the time Clue J and His Blues Blasters, that would eventually morph into the legendary Skatalites, meant that his fingers were truly on the musical pulse of the time. Kingston Sounds have compiled some great early ska cuts for this release that have been touched with the T. Beckford magic. Some of his own classic hits "Flip,Flop And Fly" (aka "Walking Down King Street"), "Mr Downpressor" the fantastic "Don't Have A Ticket Don't Worry". His poignant duo of "Grudgeful People" and "Ungrateful People" and two other timeless tracks "What A Woe" and "Boilerman". Alongside some of his productions for some of the other long – forgotten hero's of the early ska sound: Basil Gabiddon's "Streets of Glory", Frank Cosmo's "On Your Knees", Shenley And Annette's "Now You're Gone" and Daniel Johnson's uplifting "Come On My People".

TRACK LISTING

CD:
1. Don't Have A Ticket Don't Worry - T.Beckford
2. Come On My People - Daniel Johnson
3. Love Me Or Leave Me - Lloyd Clarke
4. Seven Long Years - T.Beckford
5. Hit You Like You Feel It - The Tenor Twins
6. Daphne - T.Beckford
7. On Your Knees - Frank Cosmo
8. Grudgeful People - T.Beckford
9. Flip Flip And Fly - T.Beckford
10. Brother Nathan - Daniel Johnson
11. Streets Of Glory - Basil Gabiddon
12. Bajan Girl - T. Beckford
13. Now You're Gone - Shenley & Annette
14. Mr Downpressor - T. Beckford
15. Boiler Man - T. Beckford
16. Ungrateful People - T. Beckford
17. What A Woe - T. Beckford (Bonus Track)
18. Take Your Time - T. Beckford (Bonus Track)

Johhny Clarke ruled the dancehall in the mid 70s, coming up with a number of quality tunes using the fresh 'flyers' rhythm that gave him an edge with the sound systems. But his voice was always more important than any passing riddim fad, and his versatility to sing a wide range of vocal styles, has seen him cut through the decades as one of reggae's best voices. It's from his 1970s work with Bunny Lee that Kingston Sounds bring this collection together from, mixing up rockers, dread and lovers cuts.