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Jamaica’s rare rock steady label “Links” was running for almost 2 years between 1967 to 1968. The “Links” label is very sought after with collectors & selectors especially tracks like Ken Boothe’s “Can’t You See”, The Gaylads' “Looking For A Girl” and ‘Mama Look” to name a few. BB Seaton, founder of the “Links” label and original member of The Gaylads - one of the most important groups during the Ska and Rock Steady era. BB Seaton explains how the “Links” label came about at a time where artists could not earn fair payment from producers for their recordings. The Gaylads with Ken Boothe, The Melodians and Delroy Wilson joined forces and decided to control their own recordings from the exploitation of the producers. The four artists came together to manage and control the “Links” label to obtain all rights and share their profits. BB Seaton was the backbone of the songwriting and managing the productions/arrangements, whilst the other artists gave all their talent to singing the tracks to their best performance. The tracks recorded for the “Links” label are prime examples of the finest rock steady music to come out of Jamaica! The “Links” label had a short run, and sadly demised after 2 years due to unfortunate circumstances (all is revealed in Brian Keyo’s great liner notes!) This album compiles the “Links” output for the first time. The “Links” album is recommended not only for rock steady collectors but all music lovers.

repress

Reggae music in many ways reminds us of America’s Motown records.The music comes out of its stable fast and furious we tend to know the songs, the artists, the studio but who ?
are the players.The unsung hero’s that in many cases, cut most of our favourite tracks One such band this applies to in the Reggae field is the Soul Syndicate Band.

Each Jamaican record producer would have their favourite set of musicians they would use, availability permitting. Although several musicians crossed over into different named bands. For example a set of players working with Producer Bunny 'Striker' Lee would go
under the guise of The Aggrovators .The same group working with Producer Joe Gibbs would work under the name The Professionals. Soul Syndicate were the band of choice for Producer Niney the Observer, who used them for his own recordings and when you
put that aside the other artists Niney produced,Dennis Brown, Max Romeo, Michael Rose, I Roy,The Ethiopians, Barry Brown, Gregory Issacs and Freddie McGregor. To name a few and not necessary all, you begin to see the amount of material this set of musicians played on.

Built around the rhythm section of Calton 'Santa' Davis and George 'Fully' Fullwood, drums and bass respectfully. They were usually accompanied by Earl 'Chinna' Smith,Tony Chin on guitars, Keith Sterling, Gladstone 'Gladdy' Anderstone, Bernard 'Touter' Harvey, organ / keyboards and Noel 'Skully' Simms, percussion. Niney's tracks tended to be rhythm heavy and thus Sound System favourites.But when brass was needed / called for ,this was provided
by the likes of Tommy McCook, Bobby Ellis, Felix ' Deadley Headley' Bennett. Niney not having a studio of his own at the time used most of Kingston's studios, again availability and money providing. But most of these cuts selected for this release were cut at Channel 1 and a few
exceptions at Randy's Studio 17 and at Joe Gibbs studio at Burns Avenue.

Niney also worked closely with King Tubby on his dub plates, so tracks after the recording sessions were taken to King Tubbys for reconstruction and sometimes re-voicing over an existing rhythm.These were then used as version sides to the vocal cuts,but most importantly used to nice up the dances, being played out on King Tubbys Home Town Hi - Fi Sound System.We have pulled together a selection of such dub plate specials cut by the Soul
Syndicate band for this release. Dub sides that emphasise how well the band worked together, and with Niney at the reigns and the added bonus of some Tubby magic sprinkled on top. Please see our Niney the Observer at King Tubbys 1973 - 1975 JRO11 for further examples of this work.

We at Jamaican Recordings hope we are not alone in saluting the musicians, that played such a big part in producing many of our favourite Reggae Sounds. Having released titles by The Revolutionaries JR003, The Aggrovators JR005, Sly and Robbie JR006, we are now pleased to release a selection of rare Dub cuts by another one of Jamaica's finest, the Soul Syndicate band to our catalogue...

Respect Jah Floyd.

King Earthquake Reggae 12" - Love and Happiness / Sylford Walker

Orange Vinyl

Superb Ragga Jungle tune from Krak In Dub, remixing the famous OBF title "Mandela" sang by Mr Williams

first part of the tune brings the remix and second part brings the instrumental.

Pure was a clubbing institution in the 90s that fearlessly embraced acid house's rise with a furor of embracing transatlantic electronic sounds and breaking down barriers in the cinematic home of UK rave Edinburgh. Famously being the first club in the UK to ever book a young Jeff Mills and leading into Scotlands most ground breaking club night Optimo Espacio.

Unearthed deep in JD Twitch archive was a lost tape of ragga, techno and dub. Recorded in 1992 (almost exactly 30yrs ago) and the tape sets the tone for the never ending eclecticism, passion for the underground and merging of musical styles of this legendary DJ.

This is a very limited edition 7” EP from the original rave master, Liquid. It contains two versions of the track Wrong Sun, the classic original mix and an exclusive Bronx Tigers Remix. An unmissable and perfectly executed slice of vocal old school on the earliest of single formats, 7”. While stocks last, and never to be repressed….

Club / DJ Support
Doc Scott, Pete Cannon, Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

Daptone Records is proud t o present! Mikey General "It Choose Me" b/w Ear l Maxt on "Prattle" - t he latest of fering from producer extraordinaire, Victor Axelrod - AKA Ticklah. Jamaican reggae and
dancehall singer Mikey General reconnected with Axelrod during the pandemic to create “It Choose Me,” a t hrowbac k t o t he ear l y 1980s analog r ub-a-dub sty le t hat has become a t ouc hst one f or reggae's
global appeal. Axelrod had used t he bac king trac k years ago wit h Rob Symeonn f or a song called .Jah Only,' Luckily for us MG loved the track and blessed us with this instant classic. On the flip is the
instrumental/dub mix, “Prattle,” featuring keyboardist Earl Maxton on clavinet. Axelrod, known for his signature analog productions and dub mixes created at his Brooklyn studio, was able to coax the
enigmatic Maxton back to the studio af ter a 15-year hiatus in St. Lucia, where he has been handcraf ting soundsystem loudspeakers using paper made from indigenous plant fibers. So sit back and enjoy the fr uits of these three legends!

* A welcome reissue of this long-deleted classic digital dub album from the deadly dub duo - The Bush Chemists.
* Originally surfacing on the Dubhead label in 2001, `Dub Fire Blazing’ was the follow up to `Light Up Your Chalice’.
* 10 slabs of throbbing heavy-weight bass pressure from The Bush Chemists crew.

Two late 70s heavyweight roots rockers from Barry Brown, produced by Bunny Lee. Reissued on original "Justice" label from the time. Clear and loud pressing!

Funky soul reggae LP released by HAROLD BUTLER in 1976 reissued for the first time! CEDRIC BROOKS on saxophone and MARCIA GRIFFITHS as a backing vocalist. Features reggae arrangements of classics such as "THE WAY (I LIKE IT)"! A must-have for selectors!

Two roots reggae classics circa 1977 from Max Romeo on 12" vinyl. Clear and loud pressing!

Second batch of releases for Fruits Records’ imprint label Skankin’ Society Records!
Vin Morgan is well known by record collectors for being the man behind Soul Defenders Band (Studio One in-house band after Sound Dimension) and most of all the writer and vocalist of Roots anthem ‘Jah Love’ (New Era, 1984). Even if the larger audience haven’t heard his name much, Vin Morgan is probably one of the greatest songwriters of Jamaica. Musical director at Studio One in the seventies, Vin knows how to combine good writing with catchy melodies to get hits. Shadow worker, he only released his first solo album in 2017. This gem album was produced by Iroko Records and Roberto Sánchez and it features killer song ‘Thanks A Lot’.
Beautifully sung by Vin’s falsetto, ‘I’ll Rise Again’ was recorded in Kingston under the musical direction of legendary bass player and producer Boris Gardiner. It also features guest drummer and longtime Studio One partner Leroy “Horsemouth” Wallace. ‘I’ll Rise Again’ has a strong lyrical content that shall give hope and strength to all survivors: “I’ll rise again, in the sunshine, through the rain / I’ll rise again, patch up the bruises and ignore the pain / I’ll rise again, don’t let the system conquer me / I’ll rise again, I wanna choose my destiny”. Words, sound and power!

Cornell Campbell - 100lb Of Collie Gorgon Records

You're Gonna Get A Beatin' / Beatin Dub - Delroy Wilson & The Aggrovators

A SIDE: "COME INTO MY PARLOUR" - 1969

Genre: Early Reggae/Boss Sound

“COME INTO MY PARLOUR” is a killer Reggay anthem adored by early Reggae fans, on par with the likes of “John Jones” or

“Hold Down” previously released on Harlem Shuffle Records. Extremely popular, it has never been repressed since,

it is impossible to find in good condition and is very much in demand.

With its suggestive lyrics, bold organ, pulsing beat and lovely melody, it is easy to see why “Parlour” is still so much in favour 50 years after its release. Essential!



B SIDE: "CHECK HIM OUT" - 1969

Genre: Early Reggae / Boss sound

It was initially released as the A side of “The Vampire” by the Upsetters on the Upsetter label in 1969 in UK.

"Check Him Out" is a cheerful and infectious Reggay tune with wonderful harmonies from the group.

A marvelous track. Listening closely, it appears to be a musical advertisement giving directions to a record store in Kingston that Perry owned at the time!!!

It has never been repressed on 7” vinyl. It is a very much in demand song and a perfect B side for this killer double sider…

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ (more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a homemade mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke. It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long-playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds, mixed by King Tubby and Mr Prince Phillip Smart and another set of scorcher Bunny Lee rhythms.

Phillip Smart was one of the great engineers to learn his trade as understudy to the legendary dub master himself Osbourne'King Tubby'Ruddock.
Alongside other luminaires such as Prince Jammy and Scientist,Phillip Smart would step in at the controls when demand for King Tubby studio dubs grew to such an extent that each single release was expected to carry a version/dub flipside.
Phillip Smart moved to the United States in the late 70's and in 1981 opened his successful studio HC&F,Long Island,New York.It produced some sizeable Jamaican Dancehall hits for his two record labels TanYah and Eclipse.
Tracks like Dirtsman's 'Hot This Year' and 'Rikers Island' and most notably artist Shaggy used the studio to work up his massive hits 'Oh Carolina','Big Up' and 'Angel'.
But it's in the heady days of the early 1970's and up to 1976 that we concentrate on for this release.When Version was King and Prince Phillip Smart was at the controls mixing up some fine dubs with Jamaica's finest musicians The Aggrovators.
Working some of producer Bunny'Striker'Lee's rhythms in fine style....hope ypu enjoy the set......

Tappa Zukie (David Sinclair) born 1955 Kingston,Jamaica actually cut his first record in England,after being sent there aged 17.
He was breaking from his troublesome past that found him running with the rough crowd on the streets of Kingston. On his arrival in sunny Ladbroke Grove London, producer Bunny Lee called him up on stage at a local dance to sing a tune. Impressed with the results fellow producer Larry Lawrence got the young Tappa in the studio the very next day and cyt 'Jump and Twist'.
This led to cutting his 'Man I Warrior' album,but somewhat disillusioned and homesick he returned to Jmaica shortly afterwards.
But this venture in the Uk was to pay dividends,seeing his 'I Man Warrior' album receive great reviews on its release.
We have collected together some great lost treasures and some alternative cuts to some of Tappa'sbetter known releases.
Mr Zukie, DJ/Toaster/Producer Roll the tape one more time if you please.......

Superb LP from Helecho Dub featuring Monkey Tool and Marasm. A collection of deviant dub from south Argentina, France, Japan, Belgium, Germany …. Superb international collab with a common aim : Deviant Dub ! Noise or acoustic, roots or electro... nothing is clear here... In this kind of dub grey aera loads of creativity, ideas and futuristic sounds... Not an easy record for sure ! Probably better like that init ?

Emotional Rescue and HMV Record Shop (Japan) present Red Cloud and their roots disco rarity I Want To Be Free, with it's even scarcer dub version Freedom, together on 7" for the first time as part of the DISCO REGGAE LOVERS series.

This Brixton based band appeared on Emotional Rescue last summer with their Double Talk / Dubble Dub 12" (ERC102) rightly shining a light on their underrated output. Releasing on Tuff Gong, Red Stripe and Dancefloor the band released two albums and numerous singles of warm, rock-soul touched British roots sound system shakers.

I Want To Free / Freedom only appeared on the B-side of their super rare debut 12". While the A side's Double Talk was 'inna Lovers Disco style', here they keep the groove but explore the righteous stance of Pan African-Caribbean culture of the time, with a call for equality and fairness.

Centred around the writing of Keith Drummond and drummer / producer Specs Bifirimbi, plus support from founder Floyd Lloyd Seivright, it is in the dub version, Freedom, that the interplay of keys and drum and bass shine, a rock-reggae-disco bomb.

Amazones de Guinee - SambaPure vibes to start our series. Live and direct, high energy African funk with a powerful vocal, recorded live in Paris in 1983.Hailing from Guinea they were the countries first all female group, formed by members of Guinean army nonetheless. Their lead percussionist Kade Diallo was killed in a car crash just days after returning from a tour of France in the early 80's. The group did not record again until 2008, but they continue to tour now, with a new generation of fans.Taken from the sought after 1983 album 'Au Coeur De Paris', previously unreleased on 7'.Moussa Doumbia - SambaMalia born Moussa Doumbia and was a prolific saxophonist, composer and arranger, who lived in Abidjan, Ivory Coast.He fused African and Funk rhythms in his own unique style, comparable to the likes of Fela Kuti, Orchestre Poly Rythmo de Cotonou and Ebo Taylor. Moussa's voice is strongly reminiscent of the almighty James Brown. Similarly to Fela and The Shrine, Moussa played at 'Boule Noire', a club in the cosmopolitan area of his town, Treichville. Every night they would play their own styles for hours to rich businessmen and locals.'Samba' is taken from his 1980 LP 'Lassissi Presente Moussa Doumbia' released on Sacodis. Extremely hard to find.

Every Day You're Wondering / Ten Dread Commandments

Killer new offering from French roots reggae label Abendigo featuring Robert Dallas, King Alpha, & Wellette Seyon.

From 1977, originally on Well Charge 7", now with extra previously unreleased version

Recorded at ‘The House of IMIZWA’ studios, reggae artist and Asian Dub Foundation frontman Ghetto Priest teams up with Carlton ‘Bubbler’ Ogilvie to produce and unleash his fresh reggae take of the mighty Aaron Neville’s iconic 1973 rare groove classic ‘Hercules’. With Mr Ogilvie on keyboards, Ital Horns on brass duties Greg Blackman on backing vocals and Crucial Tony on guitar, Ghetto’s beautifully executed, deft vocals ride over a rock solid riddim - the original version taken from Ghetto’s forthcoming ‘Big People Music’ LP. You’ll hear this blasting out of low rider windows rolled down in the summer heat and radios across the globe in 2021 and beyond.

Ashley Beedle and Darren Morris take the North Street West ‘HOLYVOODOU’ remix on a musical detour through hidden Louisiana backwaters to visit a ‘vaudou’ priestess to collect some gris gris and onward to New Orleans to meet Doctor John at the Mardi Gras. Leaning heavily towards the Meters school of phrasing, the North Street West version is infused with layers of eloquent keyboards, righteous handclapping, chicken bones and a generous helping of Bayou Funk, making a connection to the Aaron Neville original. A North Street West Dub and Radio Edit are available as part of the digital package.

* A welcome reissue of The Disciples set `Infinite Density of Dub’.
* A cosmic trip into raw spacey dub territory with heavy rumbling, pulsating bass-lines
* Originally surfacing on the Dubhead label in 1999.
* Mixed and produced by Russ D.
* Limited to 500 copies only.

180 gram clear vinyl! Album features new cover art, and full colour Insert with extensive Sleeve Notes .

Features bonus track ‘San Salvador (Dub Plate Style)’.

Recorded at Channel One Recording Studio, Kingston, Jamaica .

Mixed at Harry J Recording Studio, Kingston, Jamaica
Probably one of the best vocal roots reggae albums!

“FLY LIKE AN EAGLE", “BOOGIE WONDERLAND", “DREAMS” & “HOTEL CALIFORNIA” receive a BEATCONDUCTOR beatdown on the new REWORKS 70s VOL 1. Sonically, a smooth Balearic limited & hand stamped 12 inch release.

"In Dub Vol.1" ist die erste Collection einer Serie mit raren, klassischen und neuen Dub Exkursionen des Bob Marley & The Wailers Kataloges. Sie beinhaltet 10 Dub Remixe und die neu angefertigte Dub Version von "Lively Up Yourself" als
"Lively Up Your Dub".