Don Carlos made his name as one of the founding members of Black Uhuru, alongside Garth Dennis and Duckie Simpson. He later went solo and made a name for himself, often times singing with a singer named Gold. This show features his solo tunes in the typical extended mix algoriddim style...

Prince far I started out in the sound systems on the mic for Sir Mike the Musical Dragon. He got his first run in the studio at Studio One after King Stitt missed a session.

This show, recorded in 2003, runs many of my favorite tracks from Prince Far I such as some of the tunes from his crucial dub album Cry Tuff Dub Encounter Chapter One. There\'s a run on the Joe Gibbs produced \"Su Su Pon Rasta\" featuring Naggo Morris on vocals and a mix on Enos McLeod\'s \"Bad Times.\" There\'s also a run of Gregory Isaacs and Prince Far I combinations and the Drum Song riddim.

Enjoy the mix...

This second episode from Prince far I runs through some of the top tunes from the gravel voiced toaster. I start off with one of my favorite dubs versions from Prince Far I, evoking the flute at dawn in the Final Chapter. Then into a few tracks on the topic of boxing, followed by some material for Joe Gibbs. In this show I also uncover a number of vocal tunes that Far I toasted on.

Round three for Prince Far I starts off with a take on the Stalag riddim, and rolls into a mix of tunes not covered on other shows. The tail end of the session features a run of tunes with Prince Far I in combination with producer Roy Cousins and the Roots Radics band. Topping it off, a nice set on Righteous Flames\' \"No Time To Waste.\"

Burning Spear started off at Studio One as a duo featuring Winston Rodney with Rupert Willington doing harmonies. After their first tune \"Door Peep\" dropped, they were joined by Delroy Hinds, the brother of Justin Hinds. This trio went on to record with Coxsone until 1975 when they teamed up with Jack Ruby for the most definitive work from the producer. The trio broke up in 1976 and Rodney continued on his own.

This show captures the fire that was burning during this time, with the anthemic tunes that went on to become roots classics. Rodney was the chanting cleric among reggae\'s princes, priests and warriors. In this mix, you\'ll hear some special remixes of some of his tunes, especially dub versions, with the American mix of a dub in one channel and the Jamaican mix of the dub in the other. There\'s also a nice run of his tunes focusing on the prophet, Marcus Garvey.

Wa-Da-Da.

Burning Spear was one of the first roots artists I discovered after Bob Marley. My friend Biniam gave me a cassette in 1992 that featured the sounds of Burning Spear and Augustus Pablo. It was just the thing I was looking for.

I\'ll have to admit that for me there\'s only two eras of Burning Spear, 1969 to 1975 and 1975 to 1982. The first era featured works with Coxsone Dodd at Studio One, while the second era featured songs with other producers that became absolute classics. This two part series contains material from those eras.

Jack Ruby was one of those producers that I wish had produced much more music. I, as with many, discovered him through the sounds of Burning Spear\'s crucial album Marcus Garvey. Over time I came across more tunes from him and eventually Heartbeat put out a two piece set featuring his productions.

This show features a variety of his productions including popular artists like Ken Boothe, the Heptones, and the Gaylads as well as obscure groups like the incredible Skulls.

This show was mixed soon after Justin Hinds of the Dominoes passed away. He also did some work with Ruby over the years and is featured in the second half of the show.

This show was inspired by the sounds of the man Joe Gibbs, alongside Mr. Errol T, who was his partner-in-crime. I basically was riding some of the riddims that Joe Gibbs, and his band known as the Professionals, created and recreated.

This was actually my first mix featuring the sounds of Joe Gibbs & Errol Thompson. Gibbs was known fort touching riddims originally recorded by other producers, and this show showcases that material.

This show was put together just after Joe Gibbs passed away on February 21st, 2008. It covers material not featured on the two Joe Gibbs shows I had done previously. You\'ll hear a number of big tunes that he and Errol Thompson produced together, featuring some of the most popular riddims.

Respects to the man Joel Gibson.

Tribute to the man called Joe Gibbs! Respect and rest in peace.

For this show, I was focusing on the early productions of Joe Gibbs, in his full rocksteady glory. Gibbs got his start with an electronics repair shop, and worked a bit for producer Ken Lack. Eventually he set up his own two track studio and had Lee Perry on the boards. Soon afterward in 1967, he started his own label \"Amalgamated\". Gibbs\' work continued for the next year with Perry, who soon broke camp and was replaced by Niney.

One of Gibbs\' first big hits, \"Hold Them\" by Roy Shirley is heard in this mix alongside an alternative version by Ken Boothe and a DJ cut from I Roy. There\'s also a number of other prime rocksteady grooves showcased throughout this show, including tunes from Errol Dunkley, Nicky Thomas, The Reggae Boys, The Inspirations and Gibbs studio band at the time known as the Destroyers or Amalgamated All Stars

Horace Andy, born Horace Hinds, was the younger cousin of Justin Hinds, who made big moves with the Dominoes beginning in the ska days. Horace Andy got his name after Coxsone suggested he do something to obscure his connections to his cousin. Instead he took on the surname of the popular Bob Andy.

Horace started his thing by connecting with Phil Pratt, but made his name with Coxsone Dodd with the tune \"Skylarking\" featured first in this set. Alongside his classic work with Dodd stands the tracks produced by Bunny Lee with their dub extravaganzas courtesy of King Tubby. Both producers make their presence felt here, along with tracks from other producers such as Phil Pratt. This sound is the epitome of King Tubby\'s magic. You don\'t get much more serious than this.

I was tempted to update the mixes in this show from 2002 in a 2008 style. I\'ve collected many more tracks on some of these crucial riddims since the time I mixed this show, but I decided to let it be in the way it was recorded. Enjoy the mix...

This show follows up where the first one left off. In the first set, I focused on Horace Andy\'s biggest tunes with Coxsone Dodd and Bunny Lee. In this set, I broaden the horizons a bit more, covering work from other producers such as Niney, Derrick Harriot, Herman Chin-Loy, Everton Dasilva and others. Its a nice three hour mix stretching out a lot of the other tunes I wanted to cover...

There\'s not much more that I can add to the story of the Wailers. They\'ve become an iconic force in the sound of the modern world. Enjoy this journey through this crucial music.

Most of the time, I avoid playing the Wailers. Their work is so well known that many of their popular tunes feel overplayed. For these shows, I\'ve tried to collect the unique and special tunes that have grabbed me over the years. I hope you enjoy.

This is the most recent mix of the four part series. After deciding to do another Wailers set at the last minute, I went through the other three mixes and excluded everything I\'ve already played. Thinking this would limit my options, I was surprised to be staring at another 1000 songs. Since I was doing this all last minute, I printed out the 18 pages of songs that remained and took the list to the station to select from. Unfortunately, my primary recording had errors so this recording is off of the sub-par recorder in the studios of WHPK. In any case, it turned out to be an enjoyable mix and a nice accompaniment to the other mixes.

This was my first take on the Wailers theme. There\'s some nice tunes, a few rarities and some of my favorite tracks from Peter, Bunny and Bob...

Peter Tosh, born as Winston Hubert McIntosh, was most well known for his role in the Wailers, but also had a long successful solo career. Tosh had an edge to him that the other Wailers did not, and a blunt honesty that chased out the spirits of babylon.

Tosh was a wordsmith, and loved to play with the \"word sound\" of language, transforming words to emphasize or align with their true meanings. This intelligence came out in his tough and direct lyrics.

This set was a chance to give a proper salute to this soldier and mystic. Included are some of my favorite Tosh tracks across the years.

Dennis Emmanuel Brown, one of the most classic and well respected artists of reggae music. The thing about Dennis\' music is that he started with quality music for Prince Buster and Coxsone Dodd and continued to create high quality music for decades. The only artists that might compare with him is Gregory Isaacs.

Dennis was born on Orange Street, one of the musical hubs of Kingston. He first hit big with Coxsone Dodd on a re-recording of the Van Dyke\'s \"No Man is an Island\" and he later went on to record an album with Dodd.

As with any prolific and talented singer, Dennis worked with the spectrum of Jamaican Producers... Derrick Harriot, Joe Gibbs, Niney, Coxsone Dodd, Prince Buster, Clive Chin, Herman Chin Loy, and others. This show collects some of those works not recorded with Niney, starting with some of the early but not earliest tunes, then on to some Studio One material, some of his own productions and then on to some of his later hits.

Dennis Brown, the Crown Prince of Reggae.

This show was the first focus show I did on Dennis Brown back in 2002. It gets into some of the Niney era featured on the previous podcast, but also gets in to some tracks produced by Phil Pratt, Little Roy and Derrick Harriot along with some of Dennis Brown\'s self productions. There\'s a few nice riddim rides included to put it all in context.

This show is sort of a continuation of the Niney theme, but this time dealing heavily with the tunes that Niney did with Dennis Brown. Niney first ran into Dennis while working at Joe Gibbs\' studio around 1972. The two hit it off and Dennis went on to work exclusively with Niney for two years between 73 and 75. During that time, they created a slew of classics.

This show features many of the top tunes from that union, as well as a few Niney gems not covered on the previous Niney episode.

Winston Holness, aka George Boswell, aka Niney the Observer, got his nickname from the missing digit on his hand. He started off his music career working with producer Bunny Lee. At the same time, he was moonlighting at Joe Gibbs\' studio. When Lee Perry, who was working for Gibbs at the time, got fed up and quit the employ of Joe Gibbs, it was Niney that stepped into the role of engineer and producer in the studio. (These were the days before Errol Thompson stoked the fires of Gibbs studio.)

Niney has an interesting place in the reggae sound scape, with his early involvement in the Bunny Lee sound, to his role in the Gibbs output and to his connections socially and aurally to Lee Perry. Perry and Niney worked together at times and the the effect can be heard in both of their output.

On this show, I worked through a variety of Niney material for the first time. We start off with the blazing rocker from I Roy, \"Roots Man.\" Then into a quick mix on the \"Smiling Face\" riddim, before getting into the King of Babylon tune that had Junior Byles on the vocal cut. Rasta No Pickpocket came next, followed by some Gregory - I Roy connects.

Other than the first tune in the mix, there are many other personal Niney including the Delroy cut of \"My Baby Is Gone\" with its simmering trombone line, two nice tunes from the obscure Sang Hugh, the anthemic horns cut \"Zimbabwe\" along with the beautiful \"Wipe Away\" and its ethereal dub version

Alvin Ranglin productions part 1. Alvin Ranglin, also known as \"GG\", got into the music business through an electronics repair shop. Some of his early productions were credited to \"Flowers & Alvin\", Flowers being vocalist Emmanuel Folwers along with Ranglin himself. He first had a hit with the GG All Stars with a cut called \"Man From Carolina.\"

Alvin Ranglin productions part 2. The nickname GG apparently came from the combination of Alvin\'s sister\'s name and his ex-girlfriend, both named Gloria. It was also the name he gave his sounds system back in 1965, that later went on to be known as GG\'s Discotech.

My first introduction to GG probably came with the tracks he produced for Gregory Isaacs. He also did some good work with other artists such as Maytones, Ethiopians, Starlights, Freddie McKay, I Roy, and Lone Ranger.

On these two shows, you get to hear a variety of the early cuts GG put together, along with some of the later works he recorded at Channel One and GG\'s Studio.

Augustus Pablo, aka Horace Swaby was born in 1954 in St. Andrews. In grade school, he hung out with Clive Chin, whose father Vincent Chin was the owner of Randy\'s studio and record shop. Swaby and his brother Douglas got into the music biz by running a sound called Rockers. Swaby\'s first musical stab in 1970 was with Leslie Kong\'s cousin, Herman Chin Loy, who had founded the Aquarius record label and shop a year earlier. The two got the ball rolling buy cutting the track \"Iggy Iggy\" which can be heard towards the end of this show.

Augustus Pablo was a name used by Herman Chin Loy for the artists featured on several keyboard-focused tunes that he put out, including tunes by Glen Adams. After recording \"East of the River Nile\" with Adams and Swaby, the name permanently stuck with Swaby.

In this show, we focus on these early journeys of Augustus Pablo as he moves from producer to producer, recording melodica versions on several strong riddims. After his work with Aquarius, Pablo went on to work with Clive Chin at Randy\'s, recording several top knotch tunes which get a showcase early on in the show. This show also sees him recording with Keith Hudson, Bunny Lee, Joe Gibbs, Derrick Harriot, Jimmy Radway, Enos Mcleod, Alvin Ranglin, and others such as Leonard Chin (uncle of Vincent Chin.)

This is the first of a four part series, so open your ears and see just where Augustus Pablo is trying to take you on this little riddim ride.

After Augustus Pablo established himself by playing melodica and keyboards on other producers\' tracks, he and his brother established the Rockers label, named after the sound system they ran together. Pablo began crafting his own tracks and recording a variety of vocalists alongside his dub and melodica versions on these tunes.

This show gets in to some of this core of the classic work that Pablo created. We start off with his first big splash, Java, which he created with Clive Chin at Randy\'s studio. We move on to \"East of the River Nile\" a track originally done with Herman Chin Loy and later recreated for an album of the same name. After this we drop into two massive cuts with Jacob Miller on the vocals, \"Baby I Love You So\" and \"False Rasta.\" Each riddim gets its time to run so we can hear the various versions including alternative vocal takes from Johnny Clarke on both riddims. The remainder of the show continue this thread of Pablo\'s mid-seventies productions that have the heavy effect of King Tubby throughout the versions. Wrapping it up we have another example of one of Pablo\'s re-versioning of Studio One originals with \"A House Is Not A Home.\"

After Augustus Pablo got underway with his Rockers label, he went on to produce tracks for a variety of other vocalists as the 70s turned into the 80s. This show features the work he did with such artists as Delroy Williams, Norris Reid, Ricky Grant and the trio Tetrack. There are also appearances by Earl Sixteen, Freddie McKay, Earl Zero and DJs like Jah Bull and Big Youth. There are of course plenty of versions featuring Pablo on melodica along the way...

Hugh Mundell, a protoge of Augustus Pablo, actually got his start with Joe Gibbs with a single that has yet to be released. Eventually he made his way to Pablo\'s soundsystem as a DJ. (You can hear some of his DJ work here under the name Jah Levi.) His first album with Pablo, while he was still a teenager, was the ground breaking \"Africa Must Be Free by 1983.\"

After his work with Pablo he went on to record with producers Prince Jammy and Henry \"Junjo\" Lawes before his tragic death in 1983.

Junior Delgado, aka Juks, started off with a group called Time Unlimited recording for Lee Perry, Rupie Edwards, Tommy Cowan and ending up with Bunny Lee. Delgado split from the group and went on to record with Niney, Joe Gibbs, Prince Jammy and Augustus Pablo.

This show runs through a range of Delgado cuts, starting with strong compositions for Pablo and Perry. Prince Jammy makes himself known as well with some of the work with Juks for Dennis Brown\'s DEB imprint.

This show is the opening shot in a series underway featuring the sounds of Augustus Pablo. This set is more peripheral to that theme, but the Pablo cuts featured in this set should give you a ears towards what\'s coming...

Slim Smith, aka Keith Smith, was a vocalist with the classic group called the Techniques and later the Uniques. He got his start with Coxsone Dodd at Studio One, then went on to work with Duke Reid, and later Bunny Lee as a part of the Uniques with Jimmy Riley and Lloyd Charmers.

Slim Smith died a tragic death in 1973, leaving behind a legacy that has been embraced by countless Jamaican musicians.

These last two parts of this Slim Smith theme feature the many versions of tracks that Slim Smith sang early versions of. Some of these tunes had original versions by Smith, others were based on rhythms he covered of classic American groups like the Impressions. Getting into the last set, we hear the continuation of the riddim run, featuring such tunes as People Get Ready, My Conversation and You Don\'t Care / Barbwire.

This show focuses on the sounds of Barrington Levy. The mix developed out of a earlier scattered set featuring the sounds of Scientist.

Scientist has really been the underlying theme and inspiration for these last five podcasts. Many of the dubs in the Linval Thompson set, several of the Viceroys cuts and most of the dubs in this Levy show were featuring the work of this mixing master.

For this show I start off with a Jah Thomas produced stormer call Tribute to Moa Ambessa. Then into a Gibbs delicacy, before opening up into a mix featuring dubs with Scientist and Jammy at the controls.

The era of dub featured on this show was one of my first introductions to dub. It features the Roots Radics band including drummer Santa Davis and bassie Flabba Holt. I had always wondered who was singing the original vocals and eventually I came across more of these Barrington Levy takes on these riddims.

The Viceroys was composed of Wesley Tinglin, Daniel Bernard and Bunny Gayle, who was later replaced by Neville Ingram. The Viceroys make a good follow up to the recent Linval Thompson podcasts, since some of their later work was produced by Linval Thompson. Since I prefer their earlier work, you\'ll hear a focus on those sounds.

This was my first show featuring the sounds of Linval Thompson. On this show I focused mostly on the scorchers he sang on for producer Bunny Lee.

This was my second go at the sounds of Linval Thompson. For this set, I focused on the tracks that Linval sang on that I hadn\'t touched on my first exploration of his work, which led to more of an emphasis on the tracks he produced and sang on in the late 70s and early 80s.

This third of three shows focuses on the productions of Linval Thomspon featuring other singers and DJs.

Sugar Minott, born Lincoln Barrington Minott, was a singer and producer known for his sweet voice. He got his start working as a selector in the dance before singing. His last track with the group African Brothers was with Coxsone Dodd, and this experience paved the way for further work at Studio One.

Sugar\'s relicks on Studio One riddims was his claim to fame and one of the early seeds of the change into dancehall that came in the 80s. His sound after Studio One progressed with the albums Ghetto-ology and Black Roots. As the 80s got underway, he shifted into more of a lover\'s rock sound.

The African Brothers was a group comprised of Sugar Minott, Tony Tuff and Derrick Howard. This show features the sounds of the group, along with solo efforts from Minott and Tuff.

Duke Reid was another of the pioneering producers of Jamaican music. He got his start early on importing tunes and running a sound system before moving on to producing tunes in the days of jump blues and ska. He owed a shop with his wife and ran a studio upstairs called Treasure Isle.

Duke Reid was part of a critical turn in the sound of the island, the transition from rollicking ska to the sweltering sounds of rocksteady. This show focuses on that sound and features some of the top tunes of the era coming from that little shop on Bond Street.

So, for your musical pleasure, I present the sounds of producer Glen Brown in extended mix style. Though he was not prolific, Glen Brown crafted deadly riddims and put them to good use with the help of King Tubby. On this show, recorded almost five years ago now, I expose some of his best tunes. His work is well documented on albums put out on the Blood & Fire and Hot Pot labels, so if you\'re feeling these sounds, check there first.

Part one of the four part series. This was my first take at this theme. I had been vibing with a cat that lived upstairs from me, simply know as Krab, about the connections between reggae and soul music. He is a serious head, with stacks of vinyl singles collecting on every spare surface of his domicile. Old school deep soul classics and unknown gems. After a late night session spinning tunes, I decided to do a focus show on the connections between reggae and soul. Over the course of the next year, I did four shows on that theme, the first of which your tuning into now...

Part two of the four part series. Back after a bit of a break. I had to remix the second half of this show since I lost the original recording, so it took a bit to get around to doing so since I was out of the country for a month.

Now that I\'ve had a chance to remix the second half of the show, its ready for you all. Decent little mix in a soul reggae combination style.

Part three of the four part series. More nice tunes featuring the connection between soul and reggae music. What more can I say..

The fourth part of a four part series (but the first I\'m posting) featuring the connections between American soul (and R&B and Funk and...) and Jamaican reggae (and rocksteady and ska and...)

I\'ll let the music speak for itself.

In the last few shows, I\'ve been stretching out more and focusing on artists that didn\'t grab my attention right away. Al Campbell was one of those artists. I had a few things from him, but hadn\'t listened to it too much and I didn\'t really know his work. For this show, I went through his tunes and put together a selection of the ones that caught my attention.

You\'ll hear some of his earlier tunes with producer Phil Pratt, as well as a few things with Coxsone Dodd and even his own productions. Campbell seemed to hit his stride in the late 70s and into the early 80s as he warmed up the dancehall scene. We don\'t leave that era untouched!

I\'ve had a few requests to post this show, so I\'ll share it with you all. Earth and Stone was a group comprised of Albert Bailey and Clifton Howell that did a stint at Brentford Road before heading to Channel One in 1973 to record for the Hoo Kim brothers. On this show you get to hear a nice variety of tracks laid down by the studio band called the Revolutionaries. Enjoy these sounds of Channel One...

This set again owes a great debt to Pressure Sounds for their lovely reissue of the <a href=\"http://www.pressure.co.uk/pressuresounds/catalogue/product_details.php?product=PS11\">Kool Roots</a> album.

(I must admit that I forgot to take the album Earth and Stone did with Phillip Frazer to the radio station that day, so it isn\'t featured on the show as it should be.)

Johnny Osbourne... He got his start working with the group the Sensations and cutting an album for Winston Riley. He also falls into what seems to be a trend with the artists I feature... early works at Studio One before branching out to works with a bunch of other producers.

One thing that sets Johnny Osbourne apart from most of the artists that I feature on my show is that much of his greatest work comes after the 70s had passed when he started working with producer Junjo Lawes. Along with his vocal versions there are many prime Scientist dubs to accompany his vocals. On this show I even (gasp) play Slent Teng for the first time in the history of my show. Osbourne really made his name in the early 80s dancehall period and voiced a lot of popular riddims. To showcase this, I do a nice run of riddims that Osbourne touched towards the end of the show. So, sit back, turn it up and check out the sounds of one Mr Johnny Osbourne.

For more info on Osbourne, see his web page:
http://www.johnnyosbourne.com/

Errol Dunkley... An often overshadowed singer who crafted a number of unique soulful tunes over the years. He paid his dues making tracks with the usual suspects, including his debut with Prince Buster and his first hit \"You\'re Gonna Need Me\" with Joe Gibbs. On this show, this track is mixed with other versions such as the original from Delroy Wilson at Studio One, and his later remake of the tune which was the first hit for the African Museum label (that he started with Gregory Isaacs.) In addition to Errol Dunkley\'s work with Bunny Lee and Coxsone Dodd, this show features work he did with producer Jimmy Radway such as his 1972 tune \"Black Cinderella.\" (which leads off the show.) Throughout the remainder of the show we cover a variety of his efforts including some of the work he did with Count Shelly and others..

Derrick Harriot started off as a vocalist in the group Jiving Juniors, before going on to sing as a solo artist and produce other artists. His productions range from rocksteady to early roots. This show focuses on the variety of tunes that Harriot produced in the usual algoriddim style...

Vivian Jackson, the man known as Yabby U, is the focus for the show. This was my first take on his works, covering what was some of the most obvious (to me) tracks, and getting to know his music.

For this mix, I start off with a Bob Marley classic that has sound connections to a Yabby U track, a little something called Crazy Baldhead. After the Wailers version, I hit the Johnny Clarke remake, then into the dub. Chant Down babylon Kingdom is the next from Yabby. Next riddim, the anthemic Conquering Lion, voiced by Vivian Jackon and the Ralph Brothers. After a few versions we move to a Heptones riddim, Heptones Gonna Fight. After the original, we hear Michael Prophets retake and the Yabby U produced dub. After that, the pre-Black Uhuru Michael Rose piece Born Free and the rolling dub. Then to Wayne Wade\'s Gang War along with the dub and DJ versions. Up next a track I\'ve been looking for a better copy of, Warrior No Tarrier by Tony Tuff and of course the dubs (with a train wreck mix in, but hey it was live!)

Moving on, Yabby hits you again with Go to School Jah Jah Children (Africa). Nice dub ensures, with Leroy Smart waging his opinion of Gamblin. After that, some more from Yabby U, some the tracks he produced for Michael Prophet, and a few other riddim runs to wrap out the show.

Yabby U aka Vivian Jackson. A top notch producer and vocalist with some of the heaviest reggae sounds known to mankind. When I first got my hands on Blood & Fire\'s <a href=\"http://www.bloodandfire.co.uk/album_detail.php?id=BAFCD021\">Jesus Dread</a> compilation of his work, it simply blew my mind.

On these two shows, I go through a range of his vocal tracks and productions. This show covers most of thge bases I didn\'t cover in the first show: a few of the foundation cuts like Jah Vengance, Fire In A Kingston, before a mix of a Linval Thompson vocal and Yabby versions. Throughout the show, I\'m basically seeking out connections beyond what I played on the first show.

Tappa Zukie is a talented toaster and producer in the work of reggae music. Born David Sinclair in 1955, he began his music career working for sounds systems, including the Maccabees Sound System where he caught the eye of producer Bunny Lee. After a diversion in the UK where he put his first tunes to wax (resulting in the album \"Man A Warrior\"), he returned to Jamaica and recorded a few DJ tracks for producers such as Yabby U. Soon afterward, he began putting together his first album with tracks made available to him by Bunny Lee, Ossie Hibbert and Joseph Hookim. These tracks resulted in his album \"MPLA.\" He also set up his own label, titled \"Stars\" and began producing artists such as Errol Dunkley and Ronnie Davis. After heading to the UK again, he set up a distribution deal for his label and first self produced album.

Over the course of the next few years Tappa put out a number of albums and produced work by such artists as Horace Andy, Alton Ellis, Cornell Campbell, Knowledge, Mighty Diamonds, Dennis Brown and others.

There\'s two stories about how Tappa Zukie got his nickname. One goes that it was comprised of \"Tapper\" a nickname is grandmother gave him and \"Zukie\" from the name of the gang he ran with as a youngster. The other story goes that it came from a charachter in a Western TV show or movie named Zukie that was a bartender, and therefore a \"Tapper\" because he tapped a keg...

For this show, I concentrate on the tracks I didn\'t select on the first show I did featuring the work of Tappa Zukie. I of course couldn\'t resist starting off with one of my favorite tunes, \"Natty Dread A Weh She Want\" by Horace Andy on Alton Ellis\' Hurting Me riddim. We then got into a number of things Tappa Zukie DJed on for Bunny Lee, as well as track Zukie produced.

There\'s not much to say about Gregory Isaacs that you can\'t find elsewhere. He\'s a vocalist I avoided for a number of years, thinking that he was all about love songs and mediocre tracks from the eighties. After digging into his repertoire, I came to appreciate the wealth of rootsy tunes he laid down in his early years.

Once I dug into Gregory Isaacs early work, I found there was too much content to cover in just one show. So here\'s two shows worth of prime Gregory Isaacs tunes...

The Gladiators was comprised of Albert Griffiths, Clinton Fearon, and Gallimore Sutherland for most their run as a group. As a band they also recorded riddims for producers like Lee Perry, Yabby U and Coxsone Dodd. On this show, I run through a number of their early works with Coxsone Dodd and also showcase their work with Prince Tony, along with dropping in a few other tunes along the way.

I first encountered their work with Prince Tony and was taken aback by their beautiful but tough vocal harmonies. I hope you come to enjoy their work as much as I have.

For some more information, check out this excellent <a href=\"http://www.reggae-vibes.com/concert/clfearon/clfearon.htm\">interview of Clinton Fearon</a>

The Royals... The foundation of The Royals was a man named Roy Cousins. He was in the group with Errol Wilson, Keith Smith and Berthram Johnson. They had their first sessions recording in 1967 with Studio One\'s Coxsone Dodd. As The Tempests, they laid down a track titled \"Pick Up the Pieces.\" Dodd sat on the tune and didn\'t release it.

After working with Dodd, the Royals went on to work with producers like Joe Gibbs, Byron Smith and Lloyd Daley. Eventually Roy Cousins stepped up and began producing most of the tracks put out by the Royals with money he earned working in the Post Office. In 1973, Roy Cousins produced a rerecording of \"Pick Up the Pieces\" and it hit. This allowed Cousins to leave his job at the Post Office and focus on producing full time.

Other than the Royals, Cousins went on to produce a number of other artists such as The Gaylads, Cornell Campbell, Don Carlos, Earl Sixteen and DJs like Prince Far I, Charlie Chaplin, Jah Stitch, and others. In the future, I\'ll do another show featuring some of these other productions put together, but for now, I want to expose you to the magical work of the group called The Royals. I bookend this show with the original and retake of the track \"Pick Up the Pieces\" In the beginning, I run the original take of the riddim done for Coxsone Dodd. Then I get into a track or two of their cuts done for producers Duke Reid and Lloyd Daley. After that, its into the work produced by Roy Cousins. To conclude the show, I get into the retake of \"Pick Up the Pieces\" that hit big and finish with a few quick retakes of the riddim.

This show is based heavily on two albums put out by the label Pressure Sounds, so if you enjoy this show, please support these reissues.

Freddie McKay. I didn\'t know much about his music, but I heard a lot of good things about him, so I put a show together focusing on what he did and discovered what the fuss is all about in the meantime.

Freddie got his first big hit, \"Love is a Treasure\", with Duke Reid at Treasure Isle, while his first album, named after another hit of his \"Picture On the Wall\", was released by Studio One.

On this show, I start off with a remake of Burning Spear\'s Creation Rebel produced by Ossie Hibbert (proceeded by the original of course.) Then into his two early hits mentioned above (playing the Coxsone version of \"Love is a Treasure\", not the Duke Reid version.) Throughout the rest of the show, you hear tracks produced by such diverse figures as Glen Darby, Eddie Wong, Warrick Lyn, Leonard Chin and others. I hope you enjoy this introduction to Freddie McKay.

(Listening back, I realized that \"Jah Help the People\" is Freddie McGregor, not Freddie McKay... damn.)

Roy Francis was another one of those producers that I overlooked as I began learning about reggae. Eventually Blood & Fire and Motion Records put out compilations of his productions for the label Phase One. Despite these two strong recommendations to explore his work, I shied away from buying the disc seeing that it was coming from a reggae group called the Chantells. After hearing a tune from the selections of Papa Dave from Reggae Explosion, called \"Waiting In The Park\", I was hungry to hear more.

These tunes are mostly put together by the Revolutionaries with Ernest Hookim at Channel One. If you\'re enjoying these sounds, seek out the two albums linked to above. I must also recommend the <a href=\"http://xraymusic.co.uk/phase_one1.htm\">X Ray Version of Phase One.</a>

Producer Phil Pratt, one of those early producers that can escape your attention if you aren\'t aware of what you\'re listening to when you\'re hearing some of the early tunes from your favorite artists. I first came accross his work via a crackly single on the Sunshot label featuring Big Youth\'s DJ version to Ken Boothe\'s Artibella, which he remade for Phil Pratt after doing it first at Studio One with Stranger Cole.

Needless to say, that\'s the first track I got into on the show. Throughout the rest of the show a lot of big vocalists make appearances with early work in their careers. John Holt make appearances with tracks like \"Strange Things\" (and the ensuing riddim run), and \"My Heart Is Gone.\" Dennis Brown contributes \"Let Love In\" and an early version of \"What About the Half?\" Horace Andy brings you \"Riding For A Fall\" and \"Get Wise.\" There\'s also some early tunes from artists like The Heptones, Al Campbell, Pat Kelly, Roman Stweart and DJs like Big Youth, Dennis Alcapone, I Roy and U Roy.

I should also recommend the <a href=\"http://www.firecorner.com/magazine/philpratt/frame_index.html\">Firecorner Phil Pratt Show</a> Unfortunately, the audio is RealAudio and link to the playlist is broken at the moment, but if you tune in you\'ll hear them doing their usual top notch job.

This show features the sounds of the Wailing Souls, the group that Winston \"Pipe\" Matthews formed the core of for many years. In the early days, he got his start with a group called the Schoolboys and they did some work for Prince Buster. Later the group became the Renegades, and included Lloyd \"Bread\" McDonald and George \"Buddy\" Hayes. They recorded a number of tunes for Studio One. Eventually Buddy Hayes left and Oswald Downer and Norman Davis joined the group and they produced singles for Studio One under such names as the Wailing Souls, The Classics, Pipe & the Pipers, etc.

Eventually, the line up was back to Winston \"Pipe\" Matthews, Lloyd \"Bread\" McDonald and future Black Uhuru member Rudolph \"Garth\" Dennis. This line up recorded around the late 70s and early 80s. During this time period the group recorded for Joseph Hookim at Channel One and later went on to work with Henry Junjo Lawes.

Enjoy the sounds of the Wailing Souls...

<a href=\"http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=66810799&MyToken=7ce02165-169b-41cf-916a-857162bf117f\">View the Wailings Souls MySpace profile</a> for up to date info on the Wailing Souls...

So, the two hours of Wailing Souls I played at the radio station just didn\'t give me enough time to play everything I wanted to play, so this was a special mix I put together in my lab to feature all the tunes I wasn\'t able to play on air. This mix focused more on the later works of the Wailing Souls, including tunes they did with the Revolutionaries at Channel One and with Junjo and the Roots Radics.

Its a bit of an experiment for me, being that I\'m not on air at the radio station, I can have a bit more fun on the mic. Let me know what you think of this mix compared to my other \"on air\" mixes.

Horns have always been an important part of reggae music and are one of my favorite elements of the riddim. This show intends to showcase the presence of the horn in a variety of heavy roots tunes.

For this show, I start off with one of my favorite intro tunes from Tommy McCook & the Aggrovators, and move on to feature more horns versions of roots tunes from a variety of artists and producers. Throughout the show, Tommy McCook, Vin Gordon, Bobby Ellis, Carl Bryan and others get their chance to shine.

Once again, one of those old time singers that formed the foundations of reggae music. Delroy Wilson had a story like many other legends, starting off with a ska tune for Coxsone Dodd in 1963 aimed at Prince Buster. The tune, \"Joe Liges\" was written by a young guy named Lee Perry (you might have heard of him.) Delroy went on to see his first album \"I Shall Not Remove\" released in 1966. Throughout his career, he covered many soul tunes from artists in the states, and made a name for himself in this vein.

Now, here\'s where I am going to critisize the man. For me, most of the time when I hear a Delroy Wilson tune, I want to skip to the next tune. Delroy Wilson had a tendancy to try to imitate souls singers, but with a very cheesy effect. To me, it sounds like a Elvis kind of swagger that would fit right in for Las Vegas lounge act.

That being said, I try to find the gems that he did create for this two hour excusrion into his tunes. Starting it off, one of my favorite tunes Keith Hudson laid down, \"The Exile Song\" a remake of (something). Throughout the show, I also play a bunch of tunes that other artists later covered. Despite the hesitation I feel about Delroy Wilson, I give him the Selection from Iman for you to judge for yourself.

Ken Boothe is yet another of the great foundation singers of Jamaica. He got his start as many other did in the ska and rocksteady days creating a sound modeled on some of the great soul singers from the US. In his early days he worked together with Stranger Cole as Ken & Stranger. As with many others, he earned his chops with the legendary Studio One, working with Coxsone\'s crew until 1970. Along the way he also recorded a few singles for Sonia Pottinger, before moving to Leslie Kong and other producers such as Bunny Lee, B.B. Seaton, Keith Hudson, the Chin brothers, Phil Pratt, Niney and Lloyd Charmers.

For this show, I start off with the incredible song \"Peace Time\" recorded for Jack Ruby. After that, its into another classic, \"Artibella\" that he did originally with Stranger Cole, before rerecording it with Phil Pratt. We continue on with more from the Coxsone days, with tracks like \"Feel Good\", \"Set Me Free\" and others.

So enjoy what this man is putting on, the sounds of Mr. Ken Boothe...

Alton Ellis. Man, he was one of those singers that came in the vein of soul and R&B and could croon with the best of them. In his early days, he was the Alton of Alton & Eddie, along with Eddie Perkins. He got his start with producers like Duke Reid and Coxsone Dodd, and produced a wealth of hit tunes in the rocksteady era.

For this show I start the ride with one of his top tunes, \"I\'m still In Love With You,\" done originally at Studio One and relicked for Joe Gibbs by Marcia Griffiths. (Sean Paul recently brought this riddim to prominance again.) Moving on, I focus on a lot of his Studio One tracks and remakes, like Horace Andy\'s remake of the \"Hurting Me\" riddim for Tappa Zukie called \"Natty Dread a Weh She Want.\" There\'s also a massive tune for Keith Hudson, \"All We Need Is Love.\" Alton also worked for other producers like Harry Mudie, but we don\'t stray too far from the core body of his work on this show.

Cornell Campbell is one of those sweet sounding roots singers that got his start as a child in the early days. In the late 50s, he worked for Coxsone\'s sound as a printer. He really got going in music when he formed the Sensations with Jimmy Riley and Buster Riley. Buster\'s brother Winston Riley was a singer with the Techniques and producer along the way.

Along the way, Cornell worked with a wide range of producers, Winston Riley, Coxsone Dodd, Bunny Lee, Dennis Bovell, Linval Thomspon, Ossie Hibbert, Joe Gibbs, Junjo Lawes, Tappa Zukie, Roy Cousins and others.
On this show, I start off with one of the big big riddims Cornell voiced at Studio One called \"Stars.\" After that we get into a remake of an Impressions tune titled \"Queen of the Minstrel.\" Throughout the rest of the show I\'m playing a mix of works he did at Studio One, as well as tracks put together for producer Bunny Lee and others. Sit back and enjoy the sounds of Cornell Campbell...

Keith Hudson has got to be one of my favorite producers. Like Lee Perry, he didn\'t always hit the spot, but when he did, he hit it hard. Keith Hudson, the man known as the Ghetto Dentist, rumoured to have installed Big Youth\'s red, green and gold fronts. His sound is unique, sounding like the man is a bit haunted at times, especially on tunes like \"Darkest Night On A Wet Looking Road.\"

I start off the show with some of his earlier scorchers, floating on through to the darker sounds that he created half way through the show. Have a listen to these crucial sounds, sounds of the man known as Keith Hudson...

As I\'ve been working through my collection preparing for some shows focusing on Lee Perry, I came accross the sounds of Mr. Max Romeo. He got his start back in the day working with the vocal group called the Emotions and later went solo. In his early days, he worked with Ken Lack of the Caltone label, then on to Bunny Lee, Niney and Lee Perry. His tune Wet Dream for Bunny brought him to worldwide acclaim, and after some change of perspective he hit it big again with Rasta influneced work done for Lee Perry.

For this session, I figured I\'d open up some of his beautiful work for all of you to hear. I start off with some top tunes from his days with Lee Perry, including my own little remix of \"Smokey Room,\" then on to his big tunes \"Chase The Devil\" and \"One Step Forward.\" His tune \"Valley of Jehosaphat\" is definitely one of my favorites, primarily due to the dread horns.

For an excellent interview of Max Romeo that puts a lot of these tunes in context, please check out

<a href=\"http://www.reggae-vibes.com/concert/maxromeo/maxromeo.htm\">Max Romeo Interview</a>

The Abyssinians first recorded at Studio One in 1969, laying down their classic anthem Satta Massagana, which means \"Give Thanks\" in the Ethiopian language of Amharic. The group is composed of Bernard Collins and the Manning brothers, Donald and Linford. The Manning brothers\' other brother Carlton was a talented singer at Studio One and leader of the group \"Carlton & The Shoes\" that included brother Linford.

This show features the sounds of these Manning brothers. I start off with some numbers recorded by Carlton & The Shoes at Studio One, then work into the sounds recorded by the Abyssinians. Sit back and enjoy these hymns of Rastafari...

Mikey Dread got his start in radio back in the early 70s and was a crucial part of getting reggae music out to the Jamaican masses. He eventually began voicing his own tunes and later went into production. He\'s still around and performing, so check him out if you enjoy these tunes...

For more info, or to buy his music, please visit http://www.mikeydread.com

This session featured the sounds of Little Roy, an under represented artist in the world of roots music. At the top of the show, I start off with a riddim that he did the original vocal to, a track called Tribal War, that was recorded with Lee Perry in the early years of the Black Ark. After that we get into a variety of other related tracks, many from the two excellent compilations put out by Pressure Sounds [www.pressure.co.uk]

Producer Harry Mudie... Crafter of such legendary riddims as Drifter, Heart Don\'t Leap, Let Me Tell You Boy and Love Without Feeling. For this session I ride some of these powerful riddims for your listening pleasure...

Sounds from the singer Leroy Smart... Leroy Smart was one of those vocalists that got their start off back in the day with tunes for producers like Jimmy Radway. He also did a lot of tunes at Channel One and worked with some other big producers like Bunny Lee. In any case, here\'s Leroy Smart, showcase style...

For this episode we focus on the sounds of producer Bertram Brown and the Soul Syndicate. Bertram Brown ran a label called Freedom Sounds and put together quite a few nice albums featuring sounds from artists like Phillip Fraser, Rod Taylor, Prince Alla, Earl Zero, Sylvan White and others...

This show was a tribute to the man Coxsone Dodd. He was at the helm of the empire they called Studio One, and though he wasn\'t usually the one in the studio all the time, his leadership of Studio One had a huge impact on reggae music. For this set, I focus on my favorite tunes coming out of Studio One. They aren\'t always the classic tunes associated with Studio One, but these are some of the ones I love the most. Starting it off, a tribute to Dodd, Joe Higgs\' \"There\'s A Reward\" After that we get things running with Mighigan & Smiley\'s \"Compliment To Studio One\" where they talk about going down to check Papa Dodd.

Sounds from the man John Holt, former leader of the group The Paragons. John Holt was one of those vocalists whose work spanned the 60s through 80s and beyond. On this show you\'ll hear hits and bits from his early days at Treasure Isle with Duke Reid, sounds from his time at Studio One, songs for producer Harry Mudie and other tracks like those done at Channel One with the Hookim brothers.

Vocalist Barry Brown was the focus of the day... Barry Brown was one of those singers I hadn\'t heard about until I had been listening to reggae for some time. Eventually I started hearing about some of the work he did with producer Bunny Lee and heard some of the heavy tracks he did on tracks that had originally been voiced by Horace Andy.

For this show, I start off with his classic Studio One cut, \"Far East\" moving through the versions including the scorcher from Channel One. Throughout the show, I run riddims from Bunny Lee, Jah Thomas, Sugar Minott and others. Check it out...

Joseph Hill, a legend among legends, passed away August 19th, 2006. This show is a tribute to him and his group Culture that included Albert Walker and Kenneth Dayes.