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The concluding 12” in The Pearls trilogy shows the origins of the band with two playful Rootsy numbers, ‘No Follow Bad Company’ and ‘Duke Street’ backed with the essential Dub versions. Both tracks went on to feature on The Pearls debut LP ‘The War’ released on Sly & Robbie’s Taxi label in 1981.

New life for a tune that hold a special place in the discography of one of the greatest rub-a-dub and fast-chat specialists in the history of the UK sound system movement, here comes a fresh version of Tippa Irie's powerful “I’m An African” ! First making an appearance as the highlight of O.B.Fs album “signz” in 2020, this fresh reworked version of “I’m An African” features on Tippa’s brand-new album of the same name. To celebrate this, the track was pressed onto 7” vinyl alongside its dub version “African Dub” ! Rufffff

During the eighties dancehall era, a number of record producers claimed to be the real authentic sound of downtown Kingston but Ossie Thomas’ Black Solidarity label, operating out of Delamere Avenue in the heart of the ghetto, was the real deal.

“Black Solidarity was a youth club in the Kingston 13 ghetto in a road named Crescent Road and it was a Rasta come up with the name Black Solidarity. But through the political violence a get high man start to spread rumours saying Black Solidarity a go gets guns to go kill off people and it’s a revolutionary Cuban thing we’re there ‘pon! A lot of people used to go away to Cuba and we called them brigadista. So, through it was in a PNP area man start spreading rumours saying the PNP a go plan to send the whole of Black Solidarity to Cuba and them all turn brigadista!

So, the rumours kinda mashed up the club! But we held on to the name and said, ‘we’ll give you a record label named Black Solidarity’. So, after that I talked to the Rasta who coined the words and he said, ‘I have to rate you’ and me say ‘why?’ and the man say, ‘Black Solidarity is a struggle and you realise that’ and me say ‘Yeah… me realise’. So, we take it up serious and deal with it and make it work! You know what I mean?” Ossie Thomas

There was no safe uptown haven to retreat to after work had finished but, after growing up in the deprived Kingston neighbourhoods of Denham Town and Jones Town, Ossie Thomas had nothing to be afraid of.

“This was the start of the seventies when the political rivalry got heated between the JLP and the PNP and the shots start fire… you know. Mum got scared and said she’s going to get a safer place for us to live so she moved up into the hills of St. Andrew… then six months after she died! Can you imagine that? She’d gone to the safest place and died there. From that me just go right back to Kingston… I said to myself ‘don’t be scared… if you’re gonna die you’re gonna die’. From that me not scared of Kingston… me just say to myself ‘my mother scared of Kingston and run and left Kingston’ but through me just live there all of my life on any street downtown me just feel comfortable.” Ossie Thomas

This album provides an insightful glimpse into life in these unforgiving Kingston neighbourhoods describing not only the poverty and desperation but also how, at times, styles, fashions and the cathartic joys of music and the dancehall could transform this harsh, unforgiving environment into one of joyous celebration.

In the late 1960s, Canada’s largest city was musically booming as Caribbean immigrants made Toronto their new home. The finest ska, rocksteady, and reggae recording artists of the era—Studio One, Treasure Isle, and Trojan Records originators—simply did what came naturally to them. One by one, they hit the studio and captured some of the toughest tunes this side of Kingston. Collectively, they broke down racial and cultural barriers to form an unprecedented and little-known Canadian reggae community. Jamaica to Toronto: Soul, Funk, & Reggae 1967-1974 details this crucial sonic migration. [[Selling Points]] Featuring Jackie Mittoo, Johnnie Osbourne, Wayne McGhie, Lloyd Delpratt, The Mighty Pope, Jo-Jo Bennett, Eddie Spencer, Noel Ellis, and more… 2024 expanded edition with 20-page deluxe booklet featuring archival images, artist bios, and essays 2xLP set, cut at 45 rpm, housed in a deluxe gatefold jacket Compiled, sequenced, and annotated by GRAMMY-nominated producer, DJ, and journalist Kevin Howes (aka Sipreano, Voluntary In Nature) in partnership with Light in the Attic Pressed at Optimal on Yellow & Green ReVinyl, a sustainable alternative using 100% recycled materials.

In the 1950s, Jamaican dancehall regulars were crazy about the haunting sounds of American Rhythm & Blues. But in the mid-1950s, Rock 'n' Roll began to replace RnB in America, and Jamaican dancehall owners like Duke Reid and Clement Dodd turned to local musicians to record their own versions of American RnB. The trend of covering foreign hits exploded during the Ska heyday of the early 60s and continued through the Rocksteady and Reggay eras. Jamaican musicians have covered virtually every genre of music, from jazz and rock to film scores, television soundtracks, pop, classical music and more. Over the years, they have also recorded many "versions" of already existing covers. Cover of cover of cover… Admittedly, some of these covers were futile but many were sublime as this new and eclectic collection of Ska, Rocksteady and Reggay nuggets, compiled by the very competent and very charming D.J. Héléa, brilliantly demonstrates. Attention we are here "undercover", there are no well-known covers. Some of the tracks selected are rare, others unknown or forgotten - but all are excellent and blended in an impeccable mix, in line with previous the Harlem Shuffle compilations... All Killer, No Filler! Reggay Undercover is an exciting musical kaleidoscope of Jamaican and Reggae music from the early 60s through to the mid 70s. We hope you will enjoy listening to this album as much as we had composing it for you. All aboard for Reggay Undercover!

"Step Forward Youth" takes a serious look at the reggae of the punk rock era in England and its resulting global impact. Here are 12 selected tracks especially for LP-Vinyl including the obscure roots reggae heat such as the Barry Ford Band's "Rebel" plus Prince Far I's "Heavy Manners", Culture's "Two Sevens Clash" and furthermore great tunes by Dr. Alimantado (as well pictured on the album's cover) alongside Jah Stitch, Lee Perry, Gregory Isaacs, Augustus Pablo, Keith Hudson, Michael Rose, Junior Murvin, Tappa Zukie and the dub version to Johnny Clarke's "None Shall Escape The Judgement.

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Vis​-​A​-​Vis - Odo Gu Ahorow
by We Are Busy Bodies

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Odo Gu Ahorow (Medley) 00:00 / 15:16
Limited Edition 12" Vinyl
Record/Vinyl + Digital Album
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As both a popular live act and in-demand studio musicians, Vis-A-Vis released 13 albums between 1975 and 1982, of which Obi Agye Me Dofo remains the most sought after. Led by vocalist Isaac “Superstar” Yeboah and featuring Sammy Cropper on guitar, Slim Manu on bass and Gybson “Shaolin Kung-Fu” Papra on drums, Vis-A-Vis helped propel K. Frimpong to fame as one of Ghana’s most popular stars of the 1970s. On some of Frimpong’s albums, they also overlapped as part of his other recording band, the Cubano Fiestas.

As We Are Busy Bodies begins its roll out the Vis-A-Vis catalogue, it will also simultaneously release another essential album by the group, 1976s Odo Gu Ahorow. Original copies of both LPs are scarce and in great demand, with Obi Agye Me Dofo briefly issued as an LP in the US in 1980, and again in 2011 by Continental Records. Along with the Frimpong albums, they remain some of the most sought after West African records from the golden age. These reissues have been handled with the utmost respect — every detail has been given strict attention and care, with albums being remastered by Senior Mastering Engineer, Noah Mintz at Lacquer Channel.

About the album:

"The Vis-A-Vis have had many good things to their credit, none more so than the collection of nostalgic items that make up this album “Odo Gu Ahoroo”. It has been able to achieve its well-deserved place in the Ghanaian musical best-seller parade. Now by the titles and programming this entirely new album benefits from Ofobros latest recording experience, bringing many plus-factors of listening pleasure.

With brilliant musicianship, the Vis-A-Vis as a group leads in the field of danceably rhythmic arrangements which do not obscure the enchanting melodies, such as “Abofra Ketewa”. Highlighting the softly soothing, yet richly textured blend of the organ and Slim’s bass work are solos by Sammy ‘red” Cropper on lead guitar, and other instruments as well.

The groups’ thirteen years’ experience in the field of dance music has made their melody reign supreme, and I hope these all are songs that will become a cherished part of our musical past in the future, and an enduring part of our musical period then. This recording the Vis-A-Vis with a new lustre that promises to glow through many mood-matching moments in the future.

A touchstone LP from the beginning of reggae's 'post-Bob Marley era,’ Wailing Souls’ Fire House Rock was released by Greensleeves in 1981 to enduring acclaim. The title track became Wailing Souls’ most popular, anthemic song. Features production by Henry Junjo Lawes, backing by the Roots Radics with mixes by Scientist.

For the Record Store Day 2022 edition, the original mixes were transferred from reel-to-reel to a pristine 24-bit/96k digital master. These are paired in a deluxe gatefold sleeve with a bonus 12-inch single disc of alternate, extended mixes originally released through VP’s Jah Guidance imprint.

Sticker application; 180g Heavyweight Vinyl Pressing Gatefold sleeve with full-colour Inner Bags featuring rare photos and extensive notes.

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