TITLE: Live Loving
ARTIST: Sugar Minott
LABEL: Studio One 1976?

Sugar Minott is probably the smoothest man to ever hold a mic in Jamaica. His voice never sounds rushed and rides the rhythm with ease, making this full of his trademark soulful groovers. Sugar, the ladies choice with the revolutionary lyrics.

The sound quality ain't that great on this, but sometimes the dirtiness of Jamaican pressing actually makes the record sound better. This is one of his earlier albums, from the Studio One label. Sir Coxsone pulls out some of his heaviest rhythms for Sugar to voice over including "Mr. Bassie", "Queen of the Minstrel", "What Kind of World" and the "Shine Eye Gal" rhythm.

This is the era that really shot him into Jamaican super stardom and allowed him to start his own sound system and reggae label; Youth Man Promotion and Black Roots respectively. All the songs on here are great in their own right, but "Jah Almighty", "Hang on Natty" and "Live Loving" are the strong ones.

TITLE: Right Time AKA I Need A Roof
ARTIST: Mighty Diamonds
LABEL: Virgin 1976

I don't know anyone who doesn't like this album. It's one of those rare ones you could listen to in the car with your mom or you could hear at any reggae party today, still mashing the place down. Every song is brought on with smooth rhythms and great harmonies. But don't be misled by the sweet melodies: these guys don't just sing love songs or about bullshit either. "Ca when the right time come, some ago charge fe treason, some ago run till they tumble down". Righteous music all the way... If you don't know this record, you're in serious trouble. One of the all-time great reggae albums. It was an early big hit for the Channel One Studio, with Earnest and Jo Jo Hoo-Kim behind the boards.

TITLE: Catch a Fire
ARTIST: The Wailers
LABEL: Mango 1973

This was the first Wailers release on Mango records and marked a worlwide revolution in reggae music. I think everyone knows this album, but I had to stick it in here for the historical significance and the great cover. The edition of the album was a limited run and is one of my favorite concept covers next to Cheech and Chong's "Big Bambu"

TITLE: Marcus' Children
ARTIST: Burning Spear
LABEL: Tuff Gong

This one goes down as one of Spear's heaviest albums, put out in his highly prolific mid-seventies era. Written, produced and arranged by the man himself with usual conglomeration of great studio musicians. But he is able to pull a sound out of these same musicians that no one else had done before, or since.

It is straight up some of the strongest and most soulful music I have ever heard. If you've never heard his voice, it's pretty hard to explain but the closest thing I can think of is haunting. Some people are scared of this album.

The band and production qualities match his moods perfectly, elevating the tracks to something higher than music. This is some heavy, spiritual shit that will make your insides turn around. There are no dance tracks here, strickly meditations to the higher heights and reincarnations. Make sure you got the levels proper and up the bass to free up Spear's voice.

TITLE: Robin Hood
ARTIST: Barrington Levy
LABEL: Greensleeves (Grel 14) 1980

Who doesn't dig on the golden warbler? This came out right after Barrington had really exploded on the scene, pure dancehall style, with a few lovers tracks as well, everything working.

The production is by Junjo, engineered by Scientist; the one-two knockout sound of some of the greatest tunes of the time. Barrington's voice is at it's warbling best and Scientist gives him a lot of room to get out there with it, layering sparse tracks with Levy's vocals then hitting with the full rhythm behind him. "Love Sister Carol" (on the funky "Pick Up the Pieces" rhythm) is one of Barrington's forgotten classics, perfect for whining up yuh lady.

There is also the dancehall smash "Rock and Come In" and one of the sweetest late night tunes ever: "When Friday Come". This is one of the first reggae records I bought and still one of my favorites.

TITLE: Stand Firm
ARTIST: Barry Brown
LABEL: Justice 1980

I bought this record sealed and when I opened it there was a big chunk missing from the outer rim. But I haven't seen it again, so what the hell...

Barry Brown is definitely one of the overlooked singers of this era and it's pretty hard to find any of his great late 70's / early 80's records. This is a really good one that has Barry in fine form, voicing over tracks that he produced himself.

Scientist mixed the tracks down at King Tubby's and the rhythms are by the Aggravators: a perfect line of rough/sweet rhythms for Barry's unique delivery and voice (Scientist's dubs from this session must be out of control). "Stand Firm" is definitely the roughest track on here with a classic dancehall rhythm (I can't remember the name of) marching behind Barry's lyrics.

This album rocks in a time different than most, with lots of strange rhythms, hard production and of course Barry's struggling youth man lyrics. It's some uplifting, smoke a spliff and raise your spirit music for listening to on long trips when you aren't sure if you're coming back.

TITLE: Trodding Through the Jungle
ARTIST: Carlton Livingston
LABEL: Dynamite 1984?

Carlton Livingston is one of the great, sort of lost singers of the early eighties dancehall scene. This is one of the few albums I've ever seen by him and it's a killer. Under the production of Clive Jarrett and Lone Ranger, Carlton's smooth style and voice made this album full of both dancehall mashers and lovers tunes. The sound is a cross between digital and more traditional dancehall, more upbeat.

The biggest tune on here is probably the title track, which was featured on the "Big Blunts" compilation a few years ago. Soon after there was also a remake by Shabba of "Don't Follow Rumors", which revived the memory and brought Carlton back a dance.

This record used to be a popular favorite of the Renwick sound getting Biz up to "Confusion". The cover painting is by Jamaal Pete, who did tons of covers back then (along with the hilarious Limonious). Look out for a Jamaal Pete and Limonious cover exhibition sometime in the future.

TITLE: Music Them a Money Man / Bubbling Up 12"
ARTIST: Billy Boyo / Linval Thompson
LABEL: Live & Learn 1984

Another Renwick St. crasher, best played at 3AM full blast. Both sides are great, on the same Linval Thompson produced rhythm. Side one has Billy Boyo singing about money, losing at the horse track, making bets with other musicians, flying all over the world and generally fucking shit up. And this kid was like 13 years old?? Side B is Linval himself singing about the ladies "Bubbling Up" all over him. Some classic early eighties dancehall stuff here, and on the great Live+Learn label.

TITLE: Rockers Meets King Tubbys in a Fire House
ARTIST: Augustus Pablo
LABEL: Shanachie 1980

Augustus Pablo and Tubby's? Aww shit: you know it's going to be deadly. Augustus Pablo was a master musician, most well known for the unique melodica work and his label "Rockers International".

Here he produced, arranged and plays organ, piano and melodica. Some of the tunes on this album are down right dirty and dark, leading down down down in a ring of fire. They can be deceiving with floating melodies and happy birds that lead to some of the hardest drum and bass combos I've ever heard. "Jah Mouly Ital Sip" with it's up and down bassline and minimal effects is one of my favorites.

Why this music doesn't excite most people is beyond me. They say it puts them to sleep. Two of the Jamaica's most accomplished and talented musicians join forces for this colossal work. Additional mixing by Jammys. Rest in Peace Tubby and Pablo.

Mush Mouth lives!
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