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Photo by Colin Moore

Willy Williams

By Ray Hurford & Colin Moore

THE

SMALL AXE

FILES

 

(C) Small Axe 1983

(C) Muzik Tree 1991

(C) Small Axe 2004

All Rights Reserved.

WILLY WILLIAMS

When, in 1979, Willy sang "A lot of people won't get

no supper tonight" the opening line from 'Armagideon

Time' over the 'Real Rock' rhythm for Studio One, it

was clear that this was a singer who was destined to

become a major reggae talent. Succeeding releases

continued to confirm this.

Yet the major breakthrough has yet to happen. Even so,

Willy has at least one great album finished, which

would easily establish him. Why that album has not

been released is still a mystery to me, but it is

something to look forward to. And nothing ever happens

before it's time. You see what never happen in a year,

could happen in a day...

"I did my first tune for Studio One, it's on a various

artist album called 'Party Time In Jamaica'. That was

the first song I recorded for Studio One, it's called

'Calling'. This was the first song I ever recorded,

this was when 1 was still in School." How old were you

then. 13,14?

"It was done in about '66. At the time I used to check

for foreign artists like Stevie Wonder and James

Brown. Locally my vocal influences were Bob Andy,

Delroy Wilson. He was the first person who I actually

went to the studio with." Who, Bob Andy?

"Yeah Bob Andy. "

You go back a long way then, the Rock Steady era?

"I used to go to Trenchtown High School, Sly and

myself, quite a few more. Other reggae artists used to

go to the school at the same time."

Were you born in Trench town?

"No I was born in St Ann's, in the centre between where

Bob Andy - Ray Hurford

Bob Marley was born and where Marcus Garvey was born. A place called ….

its between Lime Hall and Clement(?)"

When did you go to Kingston?

 

"I was still a little kid, and just going to school. I

Attended the Whitfield Town Primary School. That was

in the Whitfield Town area, just adjoining Trenchtown.

"Leaving that I went to Trenchtown. That was where I

get the love for the music. I always loved music and

growing up in an environment where you have a lot of

sound systems and thing! I started out owning a sound

system, when I was a teenager. So that kinda

Influenced it more. What was the name of your -sound?

"The name of it was 'Tripletone' it was based in

Duhaney Park let me see it's the northern part of

Kingston going the Spanish Town end.

Going by the cover on 'Messenger Man' and now

meeting you you're very young. How old are you? "Well

to be honest, my philosophy in life, is that a you are

as young as he feels, seen. Like age is just a frame

of mind. So for me to really tell you my age it's not

important, but physically my age is supposed to be

32." You certainly don't look it. There were a lot of

young artists who were coming through around 1979. And

you are associated with that group of artists, who are

still only now in their early to mid twenties.

"Right at the time . . .first to commence with I' am not

An individual who seek for stardom, cause I look on

The music as a very religious thing." That shows in

Your music, that comes very strongly. Your best work

Always as a message and meaning to it.

"To all the nations - internationally. To the

conscious people worldwide."

So what happened between the first tune. 'Calling' and

' Armagideon Time' in 1978?

"In between that time, I didn't take it as a full time

thing. It was just like an hobby. I usually work and

do part time music. Do some producing like I produced

Delroy Wilson and a group called the Versatiles, we do

two nice singles, but due to the tone of these

things . . .I think they were too political. It's more

cultural, but they regard it as a political thing

you know. It's just singing like the songs of the

Rasta,"

The Versatiles included Junior Byles. didn't they?

"Well at the time Junior had just left, and had just

started to go solo." So this would have been the early

seventies?

"The early seventies say about 1971." These tunes were

released on your own label?

"Yeah, the name of the label was 'Soul Sounds'. These

songs weren't popular at the time. They were popular

locally in Jamaica, but on the whole. . So the

International success of these songs were...the

impedance came in, because I was working and didn't

take it as a full time thing. It was just like an

hobby. And it was during this time I work along with

bands like er - Generation Gap. Freddie McGregor and

myself were the lead singers for that band at one

time. I worked with a band called the Throughbreds.

That was mostly like club dates, you know."

 

"So I did that until 72, when this song a recut of

an old Drifters tune) "Magic Moments' and one called

'Get Ready'."

And they were produced by you?

"I gave the stampers to Randy's to release, and I

don't know what became of them after. The rest of it

was mystery, not history (laughs)."

Can you remember who played on those sessions?

"Geoffrey Chung's brother Mike played on the session

So did Mikey Boo, on drums. We used to have either the

In Crowd or the How Generation at the time."

Both of them were great bands, it's a shame they

didn't get the success that was due to them.

"I guess, it was the success of reggae at; that time.

It was an individual success, more than the music."

Both of the bands made albums, but I don't think they

showed what they were capable of. "Most of the hits

made at the a time by Derrick Harriott etc were made

by those bands."

Tunes like the Heptones 'I Miss You' had a fantastic

arrangement?

"Well as a matter of fact, I was supposed to do that

song. It was recorded for me originally, but 1 wasn't

at the studio that day. And the song was in too much

of a high key. So Leroy who was capable of doing that.

He did that song with the group." So if it had been in

a lower key, we would have heard of you six years

before we did! Although 'Armagideon Time' did sound

like it was sung by a very experienced singer. So your

first productions you didn't know they were released

here? "I didn't know. I have had various songs that

have been pirated here over the years, you know. For

example 'Rocking Universally' that was pirated over

here." I always thought it was pressed in Canada and

imported over here?

"It was originally pressed in New York and exported to

here, but we didn't give permission. We are working on

that to get it settled. It was a big seller, as it was

at the same time as 'Armagideon Time'."

When did you leave Jamaica for Canada?

"It was about 75, I decided to check out the

international market. So I went to Canada. Going to

Canada was a new experience again. They weren't ready

for reggae at that time. They are still not to ready

for it yet? (laughs), but it's building, very slowly."

Where were you in Canada? "Toronto".

There has been a lot of progress in that city, but the

rest of the country is slow?

"It is. I don't know why. It is influenced by the

American market. The funk, disco and things. So you

find it's influence is greater then reggae's. I guess

that is why it's so hard to breakthrough over there,

but you have the younger people who are getting into

it."

Did you make any music when you first got there?

"When I went, I took with me songs that I recorded.

but they weren't ready for that stuff. They need some

more uptempo, with strings and things. And Jackie

Mittoo was into that at the time. He was there, so we

got together and started working." And was this at the

Summer Sound studio?

"This was long before that. Summer sound wasn't about

until the seventies. We were doing more uptempo stuff.

Funk them kinda of things. We recorded those type of

songs, but we never released them."

And that was when you first met Jackie?

"Right, we started working hotels. Any gigs that we

could get. We had quite a number of gigs lined up, for

the years, but it was about 1978, when we decided to

crossover from the type of music we was playing at the

time, to the type of music we prefer. It was about

1978, I did a song called 'Messenger Man'." The same

one as the title track of the album?

"Yeah. I used to think, er well at the time I working

in Canada. And decided to rest the music a little,

cause it was slow. So I was in a record store one day,

and met someone from Aquarius in Jamaica. You know

Herman Chinloy, it was his brother. They had a record

Jackie Mittoo

store in Canada. He started saying 'What happen Willy man, you give up the singing' So I said, no man I'm

going to give you something new. I went to Jamaica and recorded 'Messenger Man* it was about '78.

It was a nice effort, it was successful in America."

What was the tune that came out just before

'Armagideon Time' on the Inland label?

"That was 'Unity'." Where was that recorded Jamaica?

"At the same time as 'Messenger Man'. It was recorded

at Channel One, but the mix was done in Canada, at

Summer Sound." That had a nice Lee Perry sound to it,

will it be reissued?

"Well what happen is. we are going to have a chance,

because most of these I did for myself, and sill have

the masters, but owing to the distribution outlets at

the time, you know - it didn't work out right, so I

decided to hold back until something was more

positive. *'

So all the tunes on ' Messenger Man' were recorded

around that time 78/79? "Yes, some of those tracks

were recorded at Summer Sounds in Canada - and some in

Jamaica. In studios like Treasure Isle, Channel One,

Harry J. It was a various studio album." It's a

remarkable album, there are so many different styles.

Where was 'Slave' recorded?

"That was done in Canada. We had a group over there

who played with Leroy Sibbles." Truths And Rights?

"No it wasn't Truth and Rights, it was just after

that. Some members of Truths And Rights, just a few. I

can't recall the name, as it was mainly a studio

band."

 

"We wanted to give everyone... this album was done out

of giving the musicians in Canada, local musicians a

break, because since I had a name and they didn't have

anything going for them I decided we could do

something together." It's a very positive album.

"Until now it hasn't been released to the full effect

of making anything off it monetarily or whatever. Its

just like to say, here's an album. I guess coming up

in the year we are going to release those works. We

are getting a request for them" Sinbad are due to put

the albums out in the States aren't they?

"Yeah, well Sinbad had the franchise to put it out,

but they didn't actually release it in the U.S., I

don't know what went wrong.

How did you start recording for Coxsone again, was it

through Jackie?

"Well not exactly. As I mentioned I had been there

before. And Downbeat he know me. He had heard the

single 'Messenger Man', and it turn him on to really

come and check for me. Check and ask me if I want to

do some work? Well Jackie and myself and Lord Tanamo

were working at the time. Well was resident in

Canada." So Tanamo was there as well?

" We have some good musicians in Canada, but they are

frozen. We are not ready to defrost them yet!

(laughs)."

"So during that time we was going to Jamaica, well I

was going to Jamaica. At that time I was there to do

Coxsone Dodd

some new works. Which are still not yet released. When

I'm working on an album it takes, like three years to

complete it. I write of, what I see, the times. The

inspiration that I get is from nature. You know, and

the different places I travel. The things that are

happening there."

It really shows in your music, a great awareness.

"So we decide to go . . . I was working on the album and

We went to Studio One to do this album have you seen

it, 'Armagideon Time'?" I prefer your own album to it.

I couldn't understand what Coxsone was up to with that

album. He's put it out, I've never seen it in a

sleeve.

 

"There is a sleeve now, a black and white drawing. I

was wondering myself you know. Owing to the fact that

we had done that work together, that was that. We

leave it to him, to make the decision whether to put

it out."

How many tracks were available to him to put on the

album?

"Put it this way, we still have quiet a few more

tracks to release from Studio One."

It was only a seven track album, prior to the album he

put out 'Addis Ababa' as a 7". Then after the album

came out, he released ' Jah Righteous Plan' on 10" .

Which seem like better tracks to put on the album?

"Oh yeah, we had quiet a few, we have better tracks

there. The better tracks haven't come out yet."

Some of the tracks on the album didn't seem to go with what

you were dealing with at the time.

"Yeah, at the time, cause this was recorded in '79.

The whole ideology behind the album is different from

now." It took a long while to come out, it didn't seem

to match up with what you had done and what you were

doing with tunes like ' Jah Righteous Plan'.

"Well as you see the truth always get a fight, but I

know there are people who appreciate it, and will

appreciate it at all times. I'm more concerned with

those people." People were expecting something special

from Coxsone with 'Armagideon Time' album. It seemed

like an half hearted effort?

"It was strange to me, and still is, but that's how it

is sometimes."

Are you confident in time Coxsone will put out

something more representative of yourself

"Hopefully, but then whether or not. I have my own

productions. As you know I have been producing myself,

and I'm working towards achieving something better

each time. And I can express myself more." Whatever

happened to the album you recorded for Yabby U?

 

"Well, we still have those tracks. We worked on some

when Yabby U came here, but owing to the things that

happened at the time." Yabby U was ill. wasn't he?

"Right, so everything was put off to a future date. We

took this thing into serious consideration. Maybe it

wasn't the right time."

'Armagideon Man' did well for you for you.

"Yeah, it sold pretty well, but it was more or less a

pre-release. That's what happens to most of my music.

It's like more of a pre-release and you don't get them

after a while. We get a request for them. So what we

are trying to do is put them together and have a good

release."

 

Yabby U - Tero Kaski

Going back to 'Messenger Man' the album sleeve had a

mention for Joe Gibbs on it. Did he have anything to

do with it?

 

"No it was a distribution outlet in Canada. A branch

of Joe Gibbs Records. We used to work independently,

but incidently when I start out at one time I used to

sing for Joe Gibbs. That was a long time ago. We had a

group. We decide to do some songs for him, but it

didn't work at the time." Nothing was released?

"No, the vibes wasn't right at the time. So we decide

to give it up." What was the name of the group?

"It was broken up and everyone went their ways. We

used to call ourselves . . . I can't remember the name

now. To be honest it was a long time ago. Around the

time Nicky Thomas was starting out."

 

Recently you put out another tune on Stinejac called

•Come Along' - 'Repatriation Song' which is as good as

'Armagideon Time'.

"You see that, whenever I give my music to any of the

places of promotion, they always fight it down. Since

I don't like to sing about water pumpee and girls. I

have to sing about something postive. And I have to

say this. it seems that everytime I sing these songs I

get a fight, because of the content, which is truth

and rights. And then the rhythm that you are talking

of, a dj here told me that he doesn't like the

rhythm. , but he likes the lyrics you know. And that's

his reason for not playing it!"

The sound of the keyboards on that tune is something

else! The organ at one time is like a church organ,

then you get the synth.

"Yeah it's a pipe organ sound. It was done in 1980.

The rhyhtm was recorded here. We took it Canada and

worked on it for the keyboard sound. Jackie Mittoo he

played the keyboards." Where at Summer Sound?

"No, Amora, a bigger tracking studio. It was Masters

Work Shop, one of the big ones in Canada."

Stinejac, is that you and Jackie's label?

"Its Jackie's mine and about 4 other friends

together. We have this little company called

Stinejac." Would you say your vocal style is something

new in Jamaican music?

"Most Jamaican artists or most people who listen to

Jamaican artists or most people who listen to Jamaican

music used to think that if you didn't sound like an

American artist, you couldn't be heard or do anything

with the music, but I decided to look at it with a

different perspective and go about it in a different

way, to prove that using your natural voice or your

own voice, you can sing with even more melody."

That is what I was going to ask you, sometimes your

voice does sound very North American, and then goes

back to something very original. One of the tracks, on

the Studio One album 'People' it sounds very Stevie

Wonder influenced.

"Musically I'm inspired by all music, but it's the

lyrics that make the difference." What inspired you to

write 'Armagideon Time'?

Photo by Colin Moore

"Well 'Armagideon Time' is just...I'am very spritual,

in that I belive in the creator who created us all. I

worship the creator as Jah through Christ. I check for

the happenings and match it with what I read

Biblically, and see what's happening. So at that time,

I was there in Jamaica in when they had the political

violence going on. And then I remember checking back

in the scriptures and finding out that these things

were just normal things. It was just like a song of

consolation. Consoling myself and the people who do

understand that it's really the time - At that time

and this time. "

 

The rhythm for ' Armagideon Time' is ' 'Real Rock' which

was very popular at the time. Did you want to use that

rhythm?

"They were the first set of lyrics for 'Real Rock'.

This rhythm as been there a long time. And I love the

rhythm. Then it dawn on me that I could do something

with it. I was working on the album at the same time.

So overnight I went and just wrote a song for it. I

couldn't do it -the same time, cause I was sick. After

I wrote the song, it took me about a week before I

went and did it over."

It's strange that a song written when you was sick is

so uplifting.

"Looking at the T. V., you can see children, people

from all walks of life, all nationalities. People

couldn't get anything. People are losing their hope in

everything. So it was consoling them."

While 'Repatriation Songs' is a theme song for all

what as come out Jamaica musicwise in the last ten or

twelve years?

"Right, you see that song is a request to the people

who stand for equal rights and justice throughout the

world. This is the coming together of the people,

under one understanding. And this song, I sung it, so

that the people could see what was happening in

general. A lot of People know what is happening. It

don't dawn on them what is happening it don't come to

a realisation. This song, anyone who listens to it, it

give them an historical breakdown. The conversation

then turns on to the political aspects of Willie's

music. A lot of your songs deal in reality doesn't

that make them political?

"The political part of it I don't like to deal with,

cause I know that follytricks can't help. A politicial

solution is useless. There is no such thing, because

each politican or whatever he is dealing with it,

There has to be an head, and power don't belong to

anyman - It's an egotrip. Perhaps there are a lot of

people who think they can do good, but once they get

into it, then that ego trip get hold of them . . .they

lose direction. People are looking for new things to

escape reality, they go into fantasy and the whole

works and that's what people like."

That's what you say on 'No Hiding Place'

"Right, people build up a lot of things to just hide

away from the truth and reality. Sooner or later no

matter where you go, it's gonna find you and you're

gonna have to face up to it. That's why you have so

many people commiting suicide. Reality, this is what

the music is suppposed to be about. I've been noticing

that reggae music what the producers, the money

people . . .they seem "to wanna change the style of the

music and put it into an unconscious state. The kind

of material they are trying to put forward, that is

not reggae music."

Yet within that someone like the Wailing Souls can put

out a tune like 'Waterpumping', and at the same time

you can guarantee that on their next album most the

tracks will be dealing with reality.

"You see, the whole scope of the music is based on the

artist himself. The producer is an individual who just

have the business knowhow or the financial backing. So

I don't think they should impose or restrict the

artist, to make him put something out that is

misleading to the people. I think they will find out

soon that it doesn't work. It's only demoralising the

whole thing."

When you were working with Coxsone, how did you get on

with him?

"I think he is one of the best producers to work with.

He make you express yourself. He give you enough time

to work." The ' Armagideon Time' album uses a lot of

old rhythm tracks, with a lot of work done on them to

update them. Who worked on the album?

"Jackie Mittoo, Ernest Ranglin, Bagga Walker, Pablove

Black."

The new album is produced by you?

"Yes most of the new tracks were produced by myself.

Some tracks are with Jackie and some with Yabby U.

It's a variation of rhythm structures with the same

lyrical content and same direction. I've done this

because there are some rhythms that mean a lot to me.

I don't like to sing over people's original work, but

then there are some rhythms that really appeal to me a

lot, that I would like to work with."

 

"And these people are some of the best people in the

business, producing, playing the music. That is why

I've collected some of those rhythms to work with. And

personally Yabby is one of my closest brethren. I

guess we have most of the same ideology." Yabby U has

sometimes come into conflict with the Rastafarian

movement over his beliefs.

"Well my explanation of the whole thing is, that I

believe in Jah, who is the creator. Now who is Jah?

Jah is the spirit, and the truth. Now our structure is

a temple of the creator. That is where he dwells, as a

spirit. And Jah is good, anything that is good."

"So he sent Jesus Christ to - as a man, to live the

words of Christ. So that people can understand that

it's not just a ghost, it can manifest through people

so that all the good we can do, that's god. And god is

not just one person. God is in everyone, cause god is

life. He is the only one that can make life." How do

you feel about Haile Selassie?

"Well I wouldn't look upon the Emperor as the almighty

God, I would look upon the Emperor as a prominent

figure. As the King of Ethiopia. A king that black

people could look to and be respectful to. We are using

a smokescreen - colour to blind up our eyes. You see

no matter what colour you are. there is one God."

"And when individuals who put a picture in the Bible

of a white christ and say you should worship that,

they are being unintelligent to do that, cause Christ

is a spirit, a word of truth. That means that no

matter what colour you are, once you are truthful and

do the right thing, that's Christ. When they try to

portray it as a person it's wrong. It's the way that

you live, the right things that you do. That makes you

the individual close to being good or being bad."

With so much reggae music being released today, it

seems almost crass "to complain about the little "that

some artists release. Yet you can't help feeling that

if certain artists were able to release more music,

the music overall would be in a better state. Willy

Williams is that sort of artist. From the moment you

hear 'Arraagideon Time' you know you are listening to

something very special.

 

It's not just the powerful reality/prophetically theme of the song

that "makes you want to listen to every word, it's the multi-

cultural vocal delivery. When you hear Willy singing you know

you are listening to most urbanised form of the music

so far.

In Willy's voice you not only hear Jamaica - you also

hear Black America. If reggae had been created in the

States - this is how it would sound. Willy's voice is

cool and relaxed - heavily influenced by Stevie

Wonder. If Willy was that way inclined he could just

go through Stevie's lyrics - by adding a reggae rhythm

to them he could make a fortune. Instead - we find an

artist who is motorvated by something more important

to him - and that is the delivery of a message - the

message of Jesus Christ, who was a living man. Willy

is more than able to explain his beliefs, and he does.

He does this not only in person, but also in his music.

' Armagideon Time', was a huge hit, eventually being

released on RSO in the States. It was followed by

'Rocking Universally' produced by Willy and Jackie

Mittoo for the Stinejac label which was essentially

another version of 'Armgadieon Time'. Then came

'Armagideon Man' for producer Yabby U, released on the

Prophets' label. More music followed on the Studio One

label - great tunes like 'Addis Ababa' and 'Jah

Righteous Plan'. Everything looked right for a good

album release on Studio One.

Instead for whatever reason Coxsone, did nothing.

Thankfully Willy had other ideas, and in 1980 he

released the ' Messenger Man' LP, on his own Inland

label. With Willy's name being so strongly linked to

Studio One, there was a certain amount of

disappointment that this wasn't a release on the

label. Yet for those into the artist rather than just

a sound - 'Messenger Man' was no disappointment - far

from it. Over it's 9 reality tracks Willy shows that

'Armagideon Time' was just a glimpse of his talent.

Recorded at "three studios with many talented musicians

It puts his whole range of talent on display. Here

were better songs than 'Armagideon Time', (or as good

as) tunes like 'No Hiding Place' , 'Slave' and

'Dungeon' complemented by other great tunes like

'Valley Of Jehosephat' and 'Zion Time'. In 1982,

Coxsone finally released the 'Armagideon Time' The LP

was a disappointing release considering the promise of

the singles. People were expecting something special

from Coxsone with the 'Armagideon Time' album.

 

Although Coxsone had more than enough talent on his

books at the time, in the form of Freddie McGregor,

Johnny Osbourne, Lone Ranger, Michigan & Smiley - he

knew enough about the business to make room for one or

two more. Yet for whatever reason Coxsone decided to

demean the release of the 'Armagideon Time' LP by

putting together a selection that didn't really make

sense - and not giving it a sleeve for at least a

couple of years. Of the 7 tracks on the album, only 5

are really and truly Willy Williams: the title track -

'Armagideon Time', 'See You When I Get There', 'All

The Way', 'Masterplan' and 'Easy'. They are conscious

works, what you would expect from a artist who wrote

'Armagideon Time'. They show a concern for mankind -

and at the same time are thought provoking. The

remaining two tracks 'People', and 'Turn On The Power'

move Willy into the unthinking/unconscious state that

he dislikes so much.

It could be argued that Willy should have never

recorded music like this if he felt so strongly

against it. Although this does not take into account

the nature of how artists work for producers. If

Coxsone wanted "to release a showcase - he should have

done, simply by adding one good track to the five

mentioned, plus six dubs. Since the early '80s -

Willy's career as gone through a number of phases. In

'84 he had 5 tracks released on a 'Two Artist LP' with

Barry Brown called 'Roots And Culture' - the five

tracks were excellent, and it was hoped a full LP

would follow, but it didn't. And this at the moment is

really Willy's big problem - at anyone time, he just

doesn't have enough music out or available.

To try to rectify part of that problem Black Star of

Finland released the 'Unity' LP in 1987. This was a

collection of tracks recorded over the last 10 years

or so - and included Willy's own self produced

'Armagideon Time', 'Repatriation Songs', a different

mix of 'Messenger Man', plus new tracks like ' Noh

Worry' 'Active Positive' 'The Elements' and 'Pray'.

Sadly at the time of it's release the reggae market

was changing - and there weren't enough tracks on the

album which fitted into the new style of the day.

Recently - Willy as been working again. And on

'Worries And Problems' a hard reality 12" on Uptempo,

he's right up to date. This is reggae music at it's

very best - from someone who cares.

 

Willy Williams -

Selective Discography

ALBUMS

Messenger Man - Inland

Willy Williams 1980

Armagideon Time - Studio One

Coxsone Dodd 1982

Roots & Culture (With Barry Brown)

Uptempo - Willy Williams 1984

Unity - Black Star - Willy Williams - 1987

Singles

Magic Moments - Halifax 7"

Willy Williams -- Roots

Unity - Inland 7"

Willy Williams - 1978

Get Ready - Halifax 7"

Willy Williams - Roots

Armagideon Time - Studio One 7

Coxsone Dodd -- 1979

Rocking Universally - Stine Jac 12"

J.Mittoo & W.Williams 1979

Armagideon Man - Prophets 7'*

Yabby You.- 1979

No One Can Stop Us - Studio One

Coxsone Dodd 1979

Addis Ababa - Studio One 7"

Coxsone Dodd - 1980

Jah Righteous Plan - Studio One

Coxsone Dodd 1980

Unification - Inland 12"

Willy Williams -• 1981

One Love - Uptempo 12"

Willy Williams - 1984

Sweet Home - Black Victory 12-

Willy Williams - 1987

Sell Out - Humame 7"

Willy Williams - 1990

Run Dem A Run - Drum Street 7-

Willy Williams - 1991

Rally Round Jah Throne -

Black Root 12" Yabby You 1981

Repatriation Songs-StineJac-

J.Mitto & W.Williams - 1982

Active - Drum Street 7"

Willy Williams - 1986

Worries&Problem - Uptempo 12"

Willy Williams - 1990

Jungle - Watte Music 7**

Willy Williams - 1990