By Ray Hurford

(C)Small Axe 1983
(C)Muzik Tree 1991

(C)Small Axe 2008


All Rights Reserved


Culture, perhaps more than any other group or artist
gave reggae music an identity towards the end of the
seventies. They were very close to the roots of the
music then, and they are just as close today.

Joseph Hill, like so many others, started his career
at Studio One. It was in 1972 that he recorded 'Behold
The Land'. Sung in the style of Burning Spear, it was
a very early indicator of what Joe Hill was capable
of. At the time he was part of the Soul Defenders, who
were then the current session band at Studio One. Joe
played percussion, and he can be heard on many singles and
albums from that time, including Freddy McKay"s work.

By the mid seventies though, he had teamed up with
Albert Walker and Kenneth Dayes to form a vocal group
known then as The African Disciples. Sometime in 1976
they found themselves in the studios of Joe Gibbs.
Blacka Morwell of The Morwells was working as an
arranger for the studio at the time. He recalls there
being four African Disciples and that they weren' t
keen on doing any recording. Eventually after a
certain amount of encouragement they did record three
songs. "Blood In A Babylon', ' This Time' and 'Two
Sevens Clash." in that order. It was was then that
Blacka gave them the name Culture.

Towards the end of 1976 Joe Gibbs released Culture's
'Two Sevens Clash' on 7". This song of prophecy hit
the reggae music scene like no record before, and no
record since. Its impact was so great that it had the
remarkable effect of gaining the usually indifferent
rock music press" attention. This was due in part to
the Punks, who had already dug a little deeper than
Bob Marley to find Lee Perry and Augustus Pablo.

These two artists, though, were well established
within reggae music. With them it was just a case of
checking out something already there. Where as Culture
was brand new. They were the first act out of Jamaica
to hit two different audiences at the same time.

With one single Culture had gone straight to the top.
They could have been the biggest one hit wonder reggae
music had ever seen. To prove otherwise, an album was
needed and Culture were busy recording it for Joe
Gibbs. In the summer of 1977 the album 'Two Sevens
Clash" was released.

To say that the album was a very strong debut, is to
understate the album. 'Two Sevens Clash'the title
track and the hit, is not the best track on the album,
which is unusual considering the quality of the tune.
Yet this is not an album to pick out individual tracks
for praise; what must be praised is the overall
production of the album.

Enter Joe Gibbs - who with resident engineer Errol
Thompson, came up with unique synth based reggae
sound. Like Lee Perry's work it had been an
evolutionary process going back at least a couple of
years. A touch of the phaser here, a bit of time
warping there. It was great, but what made it more
popular than Scratch's creations is still baffling.
Still, Scratch finally got his own back a year later
with the release of the Congoes 'Heart Of The Congoes'
LP, but that's another story.

The probable early success of Culture is the
combination of this new high tech sound with a very
familiar vocal sound, the Burning Spear style. A third
element is the songwriting skills of Joesph Hill. The
first track on the album makes it very clear that 'Two
Sevens' was no fluke. 'Calling Rasta For I' employs
all of the call-and-response techniques first heard on
'Two Sevens'. The next track 'I'm Alone In The
Wilderness' is very similar to the first lyrically in
that it's about finding 'Jah' but its got more detail.
Joe sings the title telling us how only Jah is with
him in the wilderness. The rhythm track moving around
- directed by the ever present synths.

'Pirate Days' continues the process only this is a
very strict history lesson with its main theme being
the destruction of the Arawak Indians by the Pirates.
Joe ramming home the message with his chant of the
"The Arawaks, the Arawaks, the Arawaks was here
first.". After a slightly remixed version of 'Two
Sevens' comes 'I'm Not Ashamed'. Lyrically it's yet
another song of praise, set over the toughest rhythm
on the album.

Moving onto side two, we find 'Get Ready To Ride The
Lion Of Zion' which is the first of two repatriation
songs. Repatriation has been a constant and valid
theme in the music over the years and this song is one
of the best. Yet it's bettered by 'Black Starliner
Must Come', one of the best tracks on the album. The
reason for this is the 'Far East' bass line that works
well against the synths.

'Jah Pretty Face" is one of the weaker tracks, but is
made up for by 'See Them A Came' which picks up the
pace with its tale of Police brutality mixed in with
extracts from history featuring Marcus Garvey amongst
others. The album finishes with an uplifting chant
'Natty Dread Taking Over' over a lazy trombone led
rhythm. A superb conclusion to a mighty album.

The excitement Culture had caused so far with only one
single and one LP was more than enough for them to be
prime targets for a major record company. And it was
either going to be Island or Virgin. In the end,
Culture ended up on Virgin's Front Line. It made a lot
of sense. As Island were concentrating on Bob Marley, I
Jah Man Levi and Steel Pulse at the time, it would
have been hard to include another act.

Virgin meanwhile had just reduced their most potent
reggae act at the time The Mighty Diamonds to a joke
with the release of the ' Ice On Fire' LP. True they
also had the Gladiators and The Twinkle Brothers, but
neither group had the same profile (at the time). With
the signing of Culture they were on par with Island
and Bob Marley.

Culture's rise to fame had been remarkable by any
standards. Now they were to be tested again: would Joe
Gibbs and Errol T be able to put together a second
great LP? Well, for some reason Joe Gibbs wasn't
asked. In a move that stunned the music, Culture were
now being produced by Sonia Pottinger. It really
looked like Virgin had blown it, and more importantly
Culture had as well.

Gibbo wasn't an innovator, but he had a style. Miss
P's production style was a lot harder to define. From
about 76/77 her main success had come with Marcia
Griffiths, and artists like Bob Andy. She showed that
the Treasure Isle studio could function well enough,
but it was clear that she was not going to be any real
threat to the likes of Channel One and Joe Gibbs.

Yet there she was, now producing the hottest act in
the music. Titled 'Harder Then The Rest', this first
LP from her really did take most people by surprise.
It just wasn't expected to be as good as the first
album, although if anything it was better.

The songs on 'Two Sevens' had concentrated almost
exclusively on culture, which makes sense, but such a
narrow lyrical range wouldn't have carried them very
far. It made a lot more sense to expand into other
themes, and with tunes like 'Stop The Fussing And
Fighting', 'Vacancy',and 'Tell Me Where You Get It'
we get this. They are all very powerful songs rooted
in the reality/protest tradition of the music.

'Stop The Fighting" was especially strong, it gave the
group their next really big hit on single. Other
tracks included on the album which also are greatly
loved are 'Love Shine Bright'. In this one song Joe
Hill puts together a tribute to Jah and promotes the
Ital way. 'Behold' is a fine recut of the Studio One
tune. On 'Play Skillfully" we find a mixture of a
history lesson with a message to all musicians. 'Work
On Natty' another single is a militant tale of ghetto
life set over a rough and ready rhythm.

If the events surrounding Culture's signing to Virgin
were surprising, the release of the 'Africa Stand
Alone' album was just bizarre. Even now the true story
of this album is not really known. Is it a bootleg or
not? Although it shares some of the tracks found on
'Harder Than The Rest', they never really sounded the
same - surely there are limits to remixing,

Either way this April Records release only added to
the appeal of the group. Although it certainly
couldn't have made Virgin or Sonia Pottinger very
happy, as their release was now up against a very good
album. Hopefully though Virgin, Miss P and Culture -
all gained from the release. Having two albums out at
the same time is quite common now - then it was still
something of a novelty. And if people bought one it
was quiet likely that they would buy the other.

Those who decided to buy 'Africa Stand Alone' found a
very powerful set awaiting them inside the thick and
heavy cardboard sleeve - which featured a crude map of
Africa printed in black over red. The back cover was
just as interesting. It listed a line up of musicians
who were unknowns. Only Glen Washington, on drums had
been heard of before, but as a singer, not a drummer.
The other musicians were: - Bernard Shaw and George
Subratie on percussion, Merrick Dyer on guitar,
Clynton Rowe on bass and Phillip Williams on
keyboards. Recording studio credits were given to
Harry J, with the engineer being Sylvan Morris.
Finally production was claimed by SC and Jamie Hatcher
for Dragon Productions.

It must be said that they have produced an excellent
album. Of the nine track,s as it's been mentioned, some
of them appear on 'Harder Than The Rest'. These tracks
are 'Behold The Land'(including a great dub), 'Iron
Sharpen Iron', 'More Vacancy' 'Tell Me Where You Get
It' and 'Love Shines Brighter'. All of these tracks
are much better than the Front Line LP/Sonia Pottinger
produced tracks. The reason for this is a simple one,
reggae music always sounds better when it's kept
rough. That is its nature. The more you "crowd the
mix" the weaker it gets, it still works, but on a
different level

Of the 4 new tracks 'This Train','Dog Ago Hyam Dog'
'Garvey Rock' and 'Innocent Blood', it's the latter
that is the most interesting work, Joe's vivid
pictures of vampire - like gunman who, with no respect
for anyone, go around killing innocent people, is
perhaps one of his best songs. 'This Train' is more or
less the same song that Bunny Waller recorded, very
traditional. A mixture of old time sayings and
proverbs is the lyrical approach on 'Dog Ago Nyam
Dog" over a familiar sounding rhythm. 'Garvey Rock' is
much the same, with Joe pleading to Jah to send some
raindrops to where Garvey come from. Hopefully he got
his wish, even Jah should heed Joe Hill's calls!

The next selection of music from Culture was never
going to have the same impact as the 3 LP's released
over the last two years. Although in many respects
this stage in an artists career especially those
signed to a major label can be very revealing. And
reggae artists are under additional pressures. Most
rock acts are aimed at pre-exsiting markets. It's not
that hard to sell records if you are prepared to keep
within certain design limitations.

Once the die has been cast, all you have to do is vary
the product. In reggae terms - Ziggy Marley is the
best example. His target audience is his father's.
Black Uhuru tried to tap into this before him. Their
failure to do this was due to a number of reasons.
Culture had no such target audience. They were in the
process of creating one. This takes time, and thing's
and time in reggae music move very quickly. In 1979
reggae music was just about to move into a musical
revolution called - The Dance Hall Style.

Although at the beginning of 1979, the revolution was
still 6-8 months away, already the first stirrings
of discontentment were being felt. After over 5 years
of Cultural lyrics - a general feeling of wanting to
return to the 'good old days' was being voiced.
"Lovers Rock" was the first sign of change. For the
first time in years, love songs were outselling
cultural or reality lyrics.

It wasn't a good time to release a new Culture album,
And when 'Cumbolo' came out, it felt it. And yet it
wasn't a bad album, it was very well produced - a
solid set. For some though it was just too close to
'Harder Then The Rest' for comfort. That was the sound
of 1978 - it's January 1979 - what's going on? This was
the rock press getting its knives out. They didn't
really have it in them to cut up 'Combolo', but they
couldn't resist a little dig. At least three of the
songs had appeared on previous albums, and then there
was those horns! It was hard to ignore 'Natty Never
Get Weary' a classic and a hit. 'They Never Love In
This Time' was also hard to resist, but overall the
groundwork had been laid for Culture's rejection

This came when in the winter of the same year when
'International Herb' was released. With tracks like "I
Tried' "The Shepherd" and 'Too Long In Slavery' it was
well up to the standard of their other albums, but by
now no one was really listening. 'Lovers Rock' from
the UK had been joined by 'Dance Hall' from Jamaica,
and these two new forms of reggae music had very
little in common with Culture's style. If Culture had
made a bigger breakthrough the rock music press may
have been able to help but they were totally
disinterested. They couldn't even be bothered to knock
them dowm. When the Front Line label was closed down
Culture joined a lot of other vocal groups in the
wilderness. This was going to be a very difficult time
for the group.

Into this time came two more album releases from the
group both from Joe Gibbs. After the release of 'Two
Sevens Clash' most people thought that Joe Gibbs had
very little left to release - perhaps a single or a
disco but not much else. So the release first of
'Baldhead Bridge' and then 'Innocent Blood' (aka 'More
Culture') came as a shock, made greater because of the
very high quality of the music. If Virgin was offered
this to release - when everyone thought that
Culture/Joe Gibbs were going to be signed by the
label, there must have been a very good reason for
Virgin to turn it down.

For what you get on both albums is the same tracks
that appeared on the other LP's from the time, plus a
few other gems not found anywhere else. 'Baldhead
Bridge' was the first to be released. The main
impression of the album is really that it's over
produced. 'Two Sevens Clash' was successful because it
had the right balance of rockers rhythms together with
synths and other keyboard work, with great songs.
'Baldhead Bridge' has great songs and strong rhythms,
but the keyboards and synths here seem to overwhelm
the production instead of giving it contrast, which is
the effect that they had on 'Two Sevens Clash'. It's
still a very good LP though, certainly as good as
'HarderThan'The Rest'

'Innocent Blood' is a rougher LP, and is better for
it. Once again you get a mixture of tracks available
elsewhere with a few new ones. And the new tracks are
well up to the standard of the rest of the them. What
really makes this LP work though is the simple
production technique. The only effects that stand out
are the syndrum effects - and even they are used very
little, it's probably the reason why they are noticed!
On 'Baldhead Bridge' there is so much going on that
trying to concentrate on one thing becomes very
difficult. Despite the duplication of many tracks on
these two Joe Gibbs LP's they really are essential
to the Culture story. They show that the group, like
the Wailing Souls, have a style that producers have to
adapt too, rather than the other way around.

It's good that producers have their own sound, but
sometimes it can get overstylised. Groups like Culture
really do put producers to the test. If they record
the group properly there is no reason why they
shouldn't come out of the studio with one classic LP
after another. Thankfully that is the case with these
releases, especially with 'Innocent Blood' although
'Baldhead Bridge' still has a great deal to offer.


You are now working with the Soul Defenders, could you
tell me a little bit about them?

"Well there's more than a little bit to tell about the
Soul Defenders. These brothers are coming all the way
from 1971. They are the original band that I should
have been using over the years, but because of
financial embarrassment, promoters stand up in the
way. They only want to listen to one type of sound. So
I give them the priority to talk as much as they feel
like talking, until I get myself some money, then I
made my move. So I came to thinking one day, saying
well then I think this is the best band for me. The
Soul Defenders and myself have been doing some great
works together."

How did the Studio One connection come about?

"Well the Studio One connection came about because I
was living in Linstead in that time and the Soul
Defenders originates from Linstead, still living
there. And we started a thing. All the original
members are there still until this time which is like
seven , eight years.

Did it take long for you to produce 'Lion Rock'?

"Ever since 'International Herb'."

So you've been working on it quite a while.

"I spend a lot of money on it, to get the sound, that
I really want."

Can you tell me something about the songs.
How did "Babylon Big Dog' get it's title?

Joe laughs.

“Well Babylon Big Dog' is a song created from the
unnecessary worries that babylon gives me. It's like I
was coming from a place in Jamaica called James
Mountain, in a very old car belonging to one of my
brethen called brother Honey. And we were making a
delivery to make all the rasta brethren around town
feel iry. Instead of coming in, in peace, there was a
murder somewhere down the road. And then we realised
that Babylon and his big dog was there. As we pass
through, babylon tried to catch us, but this old car
was modified, and was too fast for them. It looked old
outside, but the engine was crisp according to the
modifications and care that it get. So while we was
chasing away from babylon, I just start singing the
song and brother Honey crouch over the steering wheel
and start pushing the old car down," Joe laughs again.
"And they never catch us. So it really means it was
making me feel more victorious making the song triumph
over them."

They still try to blame Rasta for everything?

"Absolutely, I don't like that, it is the truth. I
don't like that because ever since the world began,
before the Rastafarian concept came about I know
wrong were happening, before they ever see the
Rastaman, I know."

" I' am not talking a little modified hair boy that
really say he's a Rastaman - a copy taker, because the
Rastaman hair is not a style, it's his concept, it's a
true way of living. It's a commanded way by the old
testament of the bible. So we know, we are not
hooligans, we are not wrong. We are not wrong doers,
we are not law breakers."

"The original rule of the Rastaman is non
interference, non violence and non political. Yet they
still don't let the Rastaman live in peace. All over
the world victimisation for the Rastaman. And at the
same time the Rastaman will not trim his hair. It's
not the Rastaman who grew it, neither the person who
is victimising the Rastaman. None of them grew it,
it's the father's best wish."

"I want anyone to turn and look around at even a tree.
Especially a tree in Jamaica or any part of the West
Indies or any part of the world which is say 75%
tropical. Now that tree it grows it lacks because the
leaf of the tree is it's locks." Joe compares two
trees out of the window. "Look at the one with locks
and the one without locks, you can see the difference
of the beauty. The one without locks it's still
beautiful, but the one with locks is more beautiful,
and is at a point of bearing fruit. So the fruit of
the Rastaman is our song, how message, and the one
true living..."

"If the world would follow, then there will be a lot
more good things happening around for people. Instead
of fighting, frustration, hate, dislike, cold spirit
and all the rest of it. If the Rastaman was taken into
close consideration - that even the Pope got to turn
and tell them please look upon the Rastaman, because
look the message of the Rastaman even reaches the head
of the Pope."

"And he as a wiseman take it into consideration, and
when he took it into consideration, he saw the truth.
If he's a real worshipper of God or a real driver of
the gospel train, then he should see the Rastaman is
truth, and he has seen us. If we should not be here,
we would not be here,"

"Everything that you see that move upon the earth is
ordained by God to be here, because the earth belong
to God, and God live in man. So therefore we are to be
here, we have a right. In all respect we should be

"The Rastamans message is peace and love. Anyone that
preaches segregation is not a Rastaman, he's only a
wolf in sheeps clothing. Anyone that preaches war all
the time is not a Rastaman, because the original
message of the King Of Kings, Lord Of Lords,
Conquering Lion Of The Tribe Of Judah, Emperor Haile I
Selassie I First, he say now until the basic human
rights in earth in my time, which is also your time,
because we are both alive...It's also the rest of the
people who will be reading this, it's there time also.
It's the rich man time as well as the poor."

"And at the same time don't any Rastaman ever fight
unless it's necessary. At the same time looking at it,
the whole world is Africa. The continent of Africa is
the New Jerusalem the bible was talking about. What I
would really like now is for the Rastaman to live in
peace, to live without aggression. Don't anyone ever
see the Rastaman's life as a hustling. A hustling
cannot be like that it couldn't last that long."

It was clear something was happening to Culture from
about 1980. Virgin's Front Line was in the process of
closing down, and they had left Sonia Pottinger, but
what happened to Albert and Kenneth?

"Well you see, it's a split. If you want to know
it's like over the years anyone could see that I
happen to be the slave in the group. I kept creating
and no one would make the effort - hence there was no
respect. On top of that I do not encourage slavery
from black nor white. And I don't decide to be a slave
for anybody. I still love them, and I wouldn't like
for anyone to do them any wrong, but what happen now,
I just want a man to know that you're a man on earth,
and you have to stand up to certain responsibilities."

Have you any plans to produce any artists?

"Yes, but not a wide variety of artists. There's a
certain artist who's singing an amount of years by the
name of Larry Marshall. I have got an eye on Bobby
Melody also."

He's a favourite of Gregory Isaacs. Joe
let's out a howl of delight, calms down then says.

"I will not work with 50 artists when I know I' am
capable of handling two and myself."

When 'Lion Rock" was finally released in the UK by
Rough Trade, or through Rough Trade - on the Cultural
Foundation, label, in November 1982, most of the
interest sadly came from the split. Although it was
played down, it wasn't nice to see another vocal split
up, even though it was supposed to be amicable.

The breakup of the group had occurred early in 1982.
When it was annouced that Joe Hill was now recording
on his own a certain amount of speculation was made on
what sort of sound he would come up with. And it was a
great surprise that it was the Soul Defenders who Joe
had teamed up with

The line up of the Soul Defenders then was as follows
Vincent Morgan - keyboards, Ronald Campbell — Rhythm
Guitar, Fez Walker — Bass, Frederic Thompson — lead
guitar, Everard — Trombone, Itico — Trumpet, Louis
Daley — Drums, Jnr — Percussion and Harry Powell -

It was these musicians who recorded the Lion Rock
album at Aquarius. It would have great to see Joe Hill
back in the big time with this set - but in those
couple of years since the 'International Herb' album
the music had gone through many changes and although
the album had much to recommend it - Joe Hill or
Culture was out of step with the rest of the music, He
needed to get back in step, and to do that it seemed
he needed a rest. That rest lasted 4 years 'til 1986.
When Joe Hill returned he had Albert Walker and
Kenneth Dayes by his side again. Culture were once
again a trio


This was very good news for the music. Vocal groups
have always played a very important role in the the
music, giving it a extra dimension. After a peak in
the mid seventies with Channel One - a lot of them
disappeared. Culture along with Black Uhuru were the
only new vocal groups since that time who had made a
big impact. The chances of Culture making a big impact
again were very slim - no matter how good the album.
And this new album was very good. 'At Work' produced
by Sly and Robbie for the Blue Mountain label brings
the group right up to date. A lot of argument takes
place within reggae music circles - why so and so is in
favour and other artists are out of favour. Yet
usually the simple answer is that for whatever reason,
an artist refuses to move with the times. It's not the
answer all the time, but certainly most of the time.

Culture had moved forward ironically with the help of
the Roots Radios band who are featured on 'At Work' .
It was their dance hall style which had displaced them
in the first place, and yet by 1986, they themselves
were being displaced by the all—conquering King Jammys
and his digital/ragga creations. 'In Culture', their
next LP this time produced by Joe Hill himself and
released on Music Track in 1986 - wasn't digital (well
not totally) - but Joe had been listening to what had
been going on in the music and the result was a very
rough and tough LP, Including a big surprise.

The big surprise that Joe included on the album wasn't
only a digital track, but that it was a version of
'Sleng Teng'! More than that - its "Capture Rasta' was
a very heavy cut of the rhythm that in combination
with the lyrics gave Culture a small hit on 7" pre.
The human tracks on the album were just as powerful.
"Old Tattoo' is particular interesting lyrically. Joe
telling a very moving story. '5 to 1 Strip Me'is a
tale of bad luck that is just as amusing as Bunny
Wailers thoughts on the subject.

In 'Soon Come' Joe compares the situation in South
Africa with the situation in Jamaica and comes to some
very interesting conclusions. 'Pure War' takes the
same approach Really and truly this is an excellent
album, as good as the first three. Joe Hill's unique
way of bringing together history, the present and then
adding a personal angle is a gift that he shares with
Gregory Isaacs, and is something very special.

'In Culture' should have been another step forward for
Culture, but for some unknown reason it was to be
another two years before the group had another LP
released. Once again they were working with the Blue
Mountain organisation who had released their excellent
'At Work' set. 'Nuff Crisis' released in 1988 is the
equal of that issue, but is more traditional than the
last album 'In Culture'. How 'Nuff Crisis' is viewed
really depends how you like your Culture.

Every song on this album contains a message-that would
make anyone more aware, which can only be good. Listen
out for 'Crack In Mew York' and 'Bang Belly Babies'
two of the most controversial songs Joe Hill's
probably ever written. However, the production from Lloyd
Evans is a little restrained, where it would have been
better to let go. Given a more wilder treatment, these
songs could have become another 'Two Sevens' or 'Tell
Me Where You Get It'- instead they tend to blend in
with the rest of the album - which is a shame. ' Nuff
Crisis' represents the best traditional Culture LP -
on par with the Sonia Pottinger's 'Harder Then The
Best' LP. Its sleeve is really very nice, the best
since 'Two Sevens'. After many years it's still
surprising the amount of great reggae albums coming out
in bad sleeves.

If 'Nuff Crisis' was traditional in approach, Joe's
next self produced album and currently Culture latest
album 'Good Things' released in 1989 on RAS is Just
lacking both musically and, more importantly,
lyrically. From the sleeve credits it looks like he's
working with a reformed Soul Defenders, but it's not
inspired him at all. On the contary, out of the eight
songs on the album three are just not up to the high
standards you expect from Joe Hill. 'Love Music' is
just a set of instant lyrics that anyone could write.
Of the remaining tracks they could only be described
as average. Usually there is at least one song that is
always that much better than the rest, sadly on this
album it is not the case. The only tracks that stand
out are the very weak tracks.

On the musical side, it's like 'In Culture' never
happened. This album could have been released anytime
from 1980 'til 1985. 'Good Things' places the group
into a late 70's early 80's time warp - which is
unreality. Joe Hill, a student of history and of
nature knows this. Nothing can exist outside of its
own time






Two Sevens Clash - Joe Gibbs
Joe Gibbs - 1977

Harder Than The Rest -
Front Line - S.Pottinger 1978

Africa Stand Alone - April
SC & Jamie Hatcher - 1978

Cumbolo - Front Line -
S.Pottinger - 1978

International Herb - Front Line
S.Pottinger - 1979

Baldhead Bridge - Joe Gibbs
Joe Gibbs & Errol T - 1980

Innocent Blood - Joe Gibbs
Joe Gibbs & Errol T 1980

LionRock- Cultural Foundation
Joe Hill - 1982

In Culture - Music Track
Joe Hill - 1986

At Work - Blue Mountain
Sly 8c Bobbie - 1986

Huff Crisis - Blue Mountain
Lloyd J Evans - 1988

Good Things - RAS
Joe Hill - 1989



Behold - Studio One 12"

This Time - Belmont 7"
Joe Gibbs & Errol T 1977

Two Sevens Clash-Joe Gibbs 7"
Joe Gibbs & Errol T - 1976

Trod On - Sky Note 12"
S.Pottinger 1977

Stop The Fighting - Sky Note 7"
S.Pottinger 1978

Work On Natty - Sky Note 7"
S.Pottinger 1978

The Shepherd - High Note 7"
S.Pottinger 1979

Natty Get Weary - Front Line7"
S.Pottinger 1979

International Herb - Front Line 7"
S.Pottinger 1979

Zion Gate - Errol T 12"
Joe Gibbs & Errol T 1979

Disco Train - Joe Gibbs 12"
Joe Gibbs & Errol T 1980

Send Some Rain - Errol T 12"
Joe Gibbs & Errol T 1980

Capture Rasta - Music Track 7"
Joe Hill - 1986.