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Photo by John Skomdahl


JOE HIGGS: No Man Could Stop the Source By Chuck Foster Joe Higgs's contribution to reggae is unique and all-pervasive. As half of the early duo Higgs and Wilson he was among the first Jamaican artists to record in the pre-ska rhythm and blues, boogie-woogie and even Doo-Wop styles. He tutored the likes of Jimmy Cliff, Bob Marley and the Wailers and the Wailing Souls and though his own album output has been sparse there are enough singles to fill several more. IntervIewed at home and later on the radio Joe details his early career and details his latest work.

We started recording in '59," Joe says of Higgs and Wilson. Their first record was "Manny O." "That was recorded at the Jamaica Broadcasting Corporation Studio. A lot of people didn't know that those studio was available. They were available to us. It was produced by Mr. Edward Seaga, who became the Prime Minister of Jamaica afterwards At that time Mr. Seaga was not involved in politics. That was our first manager our first producer and "Oh Manny Oh" was the first song we recorded. It went on the top 100 American chart. It didn't go all the way up to the top fifty but it was in the top 100. Qne of the first song from the Caribbean to really go on the chart.

"As a matter of fact Mr. Seaga was unable to supply the required orders of that record at the time. Just couldn't refill all the orders and he wasn't getting any support from the pressers. Cause they were like a little bias." Such co-operation was vital because "Most time you have to have three stampers of your own product if you really want to get it going. You have four people pressing the same record for you to get something out. That's when you have a monster hit." These were exciting times for Jamaican music and for Higgs and Wilson. "At that time when we started singing we have a couple of names to mention like the Blues Busters…our greatest win was over the Blues Busters. We got rid of them in the sixties. As often happens winning the title and winning the prize were two different things.

"We were the most qualified as entertainers to represent Jamaica musically - we cut the Blues Busters ass three times out of four! Beat them, like really beat them in a national event. We beat them in Montego Bay in their own turf. We beat them in Kingston and it was like we become the number one duo in the Carribean. We supposed to be goin' on tour with the Skatalites to represent Jamaica at one of the expo, but because politically the Minister Of Development and Welfare, the man who was charge of art and all these things was this Seaga. He and Byron Lee - they were good friend - they instead sent Byron Lee to represent Jamaica with people like Monty Morris and Jimmy Cliff. They sidestepped the Skatalites and Higgs and Wilson because they said we're all a buncha ganja smokers."

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Photo: Chuck Foster

"Up to today Jamaica has allowed Byron Lee to stage Carribbean festival to promote Caribbean music to overcome regga music in Jamaica. They're done it many and it cannot happen in Jamaica. It's a total disgrace because what happened there is Byron Lee went to that occasion and he was playing calypso. And Calypso is a cultural music for Trinidad. I mean, if he was playing mento which a little slower, similar beat, it would have still meant you know our culture,. But this man played calypso. It was a big laugh!"

Despite the large number of seven inch releases and scattered tracks on anthologies there is no available collection of the work of Higgs and Wilson. Such a collection ought to include WIRL releases such as 'Manny Oh," "You Tell Me Baby," "Shu Ba Da" and "change of Mind" and Coxsone cuts such as "There's A Reward" (an early ska version of the song later remade reggae style for Joe's first album), 'Mighty Man" and "Your Love Is Mine." Others include "Love Not For Me" done for King Edwards, "Gone Is Yesterday" for the aforementioned Byron Lee, "If You Want pardon" for Clancy Eccles and "Again," issued on the Humasound label In a follow-up conversation Joe compared and contrasted the styles of two of Jamaica's great early producers, Clement "Coxsone" Dodd and Duke Reid.

"Coxsone was a kind of more musical person. He was more into the sound, the musical sound and things you can get done and always there trying to find a hook. Coxsone's the kind of man who would say Bob Marley is the hit of the studio. The next guy comes along and if he like that guy he would say: Bob Andy. He's not Bob Andy, Bob Andy is Keith Anderson but he's Bob Andy because he kept that musical--OK, Jamaica's a place where we say musical lane, musical cane, musical-- you know what I'm saying, is a shift of sound--you unnerstand? I'm trying to see if I can get this into you from a Coxsone view. You see a Bob Marley, can you see a Bob Andy, can you see a Horace Andy all those people are not the right names but it is a swing according to musical connotations--Coxsone knows music but him have a hitch."

"Now as against Duke Reid, Treasure Isle, who is more concerned about effects. And creating attention. You get it? For example Duke Reid is the kind of person who could easily say the music is very sweet, but its very calm or tame, it needs some kind of excitement, some kind of disturbance, it needs some kind of upset, some kind of problem, it needs to create some kinda distraction. Whatever he wants to apply he will do it. Now. These are the things that you will hear Duke Reid do. Ride up a bike in a studio. You hear that? in the middle of a beautiful rhythm you can hear a bike coming through the door. You could hear sort of a broken bottle. You can hear a gun shot."

"You're not hearing these ideas from Coxsone Duke Reid is a man who would say, oh this is too sweet. It need some excitement. Two different people. OK well Scratch is one of the students of Duke Reid, even though he was more Coxsone than Duke Reid's student. But when you hear Perry at Studio One, says Joe, you hear "Coxsone's idea promoted in Scratch. Like little thing that he have Scratch doing, 'cause Scratch was a run-around boy for Coxsone. He's the guy who's gonna go outta the studio and pick up the stamper~ Who take the stamper to the press plant, a guy who's gonna do different things. so he knows the business by his responsibilities. Like there's a lot of songs that Downbeat would have him say something in it. In quite a few of those songs you will hear Scratch's voice. but its not Scratch's idea. Scratch never got power to come into Coxsone's studio."

During Joe's time at Studio One, he says, "Scratch was an errand boy for Coxsone. But like I say he's a student of both men. He's a student of Duke Reid but there's something else that you might be surprised about. "You hear about the time that Coxsone hit down Joe Higgs with a gun? You never hear of that? OK. Coxsone hit Joe Higgs down with a gun once. For supposed to get some money payment, royalties."

Well similarly Duke Reid hit down Scratch. Scratch wrote a song titled "Ruff & Tuff ," Tell you something that if you talk about it they're gonna ask you where you know. You taking notes? Scratch wrote the song titled "Ruff & Tuf f." Made popular by Stranger Cole. Stranger Cole stole the song and recorded it. Scratch got upset about it, real upset about it. He came around where Duke Reid was at, Duke Reid's place and asked Stranger Cole and said these words, "So you stole my song and did it for Mr. Reid?" "And Stranger turned and said well if you want I can give you back a couple of songs. Well at that time the song was at number one! And Scratch said to him you can't give me a song because your songs different from my songs. And this and that. And Mr. Reid heard what happened what was going on. He came outside and said "Who wrote 'Ruff & Tuff?"' And Scratch says "I did Mr. Reid." Duke Reid turned and punched him right down man, punch him out a senses one punch unconscious. It's not (Stranger) who wrote "Ruff & Tuff" It's Lee Perry. Ask Lee Perry when you see him again who wrote 'Ruff & Tuff."'

Of "Scratch" Joe says, "We don't work together but he was around when I was working for Coxsone." When Perry played live in LA last year he called Joe Higgs up on stage and said: "He taught Bob Marley to play guitar." Joe smiles. "Yes a lot of people don't know that. It's true. He knows a lot that a lot of people don't know. Not only (how to play guitar) but how to sing too, but you see what happened. Marley was with the Wailers. He wasn't the lead singer. I taught him how to sing. And Scratch wrote a lot of song for Bob Marley during the Upsetters days. That is after I was finished with him. After that Marley gone out there because the first people the Wailers went to was Coxsone. They had a rapport. That had some relationship in the time when Scratch was working for Coxsone and that's what happened there."

After the break up of Higgs & Wilson Joe hit the hotel circuit. "At that time (Roy) Wilson had gone to live in the United States. When my partner left Jamaica in the sixties I did start go solo with Carlos Malcolm. I sing with Lyn Taitt, I sing with the Soul Brothers." He also did a series of solo recordings that have never been collected--enough to fill more than one great album Scattered seven-inch solo releases include the early "Change of Plan" for Coxsone, "Message of Old" with Ken Boothe and "Hit Me Back Baby," the latter backed by IM and David. Other uncollected works include 1971's "Mother Radio," "Burning Fire" (both issued in England), the original "Blackman Know Yourself" (re-recorded as the title track of a 1990 Shanachie cd with the Wailers Band) and "Lay A Foundation" and the major hit "The World Is Upside Down," the latter two done for Harry J. Other early seventies classics include "Creation," "Invitation To Jamaica" and "Let Us Do Something," all issued on Joe's own Elevation label.

Of the latter song Joe says "When I did "Let Us Do Something." I played almost everything on that including guitar." I ask Joe if he still has the master tape. "I don't think so," he says. This song was also remade with the Wailers band on the Blackman Know Yourself cd. "Elevation," Joe continues "See my photograph here (on the label). Produce by me. This was my personal label. This was even my hand, I did it with my hand (the lettering on the label). The idea of Elevation was into this darkness and solitude no man could stop the source of my elevation to the light that comes in my head to bring a smile on my face. That's what Elevation means. If I don't tell you that you wouldn't know it. Out of my head--I am my own source. That elevates me in life."

Another single from slightly later (issued in Jamaica in 1974) is "More Slavery" done for the late Jack Ruby. "I worked for him before and he came up with this song~" It was issued on Micron in Jamaica--though Joe "worked for him before" this is their only record together. Ronnie Burke and I used to work together," explains Joe. " What happen here, Micron had a company and it was two men one named Michael Johnson and Ronald Burke, and later on they had this man who I knew for a longer time."

I ask Joe if these are all part of a fabled "lost album" said to have been contemplated by Island. After a moment of silence he says, "I don't really have an lost album." Were you ever talking with Island about doing an album with some of this stuff? "Yes." And what would have been on it? "Well. You have this album titled Unity is Power?" Yes. The album, Joe's second, was released in 1979. "There is no lost album." Well, from another direction, how come those singles like "Let Us Do Something," "Creation"--How come those singles aren't on any album?

Those were recorded before Life of Contradiction "Yes" I Am the Song (The Prophet)" was issued in the UK by Island (it is again an earlier version than the one on his first album) as was "World Upside Down," included on the Island This Is Reggae Music series. "This song was very big." An alternate version issued on seven-inch in England features members of the group Traffic. "If you listen clearly the original "World Is Upside Down" didn't have any horn section, didn't have any flute. This was produced for the British market. It was done with Traffic, Jim Capaldi and alla those guys. The only guy that was not there was Steve Winwood. But all the rest of the guys, the guy Rebop, who died later, they were on the track. They were having fun."

Island put that out and there was some talk about them doing an album with you? "Yeah" What happened? "What do you mean exactly?" A Joe Higgs album on Island. why wasn't there ever one? (Sighs)."I thought I was telling you--OK, that is the thing we're working on right now. The fact is. You know I'm not trying to evade the question but the people would be surprised sometime to hear the truth. In that particular instance, I've tried not to answer this question before and I see we've come back around to the same question. OK. I'm gonna give you an answer. At this time everybody was behind Chris Blackwell and his company and his idea was to break Bob Marley. Previously he had some ..."

At this juncture the phone rings Joe returns to the subject cautiously. "OK. Let me ask you a question first. Those things that you are asking me pertaining to after the Harder They Come came out, was it? OK, if you say yes then. I just trying to make sure that you have an understanding of what was happening. OK at that time there was a big disappointment with Island Records and Jimmy Cliff and Chris Blackwell. The fact that it was realized that (in an) underdeveloped country, people who have no previous experience as to what their values were in terms of a movie for example, a lot of them were being exploited, being underpaid, not knowing shit, excuse me, so people were bitter. Ras Daniel (Heartman), at first Jimmy Cliff, everybody."

"Jimmy told me personally that the among of money he got, he was like very embarrassed to say that's what he got today. However with that pain and anger Chris gave him some money to do the next album and he took it and bought a house. And because he didn't sign to receive that receipt of money or anything it was pissed off and Chris told him that I can break you because I make you. So he turned his direction to somewhere else. That's when he came and direct his energy to Bob Marley. Therefore at the time you've got to understand I was Bob Marley's teacher and Bob Marley was getting so much from me because I am an instructor. "I had this song out that was very strong, "The World Is Upside Down," it sold a lot. Anyway Lorna Bennett was strong with "Breakfast In Bed" people should understand that these are songs that came out before Marley on Island."

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Bob Marley - Photo JohnWilliams

"What happened was they were concentrating on Bob Marley and the Wailers. So I was on hold. They had no plans for me. So the first album I submitted to them, they didn't want it. What was on it?" "Life of Contradiction." The Life of Contradiction album. (produced by Higgs and later issued on Micron). They sponsored it and they find they didn't want it. So after sitting down for like two or three years and I was getting a fixed amount a month like I was on hold. They were concentrating on Bob Marley. 'Cause all Bruce Springsteen came up a little after. That's all I can tell you. It's because of some strategy why I never got a deal and I had to walk on."

Life of Contradiction was in many ways as much a jazz as a reggae album, or at least a heavily jazz influenced reggae album. After years of referring to Joe Higgs and Bob Andy as jazz singers I found myself sometime after this interview in the presence of both men and not completely surprised to hear them discussing the finer points of musicians like Ornette Coleman and Coleman Hawkins.

"I used to go over to his house to listen to jazz," says Joe. "This man have records he don't even know he have." One reason the disc has such a jazz feel is the presence of guitarist Eric Gale. "I'm the first Jamaican who had this vision of myself with this big limitation," Joe explains. "I can play guitar but what kinda guitar can I play? OK, I can play rhythm guitar. I have the rhythm to accompany me but inside this rhythm I always hear a bass line or other things that I can't do. Some of them I can. One of the things I always hear is a decorator, a guitar decorator who I am not able to be. So to me to be complete I could have a guitarist who very capable of cutting shit around me and I just stay with my rhythm and my voice and say come on. I asked for that and Island Records gave me Eric Gale."

"At that time Eric Gale was just finished working with Grover Washington and he was down in a Jamaica and we got together and started working. but Eric, at the time he didn't like it. He didn't like the reggae, 'cause he think it was too slow and it was boring, all that kinda shit. But he found out I wasn't even listening to what he was saying. He was trying all the time to change things and I said fuck no, you can't do that. This is how it is. And even while he was doing something different he was impressed. He made that album afterward (Negril) and loved it. When he got to learn to love my music he stole one of my songs! Titled "Elle A Fou." He stole a song from me and recorded it with Fania All Stars, God Bless his soul."

Something similar happened a few years later with Peter Tosh and Joe's song "Steppin' Razor." "The only thing I can tell you about "Steppin' Razor is that it was made popular by Peter Tosh, one of his most popular songs. He took the credit for it for awhile, like he said that he was the composer of the song. For more than five years we had some legal problems. Something you call the statute of limitations expired here in the United States. In quest of getting the song back, however, there was a line that said in the song "Don't watch my size I'm dangerous." That's more a midget than a giant! That was the catch line: "don't watch my size, I'm dangerous." No guy so tall couldn't write something like that. Anyway we got the song back."

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I mention having seen Joe as Jimmy Cliff's bandleader in the mid-seventies. "Well at that time Cliff had left previously and was living in England and then he went on to live in Brazil. In that time his name was changed. I don't know if anyone knows about that. He became a Muslim, and it was said all over the place that he had lost his roots and he wanted to get back into that mode so he came and he got in touch with me in Trenchtown and he asked me to put this band together and he needed that substance, roots, apparently he thought I would be the most proficient person so I felt gladly. Did all of that for him, I led the band and we started touring. And that's where you saw me."

One of the songs Higgs performed with Cliff on that tour, "Sound of the City," was remade on his third release, Triumph (Alligator, 1985). Before that you had toured with the Wailers as well. "Well when I toured with the Wailers I wasn't really a member of the Wailers. I was the one who had taught the Wailers technique. A lot of people would understand if I said Sam Cooke did a song, like let's say for example "Try A Little Tenderness" by Sam Cooke. You would have heard Otis Redding doing the same song. Without the voice--no voice to compare with Sam Cooke's voice. But there is more soul, more depth, more feeling--and we call that craft, we call that technique. That's what I can do. Very very well. Not to be gravalicious but I've accomplished that. I learned to utilize breath control. Even shouting is a sound when you have the soul. So Otis Redding was more appealing to me. Sam Cooke was sweet but Otis Redding had depth. So I prefer Otis Redding's "Try A Little Tenderness" as against Sam Cooke's. That is what I'm trying to say."

"Marley was taught technique, craft and all that kinda stuff. I gave him all of that." I ask about the Talking Blues cd that presents live cuts from the version of the Wailers that featured Bob Marley, Peter Tosh and Joe Higgs. "That was the tour that Bunny at the last moment refused to travel with about two weeks to go. And that's where I was (seen) as the most fitting replacement. I went as a member of the Wailers toured as a member of the Wailers." Probably the only person who could have plugged in last minute "I would say that, yes. I would say I was the most appropriate replacement. So we did that and that was done successfully. A lot of people don't know that we got kicked off of a tour during that time. We were opening for Sly and the Family Stone. We opened for Bruce Springsteen in Princeton and some other names but we were on tour with Sly Stone when we got kicked off, we got dumped in Las Vegas. Got fired and so those live tracks that you're now hearing and playing, it was done in Sausolido."

Let's tell the whole story--the reason you got kicked off the tour wasn't because you were bad, it was because you were blowing Sly and the Family Stone offstage. "It's not for me to say." Most recently Joe has been involved in an exciting project that bends musical dimensions. He played me rough mixes for a soon-to-be released album recorded with Ireland's Hothouse Flowers. An acoustic reggae feel pervades but the Irish elements give the entire project a decidedly world music feel. The entire set is superb in scope and delivered with elan. Higgs is in fine form.

Many years later you issued a seven-inch single on the Solomonic label called "Talk To That Man." It's interesting that after all these years you would again be working with Bunny Wailer. "I didn't work with him that time I worked for him! I did a song for him. The pride of man is very evident right here. I am into this man's organization doing a song for him. The song becoming more powerful for him than all of his songs, not really getting any promotion. Cause this song was like--oh. It should be Bunny who's doing this, not Joe Higgs. I come into Bunny's organization and making a song that is much bigger. And Marcia Griffiths did the same thing with "Electric Boogie." These are the people you cannot--they are so selfish! He didn't give it any promotion. It just travel on it's own, got nothing. It was a monster. And I'm not here to criticize anybody I'm here to say what is true. At that time I was singing, I sang a song for him. Never got any credit, never got any justice. But it went to the charts."

Joe remade the song on his 1988 lp Family. After listening to the new tracks I mention an interesting book from 1932 by Joseph J. Williams titled Whence the Black Irish of Jamaica that relates Irish survivals in Jamaican culture. To my surprise Joe pulls out his own copy of the book. "A lot of these Irish people were despised too. Basically two Islands at that time (Irish were deported to) was Barbados and Jamaica." The British rounded up indentured servants, women, nationalists--"Anybody. Kids too. Boys and girls."

"The same as the slaves brought in from Africa "Yeah but In Jamaica the white man wouldn't allow you the black to see a white man being treated as a different person. So he would try to keep it a secret even though they have their class among themselves. So a Irish man would be a manager or a foreman to a white man's business but he's not gonna be a common laborer like he's a--the white man not gonna allow his white people to be looked down on. So they would have places for them. But as I say they were like a little different. For example this book says, writing about Jamaica in 1932 in the chapter on on the white bondsman, is like these Irishmen actually they was put in Jamaica against their will. I mean, the name Kennedy is Irish--the name O'Hare is Irish the name O'Neil is Irish, Kevin, Burke, Donovan. these are all Irish names."

"This is a blessing, man," says Joe about the new work. "Lee Jaffe and this lady and her brother, she wanted to have her own record company and they wanted to meet the person who actually taught Bob Marley. So here I am. And I was given this project to do with some Irish people so I started traveling to Dublin, in and Out, singing with different Irish artists, musicians and so forth."

From these sessions Joe plays me a burning version of his song "She Was the One" featuring a musical conversation between Higgs and Van Morrison's sax player. "Then we got to this group whose name is Hothouse Flowers. They said they didn't want to be a part of the compilation album. They wanted to have an album with Joe Higgs, exclusive album. So we did eleven tracks. Now from that album, which is to be released very soon, there's also a book which will go in combination with it. Basically because I am more senior in the market this will be the strategy they will apply to market me. So there's a book that will be available with the album with the Hothouse Flowers. It's in the making. All tracks are laid already but the book is still coming. I tell you something more. When I went to Dublin last year and I listened to the music in Ireland I realised that America's Dixieland music is Irish. America really doesn't have a musical culture. They took things from different culture and got their own thing. The interpretation of what you call Dixieland is a combination of sounds, an independent interpretation of the melody in a comparative way. Everybody is doing their own thing, going the same direction in different lines. You still have those people playing different stuff all at the same time." As for the Irish/Reggae project, Joe says

"That concept started in Ireland toward trying to get Irish musicians more flexible to be able to learn what reggae music is. So I was the one who was really teaching them the structure, getting them involved and at the same time giving them their freedom. Once they get the basical feel they were able to acknowledge the freedom by doing what they wanted to do. And out of that we got some fantastic work." "I taught them to divide," he elaborates. A 'There's a beat that they weren't aware of. The beat between the fours, one two three four, ba bump, bump, bump. Not like a Fats Domino thing. No American thing Is that division of sound between sound. You have instruments in the Far East that Americans don't have. Like quarter tone, you know, that people can divide a half-tone instrument and quarter-tone instrument. You don't have an instrument that has a quarter tone but you have many who have the ability to combine certain note to get a quarter tone. People like Thelonious Monk, what did he do? A lot of people don't know. So you could do some great things and nobody hear you and the people who have managed it, they won't say anything. "

"When I was a boy in Jamaica I used to listen to American music a lot. I love a lot of musician, singers here also in America. From all parts of the world. I love Chinese, Japanese, Italians most of all. I used to love a lot of Italian music. To me the very greatest singer in that realm was Mario Lanza. Including the great Caruso. I listened to all a those talents. I think Lanza was the best. I listened to all kind of music. That is like saying you have other people who are saying other things that would be good for you really to acknowledge them. There are people who seemed to know more than I do, that they were the ones who identified me, they said boy are you learning theory? That's great. Like you come to know things not even by your interpretation but the acceptance of what the people--and basically it's best to put in on record because there are people, they don't want to hear it from you. They wish it was somebody else. That's too bad."

Joe Higgs recently put on a magnificent New Year's Eve show at the Visions Theater in LA. He performed a virtual history of Jamaican music including not only his own classic works but songs done originally by Delroy Wilson, Count Prince Miller, Ken Boothe and others. Near the end of the evening he brought his daughter Marcia on stage for a taste of dancehall as well. They paired up for a 1995 cd Combination on the Macola label. "I live in Los Angeles and I've been here for quite a while" he explains. "I don't wanna be taken for just another guy who you can say is a local guy, you know, somebody you can just grab and so I've been very conservative here, not performed as often as I should and I just believe that I should present myself." Craftsman, perfectionist, task~master and survivor, Joe Higgs has achieved a consistency throughout his career few can claim. His influence on his peers is vast and direct and his own work maintains a quality from the earliest days of Jamaican recording to his latest experiments in sound. That quality can only be defined by a term he returns to over and over in conversation, "soul." It's something Joe Higgs has plenty Of.

Higgs & Wilson

Bye And Bye - N.D.Records - Coxsone

Change Of Mind - WIRL - West Indies Records Ltd

Come On Home - WIRL - West Indies Records Ltd

How Can I Be Sure - Supreme - Coxsone

I Long For The Day - WIRL - West Indies Records Ltd

If You Want Pardon - Blue Beat

It Is A Day - WIRL - West Indies Records Ltd

Last Saturday Morning - Island Let Me Know - N.D. Records - Coxsone

Lover's Song - WIRL - West Indies Records Ltd

Manny Oh - Blue Beat

Mighty Man - Supreme - Coxsone

My Baby - Roland & Powie - Coxsone

Pain In My Heart - Blue Beat

Praise The Lord - Island

Pretty Baby - WIRL - West Indies Records Ltd

She Ba Da - WIRL - West Indies Records Ltd

The Robe - WIRL - West Indies Records Ltd

There Is A Reward - Wincox - Coxsone

When You Tell Me Baby - Blue Beat

Your Love Is Mine - Wincox - Coxsone

Joe Higgs - Singles

Burning Fire - Success - Rupie Edwards

Change Of Plans - Studio One - Coxsone

Cool Fool - Studio One - Coxsone

Creation - Ethnic Fight - Joe Higgs

Dinah - Studio One - Coxsone

I Am The Song (The Prophet) - Island

More Slavery - Grounation - Jack Ruby

Mother Radio - Success - Rupie Edwards

Neighbour Neighbour - Coxsone - Coxsone

So It Goes - High Times - High Times

Talk To That Man - Solomonic - Bunny Wailer

The World Is Spinning Around - Roosevelt - Harry J

The World Is Spinning Around - Sioux - Harry J (Different Cut)

Worry No More - Island You Hurt My Soul - Island

   
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