V.A. - Birth Of Trojan


01 - judge sympathy - duke reid's all stars
02 - never to be mine (o solo mio) - roland alphonso & the supersonics
03 - folk song - tony & dennis
04 - starry night - tommy mccook & the supersonics
05 - it's raining - the three tops
06 - the sound of music - the three tops
07 - ain't that loving you - alton ellis
08 - tommy's rocksteady - tommy mccook & the supersonics
09 - i want to be loved (i need you) - oliver st. patrick & phyllis dillon
10 - tulips (from heaven) - oliver st. patrick & phyllis dillon
11 - this is a lovely way to spend an evening - phyllis dillon
12 - a thing of the past - phyllis dillon
13 - dedicate my song to you - the jamaicans
14 - how can i unlove you - the jamaicans
15 - why birds follow spring - alton ellis
16 - soul rock - tommy mccook & the supersonics
17 - love is a treasure - freddie mckay
18 - zazuka - tommy mccook & the supersonics
19 - (i'm a) loving pauper - dobby dobson
20 - sir don - tommy mccook & the supersonics
21 - make me yours - phyllis dillon
22 - leave it in the hands of love - phyllis dillon

The Nationhead - We Don't Want a War

Oi! From malaysia

The Nationhead - Bring Back Our Glory Days

Oi! From malaysia



1) Baby Please Don't Go.
2) Sex Machine.
3) Heile Heile (The Lion).
4) Chop Chop Rock.
5) Can't Turn Your Back On Me.
6) Since You Left.
7) Do the Boogaloo.
8) Souls of Africa.
9) Dancing With My Baby.
10) Dallas Texas Tiger.
11) Rock Steady.
12) Reggae Mood.
13) I'll Never Love Another.
14) Baby I Need Your Lovin'.
15) Why Can't I Touch You.
16) Guilty Tiger.
17) Let True Love Begin.
18) Have You Ever Been Hurt.
19) The Very Best I Can.
20) Our Day Will Come.
21) I Will Never Let You Go.
22) It's Too Late.
23) Slow Rock.
24) If There's a Hell Below.
25) Just a Little Bit of Loving.
26) Take Me in Your Arms.
27) Two Timing Woman.

Laurel Aitken - Superstar


01 - Superstar
02 - If You Need Good Loving Tonight
03 - Rum & Coconut Water
04 - Something´s Gotta Be Wrong
05 - Ooh Baby
06 - Dance To The Music
07 - Gloria
08 - People Of The World Unite
09 - Down In Africa
10 - Maria
11 - Who Sey


V.A. - The Best Of British Reggae (1979)


01-Janet Kay-Silly Games
02-Riot Squad-Cheater
03-Tabby Cat Kelly-Tell Me Why
04-Winston Ferguson-Fly Your Natty Dread
05-Richie Djay-Groovin In Love
06-Errol Dunkley & Pebbles-Little Way Different
07-Winston Ferguson-Lovin Pauper
08-Tabby Cat Kelly-Don't Call Us Imigrants
09-The Arawaks-Dangerous


Stomper 98 - Anti Social 2011


3.Zu Jung (Um Alt Zu Sein)
4.In Deinen Augen
5.ISP - One Crew - One Family
6.Rock'N'Roll Banda
7.Es Ist An Der Zeit



Judge Dread - The Legendary Judge Dread

TrackList :

Disc 1

1. Je T'Aime
2. Ska Fever
3. Hello Baby
4. Up with the Cock
5. Phoenix City
6. Bring Back the Skins
7. Winkle Man
8. Big 6
9. Rudy, a Message to You
10. Jamaica Jerk Off
11. Dread Rock
12. Rub a Dub
13. Lovers Rock
14. Big 9

Disc 2

1. Big 8
2. Fatty Dread
3. Reggae and Ska
4. Will I What
5. Al Capone
6. Y Viva a Suspenders
7. Dread's Law
8. All in the Mind
9. Deception
10. Come Outside
11. Big One
12. Take It Easy
13. Molly
14. Mary Ann


Lord Kaya & The Kinky Coo Coo's - Co Tonga Tonga


Toots & The Maytals - Pressure Drop The Golden Tracks


1. Pressure Drop
2. 54-46 Was My Number
3. Funky Kingston
4. Take Me Home, Country Roads
5. Higher Ground
6. Walking On The Moon
7. Pressure Drop (Ska Drop)
8. 54-46 Was My Number (The Dub Version)
9. Pressure Drop (Pressure House Mix)
10. 54-46 Was My Number (Dubstep Remix)
11. Take Me Home, Country Roads (Dubstep Remix)
12. Higher Ground (Dubstep Remix)
13. 54-46 Was My Number (Instrumental Version)
14. Pressure Drop (Instrumental Version)

The Spirit Of Ska - 20 Years Jubilee Edition


1.Das Unsichtbare Visier /Blascore
2.Nite Hero /Dallax
3.One Day /Skaos
4.Man Kann Auch Ohne Alkohol Keinen Spass Haben /No Life Lost
5.Do You Really Wanna Know /The Valkyrians
6.Fireball XL 5 /Lionsclub
7.Berlin /The Butlers
8.Chto Takoe /Spitfire
9.Head Full of Nothing  /Liberator
10.Addicted to Coffee /Stan or Itchy
11.Waiting for the Sun /The Busters
12.Where Would We Go /Bluekilla
13.MaBelle /Yellow Umbrella
14.Prinzessin /El Bosso & Die Ping Pongs
15.The Night Before /Ringo Ska
16.Those Were the Days /Blechreiz




1.Ragazzi Come Tu & Me
2.Johnny Too Bad
3.Oi! Fatti Una Risata
4.Noi Non Moriremo Mai
5.Lungo Il Fiume Di Zinola
6.Generazione Distruttiva
7.Sappiamo Da Dove Veniamo
8.Faccia A Faccia
9.If The Kids Are United -live
10.Get Up Stand Up
11.C’Era Un Giovane Che Disse
12.Ci Incontreremo Ancora Un…
13.Giusto O Sbagliato
14.I Kids Devono Rimanere Liberi
15.Giovani Skins Senza Una Chance
16.Scritte Sopra I Muri
17.Goal! -live
18.Non Fermarti Mai
19.Birra Donne & Ciminiere
20.Rude Boys Outta Jail

The One Night Band - Hit & Run (2008)


01. Wait A Minute
02. Walk In Line
03. Sammy
04. Let It Go
05. Larry Love
06. This Girl
07. Mama Was Right
08. Distance
09. First I Look At The Purse
10. Trigger
11. Not Enough
12. The Mysterious P
13. From The Top
14. Good Times
15. Safari

Hub City Stompers - Mass Appeal EP (2005)


01. Trojan Night
02. Latina Rose
03. Mass Appeal
04. Sum Of 3
05. Suffer The Children


Jamaica 69 - Buenos Ratos En El Bar


1.Regresa A Mi
3.Tres Botones
5.Kingston Caribe
6.Nadie Como TĂș
7.No Volveras
8.Penny Reel
9.Radio Reggae
10.Moonlight 69 Joya Landis Dub
11.Orgullo Obrero

Mark Foggo - Mad


1.The Day I Met Muhammad Ali
3.Bang Me Head
4.Rotten To The Core
6.Jump That Gate
8.Watch The Clock
10.Rollin ‘n Ridin
12.What It Feels Like

Hard Skin - Same Meat Different Gravy


1 Hard Stuff
2 Millwall Mark
3 Law and Order
4 Who's That Boy?
5 Make My Tea
6 Two Chords - Two Fingers
7 The Boys in Blue
8 Copper Cunt
9 Down the Pub
10 Skinhead
11 She's a Right Sort
12 Still Fighting Thatcher
13 Skin Hard 

A.C.A.B. Live N Loud Vol.2

A.C.A.B. Live N Loud Vol.2

A.C.A.B. Live N Loud


2.Racial Hatred
4.Unite & Fight
7.Born To Be Skins
8.Where Have All The Bootboys Gone?
9.We're Coming Back
10.Street of Uptown
11.Street Feeling

The Clash - Bank Robber


1. A
2. B 

Darkbuster - 22 Songs That You'll Never Want to Hear Again


1.That's Correct
2.Nothing At All
3.Lillith Fair
5.Amazing Royal Shaft
6.Hell On Wheels
9.Lenny's A Drunk
10.Hometown Zero
13.I Hate The Unseen
14.You Jerk
15.Happy Days
16.Caught In A Trap
17.Cheap Wine
18.Pippi Longstocking (Is A Redheaded Bitch)
20.You Fucking Jerk
21.Space Cowboy

Cockney Rejects - Back On The Street.rar

Cockney Rejects – Back on the street
Oi/street punk


1. Fighting In The Street
2. Bad Man
3. On The Run
4. Hate Of The City
5. Some Play Dirty
6. Here They Come Again
7. Someone Like You
8. The Rocker
9. On The Streets Again
10. Where The Hell Is Babylon
11. Headbanger
12. Sitting In A Cell
13. Till The End Of The Day
14. Join The Rejects 
15. I’m Not A Fool
16. On The Waterfron 


The Freebooters - Ordinary Level Oi! CD

 The Freebooters - Ordinary Level Oi! CD

The Freebooters play no-nonsense ska-tinged streetpunk with a big fucking smile on its face! This is one infectious album, full of life and energy. It's clear to hear that these Irish girls and boys have a burning desire to stand up and shout'Shut the fuck up! Listen! Dance! Change the fuckin' world!', a task they take on and complete with admirable ease.

While they're not afraid to take a political stance, they manage to do it with a healthy dose of humour, particularly when it comes to their no-nonsense anti-fascist position. Just check out the chorus to 'Paddy Hitler'

Paddy Hitler was a man who just couldn't understand Why things never came together in his master plan Was his head too fat? Or his brain too small? Either way he knows fuck all

or the amusingly titled 'Stormfront In A Teacup' that mercilessly rips the piss out of pasty-faced cyber-nazis. Putting their money where their mouths are, the band and label are also allowing antifa groups to buy a bundle of the CDs at a heavily discounted wholesale price and will throw in a load free aswell so that anti-nazis can raise some much needed cash (get in touch with Distro-y Records for the lowdown).

Other tunes deal with army recruiters targeting the unemployed, bar room pool-playing alkies, cops, priests, all-night partying and an ode to the fans of the finest anti-fascist football team on the planet, FC St Pauli.

Musically, it's all as solid as a pint of Guinness - snappy basslines, brickwall beats, guitars that'll get your Granny spinning and reeling on the dancefloor, and rousing choruses just begging for you to sing along with 'em. With the punk knowledge on display here it's no surprise to learn that members have been part and parcel of the scene for a long time, having been involved with such luminary acts as The Dagda, Pink Turds In Space, Nappyrash, Toxic Waste, The Poke and Bleeding Rectum.

This is a bit of a departure for Distro-y, probably better known for putting out D-beat and crust flavoured outfits, and I take my hat of to Alex for spreading his punk rock wings in this direction. Diversity is one of the things that makes our culture so great, especially when it's as sterling as this.

For people who also like: The Restarts, Stage Bottles, Runnin' Riot

OP's opinion:


Bob Marley & the Wailers

Bob Marley & the Wailers

In 1963, Bob Marley, Bunny Wailer, Peter Tosh, Junior Braithwaite, Beverley Kelso, and Cherry Smith formed a ska and rocksteady group, calling themselves "The Teenagers". They later changed their name to "The Wailing Rudeboys", then to "The Wailing Wailers", at which point they were discovered by record producer Coxsone Dodd, and finally to "The Wailers". By 1966, Braithwaite, Kelso, and Smith had left The Wailers, leaving the core trio of Bob Marley, Bunny Wailer, and Peter Tosh.

In 1966, Marley married Rita Anderson, and moved near his mother's residence in Wilmington, Delaware in the United States for a short time, during which he worked as a DuPont lab assistant and on the assembly line at a Chrysler plant, under the alias Donald Marley.

Though raised in the Catholic tradition, Marley became captivated by Rastafarian beliefs in the 1960s, when away from his mother's influence. Formally converted to Rastafari after returning to Jamaica, Marley began to wear his trademark dreadlocks (see the religion section for more on Marley's religious views). After a conflict with Dodd, Marley and his band teamed up with Lee "Scratch" Perry and his studio band, The Upsetters. Although the alliance lasted less than a year, they recorded what many consider The Wailers' finest work. Marley and Perry split after a dispute regarding the assignment of recording rights, but they would remain friends and work together again. Between 1968 and 1972, Bob and Rita Marley, Peter Tosh and Bunny Wailer re-cut some old tracks with JAD Records in Kingston and London in an attempt to commercialise The Wailers' sound. Bunny later asserted that these songs "should never be released on an album ... they were just demos for record companies to listen to". Also in 1968, Bob and Rita visited the Bronx to see Johnny Nash's songwriter Jimmy Norman. A three-day jam session with Norman and others, including Norman's co-writer Al Pyfrom, resulted in a 24-minute tape of Marley performing several of his own and Norman-Pyfrom's compositions. This tape is, according to Reggae archivist Roger Steffens, rare in that it was influenced by pop rather than reggae, as part of an effort to break Marley into the American charts. According to an article in The New York Times, Marley experimented on the tape with different sounds, adopting a doo-wop style on "Stay With Me" and "the slow love song style of 1960's artists" on "Splish for My Splash". An artist yet to establish himself outside his native Jamaica, Marley lived in Ridgmount Gardens, Camden, London during 1972.
In 1972, the Wailers entered into an ill-fated deal with CBS Records and embarked on a tour with American soul singer Johnny Nash. Broke, the Wailers became stranded in London. Marley turned up at Island Records founder and producer Chris Blackwell's London office, and asked him to advance the cost of a new single. Since Jimmy Cliff, Island's top reggae star, had recently left the label, Blackwell was primed for a replacement. In Marley, Blackwell recognized the elements needed to snare the rock audience: "I was dealing with rock music, which was really rebel music. I felt that would really be the way to break Jamaican music. But you needed someone who could be that image. When Bob walked in he really was that image. Blackwell told Marley he wanted The Wailers to record a complete album (essentially unheard of at the time). When Marley told him it would take between £3,000 and £4,000, Blackwell trusted him with the greater sum. Despite their "rude boy" reputation, the Wailers returned to Kingston and honored the deal, delivering the album Catch A Fire.

Primarily recorded on eight-track at Harry J's in Kingston, Catch A Fire marked the first time a reggae band had access to a state-of-the-art studio and were accorded the same care as their rock'n'roll peers. Blackwell desired to create "more of a drifting, hypnotic-type feel than a reggae rhythm", and restructured Marley's mixes and arrangements. Marley travelled to London to supervise Blackwell's overdubbing of the album, which included tempering the mix from the bass-heavy sound of Jamaican music, and omitting two tracks.

The Wailers' first major label album, Catch a Fire was released worldwide in April 1973, packaged like a rock record with a unique Zippo lighter lift-top. Initially selling 14,000 units, it didn't make Marley a star, but received a positive critical reception. It was followed later that year by Burnin', which included the standout songs "Get Up, Stand Up", and "I Shot the Sheriff", which appealed to the ear of Eric Clapton. He recorded a cover of the track in 1974 which became a huge American hit, raising Marley's international profile. Many Jamaicans were not keen on the new "improved" reggae sound on Catch A Fire, but the Trenchtown style of Burnin' found fans across both reggae and rock audiences.

During this period, Blackwell gifted his Kingston residence and company headquarters at 56 Hope Road (then known as Island House) to Marley. Housing Tuff Gong Studios, the property became not only Marley's office, but also his home.

The Wailers were scheduled to open 17 shows for the number one black act in the States, Sly and the Family Stone. After 4 shows, the band was fired because they were more popular than the acts they were opening for.The Wailers broke up in 1974 with each of the three main members pursuing solo careers. The reason for the breakup is shrouded in conjecture; some believe that there were disagreements amongst Bunny, Peter, and Bob concerning performances, while others claim that Bunny and Peter simply preferred solo work.

Despite the break-up, Marley continued recording as "Bob Marley & The Wailers". His new backing band included brothers Carlton and Aston "Family Man" Barrett on drums and bass respectively, Junior Marvin and Al Anderson on lead guitar, Tyrone Downie and Earl "Wya" Lindo on keyboards, and Alvin "Seeco" Patterson on percussion. The "I Threes", consisting of Judy Mowatt, Marcia Griffiths, and Marley's wife, Rita, provided backing vocals. In 1975, Marley had his international breakthrough with his first hit outside Jamaica, "No Woman, No Cry", from the Natty Dread album. This was followed by his breakthrough album in the United States, Rastaman Vibration (1976), which spent four weeks on the Billboard Hot 100. In December 1976, two days before "Smile Jamaica", a free concert organised by the Jamaican Prime Minister Michael Manley in an attempt to ease tension between two warring political groups, Marley, his wife, and manager Don Taylor were wounded in an assault by unknown gunmen inside Marley's home. Taylor and Marley's wife sustained serious injuries, but later made full recoveries. Bob Marley received minor wounds in the chest and arm. The shooting was thought to have been politically motivated, as many felt the concert was really a support rally for Manley. Nonetheless, the concert proceeded, and an injured Marley performed as scheduled, two days after the attempt. When asked why, Marley responded, "The people who are trying to make this world worse aren’t taking a day off. How can I?" The members of the group Zap Pow, which had no radical religious or political beliefs, played as Bob Marley's backup band before a festival crowd of 80,000 while members of The Wailers were still missing or in hiding.

Marley left Jamaica at the end of 1976, and after a month-long "recovery and writing" sojourn at the site of Chris Blackwell's Compass Point Studios in Nassau, Bahamas, arrived in England, where he spent two years in self-imposed exile. Whilst there he recorded the albums Exodus and Kaya. Exodus stayed on the British album charts for 56 consecutive weeks. It included four UK hit singles: "Exodus", "Waiting in Vain", "Jamming", and "One Love" (a rendition of Curtis Mayfield's hit, "People Get Ready"). During his time in London, he was arrested and received a conviction for possession of a small quantity of cannabis. In 1978, Marley returned to Jamaica and performed at another political concert, the One Love Peace Concert, again in an effort to calm warring parties. Near the end of the performance, by Marley's request, Michael Manley (leader of then-ruling People's National Party) and his political rival Edward Seaga (leader of the opposing Jamaica Labour Party), joined each other on stage and shook hands.

Under the name Bob Marley and the Wailers eleven albums were released, four live albums and seven studio albums. The releases included Babylon by Bus, a double live album with thirteen tracks, were released in 1978 and received critical acclaim. This album, and specifically the final track "Jamming" with the audience in a frenzy, captured the intensity of Marley's live performances.

Survival, a defiant and politically charged album, was released in 1979. Tracks such as "Zimbabwe", "Africa Unite", "Wake Up and Live", and "Survival" reflected Marley's support for the struggles of Africans. His appearance at the Amandla Festival in Boston in July 1979 showed his strong opposition to South African apartheid, which he already had shown in his song "War" in 1976. In early 1980, he was invited to perform at the 17 April celebration of Zimbabwe's Independence Day. Uprising (1980) was Bob Marley's final studio album, and is one of his most religious productions; it includes "Redemption Song" and "Forever Loving Jah". Confrontation, released posthumously in 1983, contained unreleased material recorded during Marley's lifetime, including the hit "Buffalo Soldier" and new mixes of singles previously only available in Jamaica.


Cockney Rejects


Cockney Rejects

Cockney Rejects are an Oi! punk band that formed in the East End of London in 1977. Their 1980 song "Oi, Oi, Oi" was the inspiration for the name of the Oi! music genre.

Their biggest hit record in the United Kingdom, 1980's "The Greatest Cockney Rip-Off",was a parody of Sham 69's song "Hersham Boys". Other Cockney Rejects songs were less commercial,partly because they tended to be about hard-edged topics such as street fighting or football hooliganism. The band members are loyal supporters of West Ham United F.C.,and pay tribute to the club with their hit cover version of "I'm Forever Blowing Bubbles",a song which has been sung by the West Ham supporters at the match since the 1920s. Other singles to chart in the UK were "Bad Man," "We Can Do Anything," and "We Are the Firm" (all 1980).

The violence depicted in their lyrics was often mirrored at their concerts, and the band members often fought to defend themselves (often from supporters of opposing football teams) or to split up conflicts between audience members. Jeff and Mick Geggus (who are brothers) had both been amateur youth boxers, and had fought at the national level. 

Cockney Rejects expressed contempt for all politicians in their lyrics, and they rejected media claims that they had a British Movement following, or that the band members supported the views of that far right group. In their first Sounds interview, they mockingly referred to the British Movement as the "German Movement" and stated that many of their heroes were black boxers. Jeff Turner's autobiography Cockney Reject describes an incident in which the band members and their supporters had a massive fight against British Movement members at one of Cockney Rejects' early concerts.

Cockney Rejects released their most recent album Unforgiven on the G&R London in dependent record label in May 2007.

The Cockney Rejects were formed in 1978 by, brothers, Jeff Turner and Micky Geggus, with their brother-in-law Chris Murrell on bass and Paul Harvey on drums. Their first demo 'Flares n' Slippers' caught the attention of Small Wonder Records owner Pete Stennett, who introduced the band to Bob Sergeant. With Sergeant, they recorded their single "I Wanna Be A Star"; the song was a huge success and sold out its first pressing.

At this point, the brothers replaced Murrell and Harvey with Vince Riordan, on bass, and Andy Scott, on the drums, from fellow East End band, The Tickets. This would be known as the Cockney Rejects 'classic' lineup, and its debut at the Bridge House in Canning Town in June 1979 is considered a turning point for the band. In September of that same year, the band signed with EMI and released their 'Greatest Hits, Vol. 1' in February 1980. 

Band members

Original line up (1978-79.)

    * Jeff Geggus, aka Jeff Turner, aka "Stinky" Turner (vocals)
    * Mick Geggus (guitar)
    * Chris Murrell (bass guitar)
    * Paul Harvey ( drums)


    * Stinky Turner (vocals)
    * Micky Geggus (lead guitar)
    * Vince Riordan (bass)
    * Andy " Atlas " Scott (drums)


    * Stinky Turner (Vocals)
    * Micky Geggus (Guitars)
    * Vince Riordan (Bass)
    * Nigel Woolf (Drums)


    * Stinky Turner/Jefferson Turner (vocals)
    * Mick Geggus (guitars)
    * Vince/Vinnie Riordan (bass)
    * Keith "Stix" Warrington (drums)


    * Jeff Turner (vocals)
    * Mick Geggus (guitars)
    * Ian Campbell (bass)
    * Keith Warrington (drums)


(See line-up 4)


    * Jeff Turner (vocals)
    * Mick Geggus (guitar)
    * Tony Van Frater (bass)
    * Andrew Laing (drums)


    * Jeff Turner (vocals)
    * Mick Geggus (guitars)
    * Tony Van Frater (bass)
    * Les "Nobby" Cobb (drums)

Present line up (2007)

(See 1999 Line Up)
Previous band members

    * Micky Burt (drums) (1989) (Didn't actually play any gigs; he wasn't available for the May 1989 gig in Berchem, Belgium, so Keith Warrington was brought back)
    * (Record producer Peter Wilson played drums on the "Flares & Slippers" EP)



    * Greatest Hits Volume 1 (EMI, 1980) UK #22
    * Greatest Hits Volume 2 (EMI/Zonophone, 1980) UK #23
    * Greatest Hits Volume 3 (Live & Loud) (EMI/Zemaphone, 1981) UK #27
    * The Power and the Glory (EMI/Zonophone, 1981)
    * The Wild Ones (AKA1, 1982)
    * Quiet Storm (Heavy Metal Records, 1984)
    * Unheard Rejects (Wonderful World Records, 1985)
    * Lethal (Neat Records, 1990)
    * The Punk Singles Collection (Dojo, 1997)
    * Greatest Hits Volume 4 (Rhythm Vicar, 1997)
    * Out of the Gutter (Captain Oi Records, 2003)
    * Unforgiven (G&R Records, 2007)

EPs and singles

    * "Flares & Slippers" (7-inch, EP) (Small Wonder, 1979)
    * "I'm Not a Fool" (7-inch single) (EMI, 1979) UK #65
    * "Bad Man" (7-inch) (EMI, 1980) UK #65
    * "The Greatest Cockney Rip Off" (7-inch. Limited Edition in Yellow Vinyl) (EMI/Zonophone, 1980) UK #21
    * "I'm Forever Blowing Bubbles" (7-inch) (EMI/Zonophone, 1980) UK #35
    * "We Can Do Anything" (7-inch) (EMI/Zonophone, 1980) UK #65
    * "We Are the Firm" (7-inch) (EMI/Zonophone, 1980) UK #54
    * "Easy Life" (7-inch, Live EP) (EMI/Zonophone, 1981)
    * "On the Streets Again" (7-inch) (EMI/Zonophone, 1981)
    * "Till the End of the Day" (7-inch) (AKA 1982)
    * "Back to the Start" (7-inch) (Heavy Metal Records, 1984)


    * Oi! The Album (1980)
    * "Total Noise" (7-inch EP) (1983)
    * Oi! Oi! Oi! (Castle, 1997)
    * Lords Of Oi! (Dressed to Kill, 1997)
    * Back on the Street (Victory Records, 2000)[Reissue of " Greatest Hits Vol4 "]
    * Addicted to Oi! (2001)

The 4-Skins

The 4-Skins



The 4-Skins are a working class Oi! punk rock band from the East End of London, England. Originally composed of Gary Hodges (vocals), 'Hoxton' Tom McCourt guitar), Steve 'H' Hamer (bass) and Gary Hitchcock (drums), they formed in 1979 and disbanded in 1984 –although a new line-up formed in 2007.


Most of the original four band members were or had been skinheads, thus the double meaning of the band's name. However, Steve Pear had a rockabilly style, and Hoxton Tom McCourt — who was a suedehead — was one of the leading participants of the mod revival. Initially the band members had known each other from football, or from following bands such as Sham 69 and Menace.

Prior to the release of the band's debut single, "One Law For Them", The 4-Skins contributed songs to the first three Oi! compilation albums, alongside bands such as Cockney Rejects, Cock Sparrer, The Business and Angelic Upstarts. Many of their songs dealt with violent topics, but the band has claimed they were discussing the realities of inner city life, not promoting violence. Other 4-Skins song topics include police harassment, political corruption, war and unemployment.

The 4-Skins went through many personnel changes during their five-year existence, with only bassist/songwriter 'Hoxton' Tom McCourt being present in every line-up of the band. Other former members include Roi Pearce, who was also the frontman of The Last Resort, and Paul Swain, a guitarist who later joined the white power rock band Skrewdriver.

In 2007, the band reformed with two original members  — lead singer Gary Hodges and bassist Steve 'H' Harmer, plus guitarist Mick Geggus and drummer Andy Russell of the Cockney Rejects. This line-up recorded two songs, "Chaos 2007" and "Glory Days" for the compilation album Kings of Streetpunk, released on the independent record label G&R London. It was stated that this line-up would not perform live.[citation needed]

2008 saw Hodges form a new version of the band under the name Gary Hodges' 4-Skins, featuring Indecent Exposure members Tom Brennan (guitar), Graham Bacon (bass) and Sedge Swatton (drums). This line-up played three shows – one in Berlin at the Punk and Disorderly festival, in Allentown, PA at the East Coast Oi Fest and an appearance as the headlining act on the final day of the Blackpool Rebellion punk festival in August 2008. Two newly-recorded tracks were also released for free on The 4-Skins' official web page. Both were covers of Slade songs – "Cum on Feel the Noize" and "Thanks for the Memories". Following this, the band made the decision to continue recording and touring.


Band members



    * Hoxton Tom McCourt (guitar)
    * Gary Hodges (vocals)
    * Steve 'H' Harmer (bass)
    * Gary Hitchcock (drums).


    * Hoxton Tom McCourt (bass)
    * Gary Hodges (vocals)
    * Steve 'Rockabilly' Pear (guitar)
    * John Jacobs (drums)


    * Hoxton Tom McCourt (bass)
    * Tony 'Panther' Cummins (vocals)
    * John Jacobs (guitar/keyboards)
    * Pete Abbot (drums)


    * Hoxton Tom McCourt (bass)
    * Roi Pearce (vocals)
    * Paul Swain (guitar)
    * Ian Bramson (drums)


    * Gary Hodges (vocals)
    * Steve 'H' Harmer (bass)
    * Mick Geggus (guitar)
    * Andy Russell (drums)


    * Gary Hodges (vocals)
    * Graham Bacon (bass)
    * Tom Brennan (guitar)
    * Sedge Swatton (drums)

Partial discography


    * The Good, The Bad & The 4-Skins (Secret Records (SEC 4), 1982)
    * A Fistful Of...4-Skins (Syndicate Records (SYN 1), 1983)
    * From Chaos to 1984 (Live) (Syndicate Records (SYN LP 5), 1984)
    * The Return (Randale Records (RAN 050), 2010)


    * One Law For Them / Brave New World (Clockwork Fun (CF 101), 1981)
    * Yesterdays Heroes / Justice/Get Out Of My Life (Secret Records (SHH 125), 1981)
    * Low Life / Bread Or Blood (Secret Records (SHH 141), 1982)
    * The 4-Skins - Thanks For The Memories / Evil Conduct - The Way We Feel (Clockwork Firm / Randale Records (CF-001 / RAN 47), 2009)

Oi! compilation appearances

    * "Wonderful World", "Chaos" – Oi! The Album (EMI, 1980)
    * "1984", "Sorry" – Strength Thru Oi! (Decca Records, 1981)
    * "Evil" – Carry On Oi! (Secret Records, 1981)
    * "On The Streets" – Son Of Oi! (Syndicate Records, 1983)
    * "Clockwork Skinhead", "Plastic Gangster", "Summer Holiday"- Lords Of Oi! (Dressed To Kill, 1997)
    * "Glory Days", "Chaos 2007" - Kings of Street Punk (G&R London, 2007)


    * A Few 4-Skins More, Vol.1 (Link Records, 1987)
    * A Few 4-Skins More, Vol.2 (Link Records, 1987)
    * The Wonderful World Of The 4-Skins (1987)
    * The Best Of 4-Skins (1989)
    * The Best Of The 4 Skins (1997 Harry May/Link Records, Limited edition including 7" singles)
    * Clockwork Skinhead (2000)
    * Singles & Rarities (Captain Oi! Records, 2000)
    * The Secret Life of the 4-Skins (Captain Oi! Records, 2001)
    * History Of... (Double CD, Taang Records, 2003)




Prince Buster

Prince Buster 




Cecil Bustamente Campbell, O.D. (born 28 May 1938), better known as Prince Buster and also known by his Muslim name Muhammed Yusef Ali, is a musician from Kingston, Jamaica is regarded as one of the most important figures in the history of ska and rocksteady music.The records he made on the Blue Beat label in the 1960s inspired many reggae and ska artists.

Early life


Campbell began his professional career as a singer in 1956; performing in Kingston nightclubs. He formed a succession of bands with several of his friends, none of which were successful. Campbell's music career reached maturity with the growth of the sound system. Across Jamaica, music promoters drove vans filled with stereo equipment to stage mobile parties. The operators of the sound system would play the popular R&B dance records of the day and often they would have a vocalist called a toaster call out the dancers' names, chant in rhythm, and make light-hearted boasts. Deejay "toasting" was one of the precursors to the style of vocal delivery that eventually evolved into rap.

Eventually, Campbell was introduced to Clement Dodd, a musically-inclined businessman who operated one of Kingston's most popular sound systems. Interestingly, Campbell was not hired as a musician but as security; because of rivalries between fans devoted to a particular sound system, the parties sometimes could become quite rough, and Campbell had been a skillful amateur boxer as a teenager. It was in this line of work that he earned the nickname "The Prince", which along with his boyhood moniker "Buster" (from his middle name Bustamente), formed the name under which he would later become famous.  


Artistic and producing career


In 1960, Buster produced a record for the Folkes Brothers for the Wild Bells label, "Oh Carolina," under his nickname. This record was Jamaica's first to involve an element of African music - the drumming in the record was provided by Count Ossie, the lead nyabinghi drummer from the rastafarian camp, Camp David in the hills above Kingston. It was an instant hit in Jamaica, and Buster's early records, which were released in the UK by Blue Beat Records contributed greatly to the developing sound of ska. Buster was soon recording his own compositions as well as producing records for others.

From 1963 to the end of the decade, Buster wrote and produced hundreds of songs for Blue Beat. Soon after his initial success, Buster was drawing international attention. He toured Britain extensively during this period, playing to sellout crowds, and appeared on commercial TV broadcaster Rediffusion London's Friday early-evening pop show Ready, Steady, Go! in 1964. While in England, Buster met World Heavyweight Champion boxer Muhammad Ali, a meeting that resulted in Buster joining the Nation of Islam as well as Ali being mentioned in the song "Earthquake on Orange Street." He went on to be a popular as a recorded and touring artist in Europe, and though none of his singles charted as highly in the United States, he went on a successful American tour in 1967 to support the little-known RCA Victor LP release "The Ten Commandments (From Man To Woman)". Today, the album (catalog LSP-3792) is a highly-sought-after rarity among collectors of ska and foundation reggae.

Prince Buster had two hit singles in the UK. "Al Capone" (#18, 1967) and much later with an updated version of "Whine And Grine", which was used on a television advertisement (#21, 1998).[3]In 1972 Buster gained notoriety for the title track of his album Big Five, a raunched-up re-write of Brook Benton's "Rainy Night in Georgia" with explicit references to sex and drugs.

Besides being a pioneering musician, Buster, like Clement Dodd, was also very interested in business. He started a record shop in Kingston in the early 1960s which is still owned and operated by his family today. Later he founded a jukebox company. He also started the Prince Buster Records label, at first as an attempt to keep the Melodisc label viable,[4] but today is used to reissue his music.


Post-recording life


The ska sound and rhythms were undergoing a change by the late 1960s, musicians were slowing the beat and introducing more subtle rhythmic pulses that audiences found less frantic and therefore easier to dance too. This new music was eventually called rocksteady, slower than ska and more influenced by gospel and soul. Rocksteady itself would eventually be replaced by reggae. In addition to the musical influence that ska and rocksteady exerted, many reggae lyrics expressed an Afrocentric, Marcus Garvey-inspired worldview, which had been present in some of Prince Buster's songs. Bob Marley, Toots Hibbert, and other reggae stars have acknowledged their debt. Buster also made a cameo appearance in the acclaimed international hit movie, The Harder They Come. However, reggae's Rastafarian orientation led the Muslim Prince to keep an arms distance away from the new music. He turned toward more traditional tourist-based business ventures instead and gracefully exited the Jamaican music scene.

By the late 1970s, Buster was in serious financial trouble. His business ventures were all posting losses or low profits, and the loans he had taken out to start them were catching up. Fortunately for him, ska was experiencing a revival in the United Kingdom, and the most prominent bands of the revival drew from his material. In 1979, the band Madness (named after one of Prince Buster's songs) released their first record, a tribute to Buster called "The Prince", which urged ska fans to remember "the man who set the beat". Their second single was a cover of Buster's "One Step Beyond" which reached the Top 10, and a cover of the band's namesake, "Madness," was also included on the debut Madness album. On their first album, The Specials covered "Too Hot" and drew heavily on "Judge Dread" in the song "Stupid Marriage" and "Al Capone" in the song "Gangsters." The Specials also included a cover of Buster's version of "Enjoy Yourself", on their second album. Not to be outdone, the The Beat included on its first album covers of the Buster originals "Rough Rider" and "Whine & Grine." Interest in Buster soared during this time; he received royalties when his songs were covered by 2-Tone bands, and his old records were re-issued and sold well. Buster's songs continued to be popular sources for ska bands in the U.S., an example being The Toasters covering "Hard Man Fe Dead" in 1996. In 1989, Prince Buster recorded a 12" single with London based ska and blues band, The Trojans, which was released on Gaz's Rockin' Records in the UK. "Stack O Lee" was a limited edition and it sold out within weeks.

Prince Buster now lives in Miami, Florida. He has performed at a few shows over the past several years, including the 2002 Legends Of Ska festival in Toronto, in Dedham, Massachusetts in 2002, in the 2006 Boss Sounds Reggae Festival in Newcastle upon Tyne, 40th Montreoux Jazz Festival in Switzerland with Delroy Williams Junction Band and 2007's Rhythm Festival. During the last day of the 2008 Notting Hill Carnival, Prince Buster made an appearance on the Gaz's Rockin' Blues stage, alongside The Trojans.

Prince Buster was due to make a rare live appearance in London on September 5, 2009 at Camden Centre, but it was announced by email to ticket holders on August 24, 2009 that it was cancelled.



Album discography

    * I Feel The Spirit (1963)
    * Fly Flying Ska (1964)
    * It's Burke's Law (1965)
    * Pain In My Belly (1965)
    * Ska-Lip-Soul (1965)
    * What A Hard Man Fe Dead (1967)
    * Prince Buster On Tour (1967)
    * Judge Dread Rock Steady (1967)
    * Ten Commandments - RCA (1967)
    * Wreck A Pum Pum (1968)
    * Tutti Frutti - Melodisc (1968)
    * FABulous Greatest Hits - FAB (1968)
    * The Outlaw - Blue Beat (1969)
    * 15 Oldies but Goodies - FAB
    * Big Five - Melodisc (1972)
    * The Message-Dub Wise - FAB/Melodisc (1972)
    * Dance Cleopatra Dance - Blue Elephant (1972)
    * Chi Chi Run - FAB (1973)
    * She Was A Rough Rider (1978)
    * Sister Big Stuff - Melodisc (1976)
    * Jamaica's Greatest - Melodisc
    * Subliminal Reaction - Subliminal Reacton
    * FABulous Greatest Hits - 1963-1981 - Sequel (1993)
    * The Original Golden Oldies Volume 1 (1998)
    * The Original Golden Oldies Volume 2 (1999)
    * The King of Ska (2002)


Laurel Aitken

Lorenzo Aitken (April 22, 1927 – July 17, 2005), better known as Laurel Aitken, was a singer and one of the originators of Jamaican ska music. He is often referred to as the "Godfather of ska".

Born in Cuba of mixed Cuban and Jamaican descent, Aitken and his family settled in Jamaica in 1938. After an early career working for the Jamaican Tourist Board singing mento songs for visitors arriving at Kingston Harbour, he became a popular nightclub entertainer. His first recordings in the late 1950s were mento tunes such as "Nebuchnezer", "Sweet Chariot" (aka the gospel classic "Swing Low, Sweet Chariot") and "Baba Kill Me Goat". Progressing to a pre-ska shuffle, Aitken's 1958 single "Little Sheila"/"Boogie in My Bones" was one of the first records produced by Chris Blackwell, who founded his Island Records label that year, and the first Jamaican popular music record to be released in the United Kingdom. Other rock and roll singles from this period include "Low Down Dirty Girl", "Drinkin' Whisky" and "More Whisky", produced by Duke Reid.

Aitken moved to Brixton, London in 1960 and recorded for the Blue Beat label, releasing fifteen singles before returning to Jamaica in 1963. He recorded for Duke Reid, with backing from The Skatalites on tracks such as "Zion" and "Weary Wanderer", before returning to the UK, where he began working with Pama Records. He recorded hits such as "Fire in Mi Wire" and "Landlord and Tenants", which led to a wider recognition outside of Jamaica and the UK. This cemented his position as one of ska's leading artists and earned him the nicknames The Godfather of Ska,[1] and later Boss Skinhead. He gained a loyal following not only among the West Indian community, but also among mods, skinheads and other ska fans. He had hit records in the United Kingdom and other countries in the 1950s through to the 1970s on labels such as Blue Beat, Pama, Trojan, Rio, Dr. Bird, Nu-Beat, Ska-Beat, and Dice. Some of his singles featured B-sides credited to his brother, guitarist Bobby Aitken. Aitken also recorded a few talk-over/deejay tracks under the guise of 'King Horror', such as "Loch Ness Monster", "Dracula, Prince of Darkness", and "The Hole". Aitken settled in Leicester with his wife in 1970. His output slowed in the 1970s and during this period he worked as an entertainer in nightclubs and restaurants in the area including the popular 'Costa Brava Restaurant' in Leicester under his real name Lorenzo. In 1980, with ska enjoying a resurgence in the wake of the 2 Tone movement, Aitken had his first success in the UK Singles Chart with "Rudi Got Married" (#60). Aitken's career took in mento/calypso, R&B, ska, rock steady, and reggae, and in the 1990s he even turned his talents to dancehall. He performed occasional concerts almost until his death from a heart attack in 2005. After a long campaign, a blue plaque in his honour was put up at his Leicester home in 2007.

Laurel Aitken



The blurb on the back:
A young and brutal bovver boy called Joe Hawkins caused outrage when he was first introduced to the world in the NEL smash hit, Skinhead.
Now Joe has grown his hair and swapped his boots and braces for a velvet-collared Abercrombie coat. His aggro days are over ... but his city-slicker days are just beginning.

opening lines:
As he stood in the dock, Joe Hawkins considered his situation with utter detachment.

Richard Allen was the best-known pseudonym employed by James Moffatt, and his best-known book was Skinhead, to which this was the first sequel. If you were at school in the early-Seventies, you'll probably remember this stuff: it sold in vast quantities and, even more significantly, it was passed from hand to hand by those seeking a quick shot of sex and violence, attracting a readership in places where no skinhead had yet trod. It's quite possible that Skinhead was read more widely amongst teenagers than any other novel of the period.
Allen seemed even more surprised by the instant success of that book than anyone else, and – unusually for an exploitation novel – this sequel comes with an Author’s Preface, in which he insists that his work is not responsible for encouraging skinhead violence. Indeed he’d like it to be known that he thoroughly disapproves of those who have fostered ‘a climate of anarchy’ in Britain. So, if it’s not him, who or what is responsible for the growth of these youth cults? Well, everyone else, of course, argues Allen, pointing to:
leniency in courtrooms, catering to fads by mercenary-minded rag-trade merchants, a soft-peddling attitude by politicians who look for teenage votes to save their seats, and an overwhelming pandering by the news media… (p.5)
As a mea non culpa, it’s not very impressive, but – three decades on – it’s not really our place to judge him on whether he encouraged ‘anti-social behaviour’. So let’s judge the novel simply as a piece of writing. And the verdict is that it’s not very wonderful. In fact it’s nasty, brutish and short. And while the casual inelegance undoubtedly suits the subject, it does prove wearing: for such a brief book, it doesn’t half feel like a long read, devoid of even a single flash of inspiration. Just an occasional phrase that wasn’t completely flat would have been a joy. Worse, the language is not only plain but – by modern standards – terribly tame, so that even the most unpleasant scene (which, as you’d expect, involves a female victim) isn’t really capable of any shock value.
Hard to believe that anyone new would bother, but for some of those who read this stuff at the age of thirteen, there might be a nostalgic appeal, I guess. And at least suedeheads wore better clothes than skinheads.