Yabby You – Jesus Dread 1972-1977 (1997)

I’ve been depressed for a few days due to fucking my personal life up all over again. I think I have probably broken every spiritual rule of every ethical, mystical, or religious tradition out there in the last week or so, straying from righteousness in thought and word. Thoughts are not deeds but thought-forms that take shape and enter the air as words have force, have power, have to be cared for so as not to injure or bruise the ears they fall upon. I may not accept Jesus as my savior, but I do accept Yabby You into my life. Yabby You will set me back on the path of righteousness. His words do not enter into wickedness. My disturbed mental and spiritual state won’t allow for me to write a decent description in this moment, and the one below is just fine. Even better are the liner notes included in the wonderful booklet from Blood & Fire, one of the most righteous labels to ever stalk the earth. A labor of love, this set. All respect to Yabby You, may his soul be at rest.
Yabby You – Jesus Dread 1972-1977

Released 1997 on Blood & Fire Records

1 Love Thy Neighbour 3:35
2 Conquering Lion 3:25
3 Fisherman Special 3:16
4 Yabby Youth 3:13
5 Big Youth Fights Against Capitalism [King Tubby’s Version] 3:07
6 Covetous Men 2:56
7 Run Come Rally 3:16
8 Rally Dub [Upsetter Mix] 3:18
9 Antichrist 2:39
10 God Is Watching You 2:56
11 Pablo Dread in a Red 3:06
12 King Tubby’s Rock [King Tubby’s Version] 3:21
13 Warn the Nation 2:25
14 Honey Dub [King Tubby’s Version] 3:00
15 Carnal Man 3:04
16 Love of Jah 3:03
17 Love of Jah [King Tubby’s Version] 2:58
18 The Man Who Does the Work 2:42
19 Jah Vengeance 2:48
20 Revenge 2:53
21 Freshly 3:14
22 Natty Dread on the Mountain Top 2:58
23 Gwan and Lef’ Me 2:47
24 Tubby’s Vengeance [King Tubby’s Version] 2:57
25 Death Trap 3:07
26 Man of the Living 2:58
27 King Tubby Special [King Tubby’s Version] 3:22
28 Lord of Lords 3:19
29 Lord Dub [King Tubby’s Version] 3:15
30 Chant Jah Victory 3:31
31 Jah Victory Dub [King Tubby’s Version] 3:38
32 Walls of Jerusalem 3:40
33 Jerusalem Dub [King Tubby’s Dub] 3:40
34 King Pharoah’s Plague [Discomix] , 5:14
35 Plague of Horn 3:23
36 King Pharaoh Dub [King Tubby’s Version] 3:20
37 Jesus Dread 3:26
38 Chant Down Babylon Kingdom [Discomix] , 5:07
39 Chanting Dub [King Tubby’s Version] 2:43
40 Hornsman Chant 2:44
41 Fire in a Kingston 3:13
42 Fire Dub [King Tubby’s Version] 2:33
43 Judgement on the Land 3:06
44 Repatriation Rock [King Tubby’s Dub] 3:23
45 Deliver Me from My Enemies 2:52
46 Born Free [Discomix] Rose, 5:53
47 Love Thy Neighbour [King Tubby’s Version] 3:34

Review by Rick Anderson

The title of this two-disc set comes from the fact that Yabby You (born Vivian Jackson; his nickname comes from the chorus to his song “Conquering Lion”) is a devout Christian Rastafarian. The depth of his religious faith informs every note on this remarkable album, which contains some of the darkest, dreadest reggae ever made. The medium-slow tempos, the minor chords, the song titles (“Love Thy Neighbor,” “Carnal Mind,” “Warn the Nation,” etc.) all reflect an intent that goes beyond mere music-making. And yet the music itself is spectacular. Most of the songs featured on the album are presented in several versions — an original vocal mix, a dub version, a deejay version (with toasting performed by such deejays as Dillinger and Big Youth over the dub cuts), and, often, an instrumental version featuring saxophonist Tommy McCook. The McCook tracks tend to sound like filler, but the album is still utterly essential. It’s hard to imagine a better example of golden-era reggae at its finest.


Errol Alphonso Performer
Family Man Barrett Organ, Bass
Steve Barrow Liner Notes, Compilation, Interviewer, Annotation
Big Youth Performer
Dicky Burton Performer
Basil “Benbow” Creary Drums
Santa Davis Drums
Dillinger Performer
Sly Dunbar Drums
Bobby Ellis Trumpet
Clinton Fearon Bass
Carl Gayle
Albert Griffiths Guitar
Dirty Harry Hall Fife
Bernard Touter Harvey Piano
Dave Katz
King Tubby Mixing
Earl Lindo Organ
Tommy McCook Saxophone, Performer
Kevin Metcalfe Editing, Mastering
Dennis Morris Photography
Augustus Pablo Piano, Melodica, Performer
Lee “Scratch” Perry Voices, Mixing
Prince Jammy Mixing
Prophets Performer
Michael Rose Performer
Robbie Shakespeare Bass
Phillip Smart Mixing
Earl “Chinna” Smith Guitar
Adrian Talbot Design
Uziah “Sticky” Thompson Percussion
Trinity Performer
Wayne Wade Performer
Bunny Wailer Percussion
Earl “Bagga” Walker Organ
Leroy “Horsemouth” Wallace Drums
Andy Walter Digital Restoration
Michael Williams Design
Yabby You Vocals
Tapper Zukie Performer

Password in the comments

Yabby You – Deliver Me From My Enemies (1977)

Yabby You (aka Vivian Jackson, born 4 August 1946) passed away a week ago, January 12, from a brain aneurysm at 63 years old. This is his third album, and a mighty fine one, fleshed out with bonus tracks of nice rarities by the wonderful Blood & Fired lable. There’s not much I can add to the description below taken from the liner notes, typed out in their entirety by my friend from Addis Ababa (thanks!). The links are at the bottom of the page.. R.I.P.
BAFCD / LP 051
Title: Deliver Me From My Enemies
Artist: Yabby You

1. Deliver Me From My Enemies
2. Deliver Me From My Enemies Version
3. Judgement Time
4. Blood A Go Run Down King Street
5. Love In Zimba
6. Zion Gate
7. Lonely Me
8. Stranger In Love
9. Pound Get A Blow
10. Pick The Beam
11. And Amlak (One God)
bonus tracks:
12. Jah Vengeance / Yabby You & Trinity [12″ mix]
13. Free Africa / Yabby You & Trinity [12″ mix]
14. Babylon A Fall / The Prophets [12″ mix]
15. Falling Babylon / Tony Tuff [12″ mix]
16. Pick The Beam / previously unreleased dubplate mix
17. Pick The Beam Version / previously unreleased dubplate mix

Producer : Yabby You

Mixing Engineer : Prince Jammy

Vocals : Yabby You
Drums : Sly Dunbar
Bass : Robbie Shakespeare
Rhythm Guitar : Alric Forbes & Albert Griffiths
Lead Guitar : Earl Chinna Smith & Clinton Fearon
Piano : Bernard Touter Harvey
Organ : Ansel Collins
Flute : Tommy McCook
Saxophone : Tommy McCook
Trumpet : Bobby Ellis
Trombone : Vin Gordon
Percussions : Scully Simms

Studios :
Recording : Channel One (Kingston, JA)
Mixing : King Tubby’s (Kingston, JA)

Arrangements were mainly done by Vivian Jackson, Albert Griffiths,
Alrick Forbes and Tommy McCook.
Produced for reissue by Steve Barrow
Digital restoration : Paul Alexander at CEDAR Audio, Cambridge
Mastered by Moritz von Oswald at Dubplates & Mastering, Berlin, Germany
Cover illustration & lettering by Ski Williams
Design by Intro Design Group (or The Intro Partnership?)
Thanks to David Katz, Colin Moore, Clive Plummer, Ski Williams.
Special thanks to Dave Hendley and Chris Lane for making their exclusive dubplate of “Pick The

Beam” [mixed by Prince Jammy at King Tubby’s] available for this reissue.


“Yabby You in a class by himself. That Ras there a very strong Ras, and
you have to be strong to deal with man like Yabby You: head strong,
rootically strong, biblically strong, physically strong.”[Michael Prophet]

As Michael Prophet says above, the producer and vocalist, founder of the Prophets, Yabby You
[born Vivian Jackson, Kingston 1950] occupies a unique place in 1970s Jamaican roots reggae.

Not simply in the way he constructs his songs [and their lyrical sentiment] but also in their
rhythmic conception. In this way, the words ‘Yabby You’ become almost adjectival when applied
to his rhythms; hence the celebrated ’Yabby You Sound’ . A Yabby You song is always
recognisable, always true to its producer’s vision.

With the release in 1977 of his third album “Deliver Me From My Enemies”, Yabby completed a
trilogy that began in 1975, with the stunning “Conquering Lion” album and continued through
1976 with “Walls Of Jerusalem” [Both LPs are included on the 2-CD set “Jesus Dread”, BAFCD
021]. These albums – and the many singles released by Yabby in the same period – constitute a
striking body of work, at once pure, coherent and moving. Although the original LP – issued
through Yabby’s association with Grove Music in London in 1977 – was, overall, perhaps not quite as spiritually consistent as the earlier works, it certainly offered a more varied range of styles. As well as songs that matched the earlier works in intensity and expression – like “Judgement Time”, Blood A Go Run Down King Street” or “Zion Gate”, there were straight-ahead love songs like “Lonely Me” and the recut of John Holt‘s “Stranger In Love”. Yabby’s treatment of this type of material prefigure the work he would shortly undertake with vocalists Wayne Wade, Patrick Andy and Michael Prophet. He recently explained his decision to record this type of material:

“I was not a person who live with woman, run-run round and girl-girl, those things. So mostly now I use to look at myself as somebody by meself, never no woman, so… lonely me ! An ‘ “Stranger in Love” now, I did love that song…..”

The instrumental “Love In Zimba” is, similarly, another recut – in this case an old ska classic,
Baba Brooks “Shang Kai Shek”- whilst the anthemic “Amlak” has a pronounced Nyabinghi feel
and “Pound Get A Blow”, unusually for the producer, comments on the relatively modern matter
of currency devaluation. The powerful title track pleads convincingly for guidance and protection
from God, directly relating to Yabby’s own situation at the time:

“I was livin’ at a place – that was Kingston 13, a road name Burke Road, number 9, up by Maxfield
Avenue – up Channel One way. A policeman own the place, an’ im wife was a teacher. So I never
expect them to believe in obeah-ism, y’know? The wife, me an’ she grew up, an’ her parents dem
never expected dem could a deal with dem tings. So, she rent me a back room [and] we share
the same facilities, like the bathroom and washroom. One mornin’ when I get up, my daughter,
she show me a box, weh ‘ave in all kind a obeah bottle, black oil, black powder, all kind of
spiritual, diabolical black obeah bottle….an’ I was so surprised, that I decide now, seh, well, me a
fe move. Me a mek a song, an’ mi jus’ go in a di bathroom, and look ‘pon the bottle, look ‘pon it as
mi enemy, an’ so the song come up – “Deliver Me From My Enemies”.

As a bonus track, we have also included the b-side to the original 45 rpm issue.

“Pick The Beam” also relates to a series of fractious experiences Yabby was having at the time:

“Those days you use to ‘ave the Rasta business, an’ you ‘ave the church business.. The Rasta
man always tryin’ fe show seh Haile Selassie is the Supreme. And meanwhile the church people
dem use to show seh Jesus is the son of the Almighty, son of the Creator, the true son. Well,
each one want fe tell fe dem point, dem never really tell of the life weh dem demselves live, beca’
to me, righteousness is an action, weh you suppose to exercise right livin’, to be righteous. Wrong
livin’ is unrighteous.

So I use to say, instead of tryin’ fe show other people, you mus’ first pick the beam out of our own
eye, pick the mote that is over our own eye, so we can see clearly, fe guide others, fe show
others what is right from what is wrong.. So I come up with that song, pick the beam out of your
own eyes, yunno?”

For the additional bonus tracks we have added a brace of 12” discomix songs that originally
appeared as Grove Music releases; “Jah Vengeance” revisits Yabby’s earlier classic, utilising a
steppers remake of the classic song of retribution – the “Jesus Dread” 2-CD set contains versions
of the original cut, whilst this recut showcases deejay Trinity, who also made his own album for
Yabby You [“Shanty Town Determination” BAFCD 031] . Yabby had this to say about his
association with the deejay, with whom he was reunited for a series of European appearances a
couple of years ago:

“Well, Trinity – Dillinger bring Trinity to me, an’ tell me seh, well, ‘im would a like fe promote
Trinity, because anywhere ‘im go a dancehall, ‘im carry ‘im. So ‘im would a like fe promote ‘im.
When he bring ‘im to me, I show Trinity seh well, what I really defendin’ is righteousness, God
fearin’ lyrics.

It was about God, the creation, it wasn’t really strictly about dancehall an’ dem things. So I show
seh, if ‘im is willin‘, to come and do those style a songs, pertainin’ to the Supreme, pertainin’ to
what is right. An’ ‘im agree right away, so me start fe record ‘im. When we start record ‘im, ‘im
realise seh the crowd like ‘im, beca’ what did draw me to ‘im, ‘im sound like Big Youth. Big Youth
is popular those days, an’ ‘im sound exactly like Big Youth. An’ Big Youth those days was a man
incline fe do conscious lyrics. Then ‘im just fit in, to me ‘im did more versatile than Big Youth. ‘Im
catch on right away. ‘Im start go about now an’ record fe all kind a people, Joe Gibbs an’ all
different producers.

Trinity is in similar Jah Youth-inspired form on his other track, “Free Africa”, on which Yabby
eccentrically includes Guatemala in his lyrical roll-call of ‘African’ countries. The remaining 12”
single included is “Babylon A Fall”, credited to the Prophets on release, the latter part of which
contains some excellent soloing by the hornsmen. The other side of that single featured Tony
Tuff, performing in the then-new ’singjay’ style. Tony was another singer that Yabby brought into
his circle at the time and who eventually made a whole album with the producer:

“Those days now, the style weh Tony Tuff a do, it was more like a sing-type a deejay, those
things they call singjay, an’ I like the idea, yunno. Tony Tuff did in a group with Sugar Minott and

Eric ’Bubbles’, name African Brothers, and ‘im start to do that type a thing. I use to suggest to him
seh, mek Sugar Minott leave the group, beca’ ‘im ‘ave a better voice, so ‘im start tryin’ new tings…
‘im start try the idea now, an’ then we call it a singjay ting. The group eventually mash up, ca’
Sugar Minott go start sing fe Coxsone,, sing back on Coxsone old riddim, an’ Eric Bubbles go
away. So the style eventually work in Tony Tuff benefit….”

The album closes with two mixes taken from a dubplate made by Dave Hendley and Chris Lane
of the song “Pick The Beam”, with a mix by Prince Jammy that differs considerably from the
previously available mixes on 45 and LP. Blood and Fire are please to present this expanded
edition of “Deliver Me From My Enemies”, featuring one of Jamaica’s greatest roots artists
offering us his strikingly original world view.

Steve Barrow / September 2006

Yabby You – Deliver Me From My Enemies (1977) in 320kbs em pee three

Yabby You – Deliver Me From My Enemies (1977) in FLAC LOSSLESS AUDIO

Trinity – Three Piece Suit (1977)

Song Of The Midnight Hour
Queen Majesty
Render Your Heart
John Saw Them Coming
Strictly Cash
Rasta Dub
Kingston Two Rock
Mr Bassie
Three Piece Suit
Mohammed Ali
U Brown – Nice Up The Yard *
Jamaican Dollar *
Release history:
Joe Gibbs LP #none 1977
Joe Gibbs Europe LP #JGELP 006 2006
Joe Gibbs Europe CD #JGECD 007 2006

Producer : Errol Thompson & Joe Gibbs
Engineer : Errol Thompson

Vocals : Trinity
Drums : Sly Dunbar
Bass : Lloyd Parks & Robbie Shakespeare
Guitar : Eric Lamont & Bo Peep
Organ : Harold Butler & Franklyn Bubbler Waul
Piano : Franklyn Bubbler Waul & Errol Nelson
Alto Saxophone : Herman Marquis
Trombone : Vin Gordon
Trumpet : Bobby Ellis
Tenor Saxophone : Tommy McCook
Percussions : Sticky & Ruddy Thomas

Studios :
Recording : Joe Gibbs (Kingston, JA)

Deejay Trinity, born February 10, 1954 in Kingston, was a keen follower of soundsystems such as Tippertone, El Paso, Kentone and King Tubby’s HiFi, to name but a few. At soundsystem Vee Jay the Dubmaster he started his career and there stayed for some four years. It’s not sure whether he recorded his first tune for producer Derrick Harriott (‘Owner Fi De Yard’) or for Channel One boss JoJo HooKim (‘Step Up Yourself’), both tunes released in 1976.

After doing some more tunes for JoJo, he switched to the then in-demand producer Joe Gibbs, where he recorded his most popular tune Three Piece Suite in just one cut! The tune utilized the riddim of Marcia Aitken’s updated version of Alton Ellis’ Studio One hit I’m Still In Love. The whimsical version by teenage schoolgirl duo, Althea Forrest and Donna Reid — ‘Uptown Top Ranking’ — was virtually ignored when first released; the preferred cut was Trinity’s piece on the riddim! A slew of fine singles followed: John Saw Them Coming, ‘Starsky and Hutch’ and ‘Judgement Time’. Joe Gibbs released Trinity’s debut LP in 1977, predictably under the title ‘Three Piece Suit’.

At the time of this album’s original release deejay Trinity was — alongside fellow deejays Dillinger and Ranking Trevor — at the height of his powers and popularity. After his stay at Joe Gibbs’ he went on recording for Prince Tony Robinson, Alvin Ranglin and he also released some self-produced albums. In 1987 he resurfaced as Junior Brammer – a fine vocalist – and under that moniker he put out two vocal albums.

The ‘Three Piece Suit’ album has been a sought after piece for a long time. Now Crazy Joe Records in France has re-released this classic deejay album in truly fine style. The digipack format includes two wicked bonus tracks, and comes in the original, amusing sleeve art. The sound quality is excellent, probably they have used the original tapes.

The ten album songs offered here utilize the classic Jamaican riddims which Joe Gibbs used for tons of his productions. Queen Majesty is Rocksteady style, riding the riddim of the same name. Strickly Cash tackles another rocksteady riddim, the Jamaicans ‘Ba Ba Boom’ tune. ‘Heart and Soul’ was a hit for Junior Byles, here Trinty lays down a wicked rendition called Render Your Heart. Bob Marley’s ‘Hypocrites’ riddim is used in full effect on John Saw Them Coming. Jacob Miller, by the way, delivered a stunning version on the same riddim for Joe Gibbs as well. Studio One’s Coxsone Dodd released several tunes on the ‘Rockfort Rock’ riddim. Joe Gibbs loved the riddim and Trinity voiced his cut calling it Kingston Two Rock, complete with some bizarre sound effects. Muhammed Ali is cut across the ‘Joe Frazier'(!) riddim.

The bonus tracks are two 45’s on Joe Gibbs’ Belmont label. The first one — Nice Up The Yard on the ‘Boxing’ riddim — sees Trinity in combination with U Brown, while the second tune is a hard roots tune on Gibbs’ cut to the Gaylads ‘Hard To Confess’.

information compiled and reproduced without permission from reggae-vibes.com and Roots Archive.org

Even if the music on this disc sucked, you will still have one of the coolest album covers ever. Thankfully the tunes are of an equally high standard. The song Mohammed Ali scares me though, and its necessary to turn on all the lights in the house and check all the cupboards for gremlins. You might notice “Nice Up The Yard” has the same chant as ‘Soul Makossa’ that would later be reappropriated by MJ who would then give “permission” to meritless/talentless pop divas to use “his” material..

When I get married, I am going to list “dub toaster” on the gift registry. An original copy of this LP will suffice nicely.

Don’t worry, it’s very unlikely this situation will ever occur in real life.


Trinity – Three Piece Suit (1977) in 320kbs em pee tree

Trinity – Three Piece Suit (1977) in FLAC LOSSLESS AUDIO

Junior Byles – Beat Down Babylon, The Upsetter Years (1997) 320kbs


Trojan Records, 1997 release

What a collection of beautiful reggae music this is!! What can I say about it, everything on here is classic. I think maybe its best to let the music speak for itself. But do you remember that comedian from the 90s, Prince Jeff I Foxworthy? Remember that routine he used to do, “You know you’re a righteous Rasta when….” Man, was that funny. He used to always dedicate a part of it to Junior Byles

Photobucket You know you’re a righteous Rasta when —
* you attempt suicide upon hearing about the death of Emperor Haile Salassie
* your reputation for nuttiness is surpassed only by the king himself, the original Upsetter, Lee Perry
* you recorded classic reggae milestones like There’s A Place Called Africa, Curly Locks, and Beat Down Babylon (complete with the sound of cracking whips)

Well, Prince Jeff would go on and on like that, but you get the point.

Junior Byles – Beat Down Babylon, The Upsetter Years (1997) 320kbs HERE

1. (Festival) Da Da
2. I’ve Got a Feeling
3. Don’t Know Why
4. Demonstration
5. Coming Home
6. Beat Down Babylon
7. A Place Called Africa 3
8. Joshua’s Desire
9. A Matter of Time
10. Poor Chubby
11. (A) Fun and Games
(B) Motion Dub
12. (A) Pretty Fe True
(B) Pretty Dumb
13. King of Babylon
14. Pharaoh Hiding
15. Hail to Power
16. Fever
17. Auntie Lulu
18. When Will Better Come
19. The Thanks We Get
20. Mumbling and Grumbling
21. Curley Locks
22. Dreader Locks
23. The Long Way

Pat Kelly – Talk About Love (1978)

This is a vinyl rip, a little lower resolution than I usually like, but the music so, so sweet…


Pat Kelly – Talk About Love (download here!)
Terminal LP #TMLP 1001 1978
Record date : 1978

Album style : roots, lovers, solo vocal

Playlist :
To Each His Own
I Am So Proud
Coming Home
Stoned In Love
Never Get To Heaven
Talk About Love
Little Boy Blue
I’ve Been Trying
I Don’t Want To Go
Summer Time

Producer : Phil Pratt

Engineer : Ernest Hoo Kim

Vocals : Pat Kelly
Drums : Sly Dunbar
Bass : Robbie Shakespeare
Lead Guitar : Bo Peep
Rhythm Guitar : Robbie Shakespeare
Keyboards : Touter Harvey & Bobby Kalphat & Ossie Hibbert
Percussions : Sticky & Scully Simms

Studios :
Recording : Channel One (Kingston, JA)

Scientist – Rids the World of the Evil Curse of the Vampires (1981)

Scientist – Rids the World of the Evil Curse of the Vampires
dedicated to the sleepless and those who should have known better

The world is full of vampires who will suck you dry. They are fond of lies and conceit, and making you feel special — it is all cool calculation and manipulation, because they are drawn to the warmth of your blood. These beings have no conscience or sense of ethics as you and I who walk in daylight might recognize them. They do not need such scruples held dear by mortals because they live by another code, the code of the undead. Wake up now lest you believe in farflung romantic mythos of gothic glamour — They are the ultimate narcissists, only concerned with themselves, and rationalizing their behavior through complex, arcane dissimulation whereby they are never culpable for their actions or the effects they have on others. The other day we had some righteous roots riddims with which to chant down Babylon and yell “Get behind me, Satan!” but I discovered the exorcism was not complete. The vampires still walk the streets of this town, or dwell in walk-up apartments, hovering like vultures. They dress like students, they dress like housewives, or in a suit and tie. I tried to warn a lovely charming lass, but what I did not know is that she WAS one of the vampires. The thing about vampires, is once you have identified them as such, they turn on you. They will not harbor any who have penetrated the secret of their shallow superficiality. They thrive off the warmth of your blood because, in fact, they have no heart.

They will turn the hope within you into hate and bitterness, if you are not careful. It is better to realize that vampires are sustained by our imaginations, by the power we give to them to influence our lives. At the root, they are nothing. Once you realize this truth in your heart, they cease to exist for you and return to the shadows to be summoned by another who is not vigilant. They prey on the lonely and the vulnerable. Warn your friends, if you care for them at all.

Note: If you sleep with a vampire, male or female, you should really go get a blood test. They are known to be profligate and, usually, dishonest in their liaisons. Do not beat yourself up too badly, we all slip up sometime.