Greetings :-)
We have an excellent and comprehensive guide on offer here that covers the wonderful music of yet another great Jamaican artist, Junior Byles.
This article covers both Byles' superb solo recordings alongside his early work as a member of the vocal trio The Versatiles.
Many key figures of the Jamaican music scene make an appearance here such as Joe Gibbs, Winston "Niney The Observer" Holness, Jojo Hookim, Errol Thompson and of course The Mighty Upsetter, Lee "Scratch" Perry, with whom Byles collaborated frequently during his most successful years.
This anthology begins with The Versatiles recordings from the late 1960's before covering Byles' solo career which gained huge momentum during the early to mid 1970's and continued into the 1980's. We also touch upon his very sporadic releases of the 1990's.
Enjoy!
Kerrie "Keith Junior" Byles was born in Kingston, Jamaica in 1948. His Mother was a school teacher and his Father was a mechanic, both were very religious and regular church goers, like many youngsters of the time it was whilst at church that Byles first began singing.
By the time Byles reached his teenage years Jamaica had a growing music industry as Ska dominated the island with performers such as Prince Buster, Toots And The Maytals, The Wailing Wailers and The Skatalites becoming local stars.
Byles had a keen interest in the music and although he had begun training as a mechanic (like his Father) he ended up working at the near-by Fire Department, but he kept up with the local scene of artists including Slim Smith, Jackie Edwards and Stranger Cole.
Around 1967 Byles, alongside his friends Dudley Earl and Louis Davis, created the vocal trio The Versatiles. This was at the height of the Rocksteady era when vocal harmony groups were hugely popular amongst the Jamaican music crowds.
Not much information can be found on the other two members of The Versatiles other than Louis Davis was said to be a talented arranger and guitar player, he later went on to join The Morwells, a roots trio who found some success in the mid-70's, whilst Dudley Earl is remembered as being from an Asian or Indian background.
The Versatiles headed to the Jamaican Song Festival contest in 1967 in the hope of being spotted by one of the many producers, the trio performed the Byles composition "The Time Has Come" and their enthusiastic performance caught the attention of Joe Gibbs who agreed to take them into the studio.
Joel "Joe Gibbs" Gibson was working on Beeston Street and his chief engineer at this time was Lee Perry, it was Perry who oversaw The Versatiles first recording sessions, backed by Lynn Taitt And The Jets, which resulted in the release of their festival entry "The Time Has Come" on the Amalgamated label.
The Amalgamated Records imprint ran for the duration of Perry's time with Joe Gibbs and it's considered by many that it was Perry that had much more production involvement in the label than Gibbs. Further singles by The Versatiles appeared including "You Just Can't Win", "Trust The Book", "Push It In" and "Lu Lu Bell".
Gibbs' label was becoming a success but after receiving little financial reward and no production credits Lee Perry left the set up in anger and aimed a verbal assault towards Gibbs in the form of his single "People Funny Boy" which would later be credited as one of the first early Reggae records ever released.
The Versatiles remained with Gibbs who had now employed the young Winston "Niney" Holness as Perry's replacement and the trio rode out the remaining Rocksteady years on the label with sporadic releases including the call-and-response crowd favourite "Long Long Time".
By the end of the Rocksteady era The Versatiles parted ways with Joe Gibbs and headed over to the Deltone label which was operated by Mrs. Dorothy Barnett, a former secretary for Coxsone Dodd who was now working at WIRL Records alongside Lee Perry, with whom the group were eager to reunite.
The Versatiles cut a number of wonderful singles with Perry for Deltone including "Spread Your Bed", "Action Line", "Worries A Yard", "The Horse", "Teardrops Falling", "Someone To Love" and the minor chart hit "Children Get Ready", a handful of these singles received a UK release via Pama Records subsidiary Crab label.
The set up between Barnett and Perry was shortlived however when once again financial disputes came into play and all parties went there separate ways with Perry going on to create his own 'Upsetter' label where he could focus on devolping his unique sound and wild instrumentals with his house-band The Upsetters.
The Versatiles went on to record for various producers including Duke Reid ("I Love You My Baby" and "What Have I Done"), Laurel Aitken ("Pick My Pocket" and "Hot" in collaboration with deejay Tiger), Willie Williams ("Give Me Bread" and "Stronger Strong") and Sir Collins ("Exodus" and "Big Teacher").
The Versatiles recording output was very slight in comparison to their counterparts of the time, the group opting for quality over quantity and despite scoring a number of hits, including releases in the UK, the group decided to split and by the very early 1970's Junior Byles had returned to his day job as a fireman.
It comes across to many that Byles was a deep thinking and philosophical character with an interest in politics and religion (shown later in his songwriting), this tendency to overthink or worry about world events may be what led to his proneness for depression which would be diagnosed later on in his life. During the early 70's Byles' state of mind would shape his lyrical content. It's not really known whether it was an early sign of his mental health issues that led to him departing from the music scene at this time or if it was purely the lack of financial reward.
Always keeping an eye on the events unfolding between rival parties during Jamaica's steady rise in political unrest during the early 1970's, Byles was also questioning his religious stance during this time.
Born and raised in a heavily Christian household and community he was now weighing up the philosophies of the emerging Rastafari movement which was gaining momentum in the poorer areas of Jamaica's ghettos. When Byles affirmed his commitment to the movement it alienated him from his family to the point that he remained estranged from them for many years.
By the early 1970's Lee "Scratch" Perry was working at Randy's Studio, run by the Chin Family above their large record store on 17 North Parade in the heart of downtown Kingston, with his session players known collectively as The Upsetters.
The Upsetters, as with most Jamaican session groups, were made up of a revolving line-up but the core players of the band at this time were guitarist Alva Lewis, Glen Adams on organs and the drum and bass brothers Carlton and Aston Barrett respectively.
Lee Perry and The Upsetters had been very busy working on their own material whilst backing most of Perry's vocal artists which included The Wailers (Bob Marley, Peter Tosh and Bunny Livingston) who recorded some of their finest material with the producer around this time including the albums "Soul Rebels" and "African Herbsman".
It was also around this time that Junior Byles returned to the producer with the intent of recording as a solo artist (although he was still occasionally backed by The Versatiles), but with Perry fully focused on The Wailers material at this point Byles' recordings had to take a back seat.
A bunch of songs were recorded by Byles, using the same Upsetters line-up that also backed The Wailers, but at first he made only brief appearances on singles such as "Got The Tip" and "Demonstration {aka What The World Is Coming To} both of which feature backing vocals from The Wailers.
Other notable early solo recordings from this time include Byles' 1971 Song Festival entry "Rub Up Festival '71" which was proving popular and was tipped as a possible winner of the contest until Jamaican radio bosses deemed the innuendo-laden lyrics to be inappropriate and it was disqualified.
By the end of that year Lee Perry and The Wailers had a major falling out, when Bob Marley discovered that Perry had sold the groups material to Trojan Records for distribution in England and Europe, The Wailers were understandably furious and left Perry, taking the Barrett brothers (the drum and bass core of The Upsetters) with them.
Additionally organ session player Glen Adam had migrated to New York and so Perry had to assemble a 'new' Upsetters band, recruiting organist Ossie Hibbert, bassists Lloyd Parks, Val Douglas and Ranchie McLean alongside drummers / percussionists Hugh Malcolm, Leroy "Horsemouth" Wallace and Lloyd Adams.
The Upsetters sound was further enhanced with the inclusion of a horn section including the likes of Ron Wilson, Vin Gordon, Bobby Ellis and Tommy McCook.
All that Perry needed now was an adaptable singer / songwriter that could not only handle the complex and peculiar rhythms he was creating but one that was lyrically and vocally strong enough to challenge Perry in the way that Marley had done, he found all this and more in Junior Byles.
Although Byles wasn't the strongest of vocalists his unique soft-yet-husky voice could express very deep emotion, his lyrics of social commentary, political unrest and general community spirit would make him a voice for the people and this would make all the difference.
In 1972 Byles and Perry would once again attempt to claim the prize in the Jamaican Song Festival contest with their entry "(Festival) Da Da" which was an updated version of a single they had recorded together just a short time before simply entitled "Da Da", a few of these early solo releases came out under Byles' nickname of King Chubby. The song did very well eventually taking second place in the competition.
That same year an election was scheduled where for the first time the left wing opposition People's National Party, led by Michael Manley, were looking likely to take control of Jamaica from the ruling Jamaican Labour Party headed by Harry Shearer. The situation caused high tensions and rivalry across the island and many of the local artists were making their political preferences known in their songs, as was the case with Perry and Byles.
The pair collaborated on numerous songs dealing with the issues faced during the election including "Joshua's Desire", "Pharaoh Hiding", "Hail To Power" and the powerful "King Of Babylon" but two songs made the biggest impact both lyrically and on the Jamaican charts, "A Place Called Africa" and "Beat Down Babylon".
"A Place Called Africa" is a haunting yet beautiful tale of repatriation which quickly became a huge hit on the island before making waves on the UK Reggae scene and "Beat Down Babylon" was the perfect follow up which further established Byles as one of Jamaica's most promising rising talents.
The brilliance of Perry's productions and his handling of Byles' material with careful consideration make these records all the more powerful and with Perry getting deeper and more creative with his mixing process, that would ultimately become Dub music, these singles contained wonderful "Versions" on their B-Sides.
Further takes on these rhythms include releases by many deejay artists such as Dennis Alcapone, Doctor Alimantado, Lloyd Brown and U-Roy, whose rapid fire lyrics would often reiterate the sentiments expressed by Byles' original lyrics.
Around this time Perry was occasionally using Dynamic Sounds, a recording studio run by Byron Lee which contained top of the range equipment and had quickly become the leading studio on the island.
Junior Byles and The Upsetters continued to dominate the charts with a string of popular hits including "Coming Again", "Poor Chubby" and "A Matter Of Time" before the release of Byles' debut album "Beat Down Babylon" which appeared at the end of 1972 on Dynamic Sounds and Trojan Records (for it's UK issue).
"Beat Down Babylon" is a fantastic album, a dread masterpiece that gathers ten of the most successful singles from the period, it's a true reggae classic that is often considered Junior Byles most impressive collection and Lee Perry's production makes it all the more enjoyable.
After the election was over, Michael Manley's PNP were now leading the country and many of the parties supporters were now waiting for Manley to make good on the promises he had made to the people. Byles released the anthemic "When Will Better Come" as a reminder to Manley that Jamaica was still awaiting the arrival of better days.
Further excellent singles appeared including "Rasta No Pickpocket", "Auntie Lu Lu", "Gwarn Joshua Gwarn" and the darkly atmospheric cover version of Peggy Lee's "Fever" which features one of Perry's most popular rhythms that would be utilised on many future recordings.
Most of these singles would get further enhanced via Perry's creative dub versions including "Fever Grass", "Ski-Wa-Wa", "Pick Pocket Skank" and deejay cuts such as "This World" by King Medious (aka Milton Henry), "Righteous One" by Lloyd Brown and "Double Six" by U-Roy.
By 1973 Lee Perry had begun recording in his own rudimentary facility, built in his back yard, which he had named The Black Ark, a small studio operating on the most basic of equipment.
The earliest recordings from the studio show it's limitations but this was made up for in eerie atmospheric vibes and Perry's unique production techniques.
After the success of his debut album and run of well received singles Byles was on the road to stardom, over in the UK the Trojan issue had also proven popular amongst the British Reggae crowd and they were eager to release more material to capitalise on Byles current popularity.
Singles such as "Fun And Games", "Girl Next Door", "Education Rock" and "Pretty Fe True" showed Byles in a much less serious frame of mind, appearing light-hearted. Others, including "Mumbling And Grumbling" continued to express his disappointment with the current political regime.
An updated take on his earlier cut "Demonstration" retitled "What's The World Coming To?" was given the orchestral treatment on it's UK Pama label release but Byles' biggest hit of the period came from the single "Curly Locks" which climbed way up the charts on both sides of the Atlantic.
The success of "Curly Locks" cemented Byles' reputation in the UK whilst continuing his chart dominance in Jamaica. It was another of Perry's most popular rhythms and one that would again be used many times over including Perry's own takes on the song, he would later include an updated version on his own solo album "Roast Fish, Collie Weed, Corn Bread" in 1978.
Despite this success (or possibly because of it?) all was not too well behind the scenes, Byles was becoming renowned for his mood swings and dark depressions, the violent political situation in Jamaica only fuelling the matter along with the exclusion from his family over his religious beliefs.
Further sessions were recorded at The Black Ark and the possibility of a second album was brewing, Byles was pretty much living at the studio at this time, Watty Burnett is quoted as saying that he and Byles often slept on the studio floor. Singles appeared such as "The Long Way", "Lorna Banana" and "The Thanks We Get", the latter featuring Perry's young children singing along with Byles despite the explicit lyrical content.
Most of these singles continued to be a success, "The Long Way" became a minor hit in the UK and Byles remained one of Jamaica's most popular artists. This success however led to an increase of visitors to Perry's studio and a high volume of singers wanting to record at The Black Ark.
With Perry wrapped up in production, with the likes of Bob Marley (with whom he had reconciled), Susan Cadogan and Bunny Rugs, Byles would never finish the possible second album with "Scratch" and so he headed over to the Ja-Man label run by producer Dudley Swaby and Leroy Hollett. This would mark the end of his collaborations with Lee Perry, after an incredible run of success together the duo parted ways.
Dudley "Manzie" Swaby was working over at Randy's studio with the Skin, Flesh And Bones session players whilst also cutting sides at Channel One with The Revolutionaries when Junior Byles arrived to work with the producer around 1975.
A small number of singles were recorded and released on the Ja-Man imprint including "Pitchy Patchy", "Know Where You Going", "Remember Me" and the most popular of all "Chant Down Babylon" which received a UK issue on the Black Wax label.
The high quality of this material proved that Byles didn't necessarily need Lee Perry to make hit records and the run continued with collaborations with other producers including Lloyd Campbell ("Bur-O-Boy") and a return to the Black Ark under producer Pete Weston.
It was with Pete Weston that Byles would eventually record his second album, the pair headed over to Channel One studios with The Soul Syndicate session group and began work on what would be released as "Jordan" in 1976 on the Micron Music label.
The Soul Syndicate consisted of a range of quality musicians including George Fullwood on bass, Carlton "Santa" Davis on drums, Hux Brown and Tony Chin on guitars, Theo Beckford on keys and percussionist Ossie Hibbert. The recording for "Jordan" was split between Channel One and Harry J's studio with further mixing taking place at King Tubby's and Chalk Farm in England.
The album opens with updated versions of "A Place Called Africa" and "Beat Down Babylon / Curly Locks" which had been huge hits for Byles a few years earlier whilst working with Lee Perry.
The real highlights of the record come from the new material, songs such as "Mystic Revelation" and the title track, "Jordan", alongside covers of "Ain't Too Proud To Beg" and "Oh Carolina".
The album was very well received and the singles released to promote it did just a well, but it was a song that did not appear on "Jordan" that made the biggest impact of all, "Fade Away".
Recorded at Channel One with producer Jo Jo Hookim "Fade Away" was a monumental success, the biggest hit of Junior Byles career thus far, exploding like a bomb on the Jamaican music scene it went on to become a massive hit in Britain. It was now official, Junior Byles was one of Jamaica's biggest star attractions with an ever-expanding fan base in the UK, a international breakthrough seemed imminent.
Then, on the 27th of August 1975, Jamaica (and obviously followers of the Rastafarian faith) were hit with the devastating news that Emperor Haile Selassie had died. This caused widespread grief and left followers of the religion in turmoil, unsure of what to make of this tragic event, how could their God die?
The news of the Emperor's death was just too much for Junior Byles to take on board, his already emotionally fragile state of mind shut down, it's said that he attempted suicide but thankfully did not succeed and instead was taken into Bellevue Hospital, the notorious Kingston-based mental institution.
In Jamaica, at this time, the treatment and handling of mental heath issues was severely substandard and after a very brief stay at Bellevue Hospital Byles was released, having been given some medication that apparently did little to help, with some even claiming it made matters worse, Byles certainly hadn't recovered from his ordeal and it's fair to say he never really would.
After taking some time out of the spotlight, during which he reconciled with his Mother and was living with his wife and two children, Byles decided to return to the studio to work on some new material.
He cut singles for producers Keith Hudson ("Peace Of Mind") and Winston "Niney" Holness (including an updated "King Of Babylon", "What Kind Of World" and "Run Run").
During his most successful period, 1970 to 1975, Byles had released a plentiful amount of singles but by 1976 this had slowed down dramatically with only a few releases appearing between '76 and '79.
Other singles from this period include "Can You Feel It" and "Weeping" (for producer Lloyd Campbell) and a collaboration with deejay Big Youth ("Sugar Sugar").
Junior Byles next appearance would be in 1978 when he returned to his first producer, Joe Gibbs, who was by then working with Errol Thompson collectively known as The Mighty Two.
The trio cut two fantastic singles, "Dreadlocks Time" and "Heart And Soul", both were backed by epic dubs and deejay versions courtesy of Kojak And Liza.
Every one of these singles became a hit and were very well received in both Jamaica and the UK but Byles was is no real shape to properly promote the material or capitalize with additional releases. In between these sporadic recordings Byles retreated to the calm and peaceful country hills and at his darkest moments even spent time back inside Bellevue Hospital.
After almost four years away from the scene Byles returned in 1982 with a determination to relaunch his career. He linked up with his old Versatiles friend Louis Davis, who was now a member of The Morwells alongside Maurice "Blacka" Wellington, and it was he that started the ball rolling on a new Byles album.
Wellington produced a handful of songs for Byles which were recorded at Channel One with the resident house sessionists The Roots Radics, it's said that a deal had been made for the albums release on Lloyd Barnes' Wackies label which was based in New York. For reasons unknown however the album sessions were left incomplete and put on hold for the time being.
Only two singles from these sessions appeared at the time, "Better Be Careful" (on the 'Carib Gems' imprint) and "Don't Be Surprised" (on the 'Morwells' label), with both songs showing real potential as Byles adapted well to the new reggae dancehall style.
It soon became apparent as to why the album sessions had come to a stand still when it was revealed that Byles' Mother had passed away. The news was understandably devastating and Byles had once again retreated into a dark depression. It's also documented that around this time Byles' wife and children emigrated to the US which could have only worsened the situation.
Byles once again disappeared, most likely returning to the hills where could come to terms with the major losses he had suffered , try to find some peace and collect his thoughts.
It wouldn't be until 1986 that Byles finally returned to complete the album he had begun recording in 1982, linking back up with long time collaborator "Niney" Holness, the duo returned to Channel One with The Roots Radics.
The set up at Channel One was far more advanced by this point, the modern reggae dancehall sound was in full swing with producers such as Henry "Junjo" Lawes and his dub mixing "Scientist" Hopeton Brown making incredible breakthroughs in Jamaican music.
The Roots Radics were the most popular session players of the day, consisting of bassist "Flabba" Holt, drummer (the late great) "Style" Scott, guitarists Bingy Bunny, Dwight Pinkney and Chinna Smith, the killer horns combo of Bobby Ellis, "Deadly" Headly Bennett and Tommy McCook, keys and organists Frankie "Bubbler", Wycliffe "Steely" Johnson and percussionists Bongo Herman, Skully and Sticky Thompson.
It's also well noted that long-time Upsetters member Gladstone Anderson was present for much of these album sessions, providing piano and organ licks. Sylvan Morris gets the mixing credits at Harry J's studio.
The end result was 1986's "Rasta No Pickpocket" which was issued on the US based Nighthawk Records label some ten years since Junior Byles' previous album release.
"Rasta No Pickpocket" consists of only six tracks (three per side), the title track being an update of the single Byles had recorded with Lee Perry back in the mid '70's, the song seemingly having much more relevance to the current times.
Another song from the Lee Perry era also appears in updated form, "What The World Is Coming To", renamed as "I Don't Know". The remaining four cuts are fresh material that again prove how well Byles had adapted to the modern reggae sound.
Despite the quality of the album it proved disappointing at the time of it's release, all of the momentum Byles had gained during his most successful years had all but faded, the reggae scene in the UK had moved with the times and in Jamaica it was the deejay's and emcee's that were topping the charts.
The remainder of the 1980's saw Byles record less than a handful of songs, he briefly linked up with Howard Barrett (formerly of The Paragons) for the singles "Let Us Reason Now" and "Hustling" but sadly neither made much impact.
In 1987 Trojan Records released the compilation album "Beat Down Babylon: The Upsetter Years", a wonderful collection that includes the entire "Beat Down Babylon" album from 1972 alongside many of the hit singles recorded with Lee "Scratch" Perry between 1970 and 1975.
The success of the compilation led to another the following year entitled "When Will Better Come? 1972 - 1976", this collection focusing on productions from both Lee "Scratch" Perry and Winston "Niney" Holness.
In the very early 1990's Junior Byles made a very brief appearance, cutting two singles for "Niney" Holness. "Young Girl" (an adaptation of his earlier hit "Fun And Games") and "Little Flea Go" (an upbeat calypso-flavoured effort) both of which appeared on the Rohit International label.
Soon after Junior Byles once again faded into the shadows, his next public appearances wouldn't be until late 1997 when he played a number of small live shows with former Wailers member Earl "Chinna" Smith and his band which included his first appearances outside of Jamaica.
That same year the US based Heartbeat Records label released the incredible compilation album "Curly Locks - The Best Of Junior Byles And The Upsetters 1970-1976". The album contains some fantastic rare singles and previously unreleased material including the song "Are You Leading Me On" alongside various alternate versions and mixes.
In 1998 another wonderful compilation appeared, this time on the Blood And Fire label, entitled "Junior Byles And Friends - 129 Beat Street (Ja-Man Special 1975-1978)".
The album features all four of Byles' singles for the Ja-Man label alongside other releases from artists such as Pablo Moses and Rupert Reid.
The "hit-and-miss" Rhino Records label made an attempt to cash in on the success of the Blood And Fire release by putting out the album "A Long Way" in 1999, the album contains much of the "Rasta No Pickpocket" album of 1986 alongside some Perry produced material from the early 1970's. All production credits have been attributed to "Niney" Holness. The sound quality isn't brilliant and most of the song titles have been changed for some unknown reason.
In 2003 Junior Byles was pictured on the microphone at Tuff Gong studios where he reportedly laid-down an update of his mega hit "Fade Away" and another song possibly entitled "Crimson And Clover" but as yet nothing from this session has appeared.
In 2010 it was announced that Junior Byles would appear at the Garance Reggae Festival that year, held in Bagnols-sur-Ceze in France and to the surprise of many he did make a brief appearance on stage.
Backed by Sangie Davis and his band, Byles attempted a few old classics including "Fade Away" and "Beat Down Babylon", but he was noticeably not in the best of health and left the stage mid-way through his third song.
In recent times it's been reported that Junior Byles has been living on Waltham Park Road in the Cockburn Gardens district of Kingston. It seems that he is still not receiving the medical care that he would most likely be in need of, especially now he's approaching 70 years old.
After some disheartening footage appeared on youtube in 2012 that showed Byles living in the ghetto, a group known as Buss Out Jamaica from The Balion Music School Of Reggae have been working on a project that allows people and musicians to collectively raise funds to help struggling artists.
For more information on this project visit the Facebook page here -
https://www.facebook.com/JuniorBylesReggaeCareUnit
Junior Byles has given us some truly wonderful music during his career.
From his early recordings with The Verstailes, through his most successful years with Lee Perry / Winston Holness and right up to his most recent releases from the 1980's and early '90's, Byles had a standard of quality that he always attained in every song he performed.
It's the same old story of yet another hugely underrated and outrageously overlooked reggae artist that deserves a deeper appreciation.
Check out Junior's wonderful albums mentioned in this article and see what we mean :-)
Junior Byles And The Versatiles - Anthology
Disc One: The Versatile Years
(All songs by The Versatiles)
1) You Just Can't Win
2) Trust The Book
3) The Time Has Come
4) Children Get Ready
5) Someone To Love
6) Spread Your Bed
7) Worries A Yard
8) Push It In
9) Lu Lu Bell
10) Long Long Time
11) Pick My Pocket
12) Give It To Me
13) Tiger & The Versatiles - Hot
14) The Horse
15) Action Line
16) The Thanks We Get
17) What Have I Done
18) Teardrops Falling
19) What Is This World Coming To?
20) Change Your Ways {aka: Lonely & Blue}
21) I Love You My Baby
22) Let Me Through (Please Mr. Gateman)
23) Sir Collins & The Versatiles - Exodus
24) Sir Collins & The Versatiles - Big Teacher
25) Give Me Bread
26) Give Me Bread (Version)
27) Stronger Strong (Extended Mix)
Disc Two: The Upsetter Years - Part One
1) Junior Byles & The Wailers - Got The Tip
2) Junior Byles - Rub Up Festival '71
3) Junior Byles - Da Da
4) Junior Byles - Da Da (7'' Single)
5) The Upsetters - Da Da (7'' Version)
6) Junior Byles - (Festival) Da Da
7) Junior Byles - I've Got A Feeling
8) Junior Byles - Don't Know Why
9) Junior Byles - Demonstration
10) Junior Byles - Poor Chubby
11) The Upsetters - Long Sentence
12) Junior Byles - Joshua's Desire
13) Junior Byles - A Place Called Africa
14) Junior Byles - A Place Called Africa (7'' Single)
15) The Upsetters - A Place Called Africa (7'' Version)
16) Junior Byles - A Place Called Africa (Alternate Take)
17) Lee "Scratch" Perry & The Upsetters - African Skank
18) Dennis Alcapone - Africa Stand
19) Dr. Alimantado - Blessed Is That Land Africa
20) Junior Byles - Beat Down Babylon
21) The Upsetters - Beat Down Babylon (Version)
22) Junior Byles - Beat Down Babylon (7'' Single)
23) The Upsetters - Ital Version
24) Dennis Alcapone - Alpha And Omega
25) Junior Byles - Live As One
Disc Three: The Upsetter Years - Part Two
1) Junior Byles - Coming Again {aka: Coming Home}
2) Junior Byles - King Of Babylon
3) The Upsetters - Key Hole
4) Junior Byles - King Of Babylon (7'' Single)
5) The Upsetters - Nebuchadnezzer
6) Junior Byles - Black Crisis
7) Junior Byles All-Stars - Mental Slavery
8) Junior Byles - Pharaoh Hiding
9) Lee "Scratch" Perry & The Upsetters - Hail To Power
10) Junior Byles - Fever
11) King Medious - This World
12) The Upsetters - Medious Serenade
13) Jah T - Hot Pipe
14) Augustus Pablo Meets The Upsetter - Hot And Cold
15) Jah T & Errol Thompson - Lick The Pipe Peter {aka: Hot Pipe Part Four}
16) Lee "Scratch" Perry & The Upsetters - Fever Grass
17) Junior Byles - When Will Better Come
18) The Upsetters - Better Reach
19) Junior Byles - When Will Better Come (7'' Single)
20) The Upsetters - Ski Wa Wa
21) Junior Byles - When Will Better Come (Alternate Mix)
22) Lloyd Brown - Righteous One
23) The Upsetters - Righteous Version
24) Junior Byles - Rasta No Pickpocket (7'' Single)
25) The Upsetters - Pick Pocket Skank
26) Junior Byles - If You Don't Know Me By Now
Disc Four: The Upsetter Years - Part Three
1) Junior Byles - Beat Down Comrade Man
2) Junior Byles & Jah T - Informer Men
3) The Upsetters - Babylon Chapter Five
4) Junior Byles - Beat Down Comrade Man (Dub Plate Mix)
5) Junior Byles - Auntie Lu Lu
6) Junior Byles - Auntie Lu Lu (7'' Single)
7) The Upsetters - Auntie Lu Skank
8) U Roy - Double Six (7'' Single)
9) U Roy - Double Six (Album Version)
10) U Roy - Double Six (Alternate Mix)
11) Junior Byles - A Matter Of Time
12) Junior Byles - Gwarn Joshua Gwarn
13) The Upsetters - Gwarn Version
14) Junior Byles - Curly Locks (7'' Single)
15) Junior Byles - Curly Locks (Original Version)
16) Junior Byles - Curly Locks (Alternate Take)
17) Junior Byles - Curly Locks (Alternate Take III)
18) Lee "Scratch" Perry & The Upsetters - Dreader Locks
19) The Upsetters - Militant Rock
20) Lee "Scratch" Perry & The Upsetters - Golden Locks
21) Lee "Scratch" Perry & The Upsetters - Golden Locks (Alternate Take)
22) Lee "Scratch" Perry & The Upsetters - Golden Locks (Alternate Take III)
23) The Upsetters - Silver Locks
24) Johnny Lover - Curley Locks
25) Lee "Scratch" Perry & The Upsetters - Samurai Swordman
Disc Five: The Upsetters Years - Part Four
1) Junior Byles - What's The World Coming To? (Pama UK Single Mix)
2) Junior Byles - Fun And Games
3) Junior Byles - Fun And Games (7'' Single Mix)
4) The Upsetters - Motion Dub
5) Junior Byles & The Upsetters - Fun And Games (Disco Mix)
6) Junior Byles - Pretty Fe True
7) The Upsetters - Pretty Dub
8) Junior Byles - The Long Way
9) Junior Byles - The Long Way (Alternate Take)
10) Junior Byles - The Long Way (7'' Single)
11) The Upsetters - The Longer Way
12) Junior Byles - Girl Next Door
13) The Upsetters - Next Door Dub
14) Junior Byles - Education Rock
15) Junior Byles - Army Of Love
16) Junior Byles - Are You Leading Me On?
17) Junior Byles - I Know
18) The Upsetters - I Know (Version)
19) Junior Byles - Now Generation
20) Junior Byles & The Children - The Thanks We Get
21) Junior Byles - Mumbling & Grumbling
22) Junior Byles - Mumbling & Grumbling (7'' Single)
23) The Upsetters - King Size Mumble
Disc Six: Black Ark Cuts & "Jordan" Sessions
1) Junior Byles - Ungrateful Set
2) The Upsetters - Ungrateful Skank
3) Junior Byles & Lee Perry - Come Da Da (Extended Mix)
4) Junior Byles & Lee Perry - Bagman
5) Junior Byles & The Versatiles - Cutting Razor
6) Lee "Scratch" Perry & The Upsetters - Black Belt Jones
7) Junior Byles & The Versatiles - Cutting Razor (Alternate Take)
8) Junior Byles - Cutting Razor (Alternate Mix)
9) Junior Byles - Lorna Banana
10) The Upsetters - Lorna Skank
11) The Righteous Flames - Revolution Is For The Chinaman
12) Pete Weston & The Upsetters - Straight To Scratch Head
13) Junior Byles - Bur-O-Boy
14) Pete Weston & The Upsetters - Zac-Kie-Us {aka: Shut-Eye Country}
15) Junior Byles - A Place Called Africa (1976 Album Version)
16) Junior Byles - Medley (Beat Down Babylon / Curly Locks)
17) Junior Byles - Lorna Banana (1976 Album Version)
18) Junior Byles - I Ain't Got It
19) Junior Byles - I Ain't Got It (7'' Single)
20) Junior Byles - Oh Carolina
21) The Soul Syndicate - Telephone Bill Too Big
22) Junior Byles - Ain't Too Proud To Beg
23) Junior Byles All-Stars - Last Of The Love Songs
Disc Seven: The Late 1970's - Part One
1) Junior Byles - Mystic Revelation
2) Junior Byles - Jordan
3) Junior Byles - Burrie Boy
4) Junior Byles - False Leaders
5) Junior Byles All-Stars - False Leaders (Version)
6) Junior Byles - Peace Of Mind
7) Keith Hudson - Stamma Special
8) Junior Byles - Break Up To Make Up
9) Junior Byles & The Observers - King Of Babylon
10) Dillinger - Nebuchadnezzer Version
11) Junior Byles - Weeping
12) The Ethiopian Ennochs - East African Herbs Vendor
13) I Roy - W.E.E.P.I.N.G.
14) Niney The Observer - Weeping Lotion
15) Junior Byles - Run Run (Tubby's Wants The Channel)
16) Niney The Observer - Run Dub
17) Junior Byles & Big Youth - Sugar Sugar
18) Big Youth - The Wise Sheep
Disc Eight: The Late 1970's - Part Two
1) Junior Byles - Fade Away (7'' Single)
2) Junior Byles All-Stars - Fade Away (7'' Version)
3) I Roy - Rootsman
4) Junior Byles - Can You Feel It (I Ah Feel It Version)
5) Junior Byles & Rupert Reid - Chant Down Babylon (7'' Single)
6) Junior Byles All-Stars - Chant Down Babylon (7'' Version)
7) Junior Byles & Rupert Reid - Chant Down Babylon (Extended Mix)
8) Junior Byles - Remember Me (7'' Single)
9) Junior Byles All-Stars - Remember Me (7'' Version)
10) Junior Byles & Rupert Reid - Remember Me (Extended Mix)
11) Junior Byles - Pitchy Patchy
12) Junior Byles - Pitchy Patchy (7'' Single)
13) Junior Byles All-Stars - 129 Beat Street
14) Junior Byles - Know Where You're Going
15) Junior Byles All-Stars - Zion I
16) Junior Byles - Jah Power Is Moving
17) Junior Byles - What Kind Of World
18) Ranking Buckers - Easy Stepping
Disc Nine: Late 70's / '80's & '90's Sessions
1) Junior Byles - Heart And Soul
2) The Mighty Two - Give It To Jah
3) Junior Byles & Jah Joe - Love On The Seen
4) King Tubby - Version '78 Style
5) Junior Byles - Better Be Careful
6) Junior Byles - Dreadlocks Time
7) Joe Gibbs All-Stars - Peel Head
8) Kojac & Liza - Fist To Fist
9) Joe Gibbs All-Stars - Foot To Foot
10) Junior Byles - Rasta No Pickpocket
11) Junior Byles - Thanks And Praise
12) Junior Byles - Press Along
13) Junior Byles - I No Got It
14) Junior Byles - Cally Weed
15) Junior Byles - I Don't Know
16) Junior Byles - Young Girl
17) Junior Byles - Little Fleego
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