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BOB MARLEY is one of those artists for whom it is impossible to divorce their cultural impact from their musical achievement. Marley became the first music superstar from outside the UK or US, his success reached nations that other rock stars didn't, he was truly international, as big in Lagos or Harare as he was in London or New York. As the 1970s dawned The Wailers were finding their way in the musical world and at least part of their work was formed from one of the essential collaborations in Jamaican music. These recordings saw The Wailers working with Lee Perry and the music that they created forms the basis of our unique compilation that made hits and music as vital as anything that would follow. Looking at the history of the music industry in the last 40 years, stardom has internationalised. No longer will an artist's success be restricted to the United States, Europe and Australasia. Beyonce, Kanye West et al are known wherever there is an internet connection. 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Peter Tosh was a reggae multi-instrumentalist from Jamaica who was one of the founders of the legendary band The Wailers, together with Bunny Wailer and of course Bob Marley. Equal Rights is his second studio album and the one that propelled him to the top of reggae, cementing him as a potential rival to Marley. That wouldn't quite happen, but Equal Rights is still one of the most influential reggae albums ever recorded. Tosh was a big human rights advocate and the track listing reflects this. Of course there is a version of \"Get Up, Stand Up\" written together with Bob Marley but \"I Am That I Am\", \"Downpressor Man\" (a version of Sinnerman, made famous by Nina Simone), \"Stepping Razor\" and \"Apartheid\" all became human rights anthems in their own right. In 1987 Tosh was killed during robbery, leaving reggae fans all over the world wondering what could have been. 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Few would fault you for ending up with this one, though, which stands as perhaps the finest collaboration between two of instrumental reggae's leading lights: producer and melodica player Augustus Pablo and legendary dub pioneer King Tubby. Among other gems, this album offers it's title track - a dub version of Jacob Miller's 'Baby I Love You So'- which is widely regarded as the finest example of dub ever recorded. But the rest of the album is hardly less impressive. 'Each One Dub', another cut on a Jacob Miller rhythm, possesses the same dark and mystical ambience, if not quite the same emotional energy, as 'King Tubby Meets Rockers Uptown,' and the version of the epochal 'Satta Massaganna' that closes the album is another solid winner. Pablo's trademark 'Far East' sound (characterized by minor keys and prominent melodica lines) is predominant throughout, and is treated with care and grace by King Tubby, who has rarely sounded more inspired in his studio manipulations than he does here. 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Linval Thompson steps forward as a powerful new voice in roots reggae.Backed by Bunny Lee's trusted studio crew, including The Aggrovators, the sound is deep and heavy. Pure Channel One energy. Roots music at full strength.Don't Cut Off Your Dreadlocks is the foundation of Thompson's career. A clear statement of purpose. Strong melodies. Conscious lyrics. A commanding vocal style already fully formed. The title track stands at the centre. A fearless anthem. A call to hold firm in identity and belief. A celebration of Rastafarian pride at a time when that message truly mattered.These are the kind of tunes that shook sound systems in the 1970s. Music to move the crowd. 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Newly remastered and relicensed for 2026, the album is packed with dancefloor classics and non-stop reggae anthems such as Tenor Saw's 'Golden Hen', Johnny Osbourne's 'Buddy Bye', Dennis Brown's 'Wolf \u0026amp; Shepard' and Sister Nancy's 'Transport Connection' alongside hard-to-find cuts by Tall T and the Touchers, The Interns, Tetrack and others, making the album a superlative mix of well-known classics and rarities. New tracks on this edition includes the super heavyweight Interns 'Nothing is Impossible', wicked rocksteady with the Bleechers 'Come Into My Parlour' and tough roots from Junior Byles 'Long Way' and more. 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