All Music Guide Biography by Steve Huey
One of reggae's most important and prolific producers, Clement "Coxsone" Dodd was a towering figure in the genre's development, from both creative and business standpoints. Like Motown's Berry Gordy, Dodd set up a streamlined, highly professional hit factory at his Studio One facility, recording vast amounts of music for his label of the same name. Like James Brown, Dodd mapped out a rhythmic blueprint that future generations would rely heavily upon; just as hip-hoppers sampled Brown's beats to death, countless dancehall producers lifted and reused (or "versioned") Dodd's rhythm tracks for their own records. Dodd was present at the genesis of Jamaican popular music, evolving from a DJ to a sound-system entrepreneur to a producer to the first black studio owner in Jamaica. In the meantime, he kept his finger on the pulse of popular taste, watching the music evolve from ska to rocksteady to reggae proper, and maintaining a crack studio band that changed with the times; most reggae aficionados tend to agree that his best work came during the rocksteady era of the '60s. Although haphazard documentation makes it difficult to know exactly how many records Dodd produced, it's generally acknowledged that he worked with nearly every major reggae star of the early days at one point or another, including the first recordings by Bob Marley & the Wailers. He also served as a mentor for future production wizards like Lee "Scratch" Perry and Winston "Niney" Holness, among others who apprenticed at Studio One. All in all, it's well nigh impossible to find another behind-the-scenes figure who exerted as much influence on reggae, over such a tremendous period of time, as Coxsone.
Clement Seymour Dodd was born in Kingston, Jamaica, on January 26, 1932. His parents ran a liquor store, and the young Dodd got his first taste of DJing by playing American jazz records for their customers. He received the nickname Coxsone in tribute to his ability as a cricket player, after the English Yorkshire team's brightest star of the era. After completing his schooling, Dodd found temporary work as a laborer in the sugar cane fields of America's Deep South; while there, he fell in love with early R&B, especially the harder end of the shuffle-rhythm spectrum that would prove popular with many other Jamaican listeners.
Dodd returned home with a substantial addition to his record collection, and in 1954 he got in on the ground floor of an emerging trend in Jamaica, the sound system. Sound systems were essentially mobile DJ units with massive amplification power; they gave poor people access to records they couldn't afford to own, and they were less costly for club owners to book than full bands, whose musicians all required individual salaries. Dodd's system was known as Sir Coxsone the Downbeat, and quickly became one of the most popular in Jamaica, rivaled chiefly by that of the flamboyant ex-cop Duke Reid; at the height of his operation's success, Dodd had up to five units playing around Kingston on the same night. Competition between sound systems was intense, and Dodd made numerous record-buying trips to the U.S. in search of the latest, rarest, and most danceable tunes. During this era, Jamaican DJs started the practice — later copied by hip-hop, rare groove, and techno DJs — of scratching out the labels on their records, so that competitors wouldn't know what they were playing and couldn't duplicate their most popular selections. Dodd's theme song was a Willis "Gator" Jackson jump blues called "Later for Gator," which he retitled "Coxsone's Hop"; the story goes that Duke Reid finally discovered the song's true identity and first played it at a DJ battle with Dodd, who nearly passed out with shock.
As the '50s drew to a close, the tastes of black audiences in the U.S. were changing. R&B was moving toward either rock & roll or a smoother, more pop-oriented sound; jazz into lengthier, more cerebral explorations and away from the concise jump blues and boogie-woogie 45s that filled jukeboxes and dancefloors. Jamaican tastes, however, were not changing, and to satisfy demand for the kind of music their audiences wanted, sound system operators began to record local artists. At first, these records were used as exclusive content for the systems' live sets, but overwhelming demand led to copies of the records being pressed and offered for sale to the public. Dodd threw his hat in the ring in 1959, when he formed the first of his many record labels, World Disc. His likely first production was "Shufflin' Jug," a calypso-style number by Clue J & His Blues Blasters, and he also helmed what many historians consider the first true ska record, Theophilus Beckford's "Easy Snappin'," that year. Over the next few years, Dodd worked with the likes of Derrick Morgan, Derrick Harriott, Clancy Eccles, Alton Ellis, Don Drummond, and Roland Alphonso, among many others; the latter two, both jazz-trained instrumentalists, would go on to join the Skatalites, who served as the studio band for most of Dodd's early recordings, and made their name as the best instrumental ska ensemble in the business on their own sides. As his business grew and flourished, Dodd formed several other labels, mostly as a way to disguise the flood of product coming out under his name (DJs were simply tired of seeing it everywhere).
In 1963, Dodd opened the first black-owned recording studio in Jamaica on Brentford Road in Kingston; officially called the Jamaican Recording and Publishing Studio, it came to be known as Studio One, which also served as the name of Dodd's signature label from then on. With the Skatalites serving as the house band (and cutting plenty of instrumental hits of their own), Studio One turned out some of the era's best and biggest hits, with records by Delroy Wilson, Toots & the Maytals, Lee "Scratch" Perry, Bob Andy, and — perhaps most importantly — Bob Marley & the Wailers, including their chart-topping debut smash, "Simmer Down." In the process, Studio One became an invaluable training ground for an entire generation of Jamaican musical talent. Dodd was constantly scouting for new talent, holding weekly auditions, and often provided vocal training for talented but raw singers; what was more, the studio's prolific recording pace kept its stable of arrangers, producers, and musicians heavily occupied, giving them the practical knowhow that would help some set up their own operations in the years to come, and providing a strong foundation for the continued development of the country's recording industry.
During the latter half of the '60s, ska slowed down into a new style dubbed rocksteady. In spite of his earlier successes, it was during this period that Dodd truly hit his creative peak, and it remains the most often sampled portion of his extensive catalog. Helped out by new multi-track recording capabilities, which allowed for richer vocals and leaner, subtler arrangements, Dodd honed a signature sound that was soulful, organic, and rootsy, which grew into a sonic blueprint that would endure up to the ragga age. Some of Studio One's most prominent artists of the period included Alton Ellis, the Heptones, the Ethiopians, Jackie Mittoo, Delroy Wilson, Marcia Griffiths, and Ken Boothe, plus the ever-evolving, post-Skatalites studio band (first dubbed the Soul Brothers, then the Soul Vendors, and by 1970 the Sound Dimension).
With the advent of dub reggae, Dodd was no longer on the cutting edge of production techniques by the early '70s, and his frantic recording pace finally began to slow down a bit. Still, his skills were perfectly suited to the roots reggae era, and he continued to produce some of the era's biggest stars: Burning Spear, Horace Andy, Dennis Brown, Dennis Alcapone, and Freddie McGregor (whose early album Bobby Bobylon is widely considered to be one of Dodd's finest latter-day works). As roots reggae gave way to dancehall in the early '80s, Dodd initially kept pace via his work with the likes of Sugar Minott, Johnny Osbourne, Frankie Paul, and Michigan & Smiley, among others. However, amid shifts in popular taste and political unrest, he soon decided to move his operations to New York City, opening both a studio and a music store in Brooklyn. He returned to Jamaica on occasion and continued to produce records from time to time, though without the widespread success of old. In 1991, two all-star concerts in Jamaica celebrated Dodd's 35th anniversary in the music business and featured many of his old cohorts; meanwhile, the Heartbeat label (a subsidiary of Rounder) secured CD reissue rights to the vast Studio One catalog, releasing both various-artists compilations and individual artist collections. In 1993, Dodd embarked on a lengthy legal battle to collect unpaid royalties related to samples of material from his vast back catalog that were lifted without credit or permission; by 2000, he'd shifted his attention from individual producers to big-time distributors like the VP label. In 2004 Coxsone returned to Jamaica for a celebration in his honor in recognition for his contribution to Jamacain culture. The storied Brentford Road in Kingston that served as home to his recording studio that was so pivotal to the development of reggae was renamed Studio One Boulevard. Tragically, Clement "Coxsone" Dodd died of a heart attack just four days after the ceremony on May 5, 2004.
The information below comes from the following blog: Magic of Juju
"Born to roughly middle-class parents in Kingston in 1932, Coxsone began operating a sound system (a portable outfit of speakers, amplifiers, and turntables) in Jamaica's capital city in his early thirties, after a stint as an agricultural worker in Florida, where he had discovered American r&b. As a canny way of providing himself with local material that none of his competitors (such as cocky, pistol-sporting rival Duke Reid) could access, Coxsone slowly got involved in the recording of local artists. Soon, he had named himself president of not one record label, but five. At least.
"It was much more than five," he shyly corrects a visitor, explaining that the multiple imprints were a ruse to hide the extent of his labels' output, not from competitors, but from radio DJs who grew tired of being bombarded with Coxsone releases. By the time radio stations realized who was behind a track, it was already a hit." - more
Alton Ellis 2:46 Coxsone 7" CN 4069A
Alton Ellis 2:45 Coxsone 7" CN 4069B
John Holt 1:50 Coxsone 7" JR 7950A
Any Where (Ver.)
Holt & Sound Dimension 1:50 Coxsone 7" JR 7950B
Willie Williams 2:29 Coxsone 7" COX 1012A
Willie & The Soundemension 2:32 Coxsone 7" COX 1012B
Hubert Lee 2:47 Coxsone 7"
The Avenue Pt.2
Hubert Lee 2:46 Coxsone 7"
The Octaves 1:53 Coxsone 7" CS 7042B
Beat Down Babylon
Freddie McGregor 2:42 Coxsone 7" DSR-CN 5276-1 CL
The Bassies 2:59 Coxsone 7"
Black Mans Dub
Soul Vendors 3:46 Coxson 7" FCD 7808B
Pablove Black 3:22 Coxsone 7" FCD 7446B
Tommy McCook & Gladiators Band 3:10 Coxsone 7"
Bongo I - Part 2
Gladiators Band 3:16 Coxsone 7"
Al Senior 2:03 Coxsone 7" C&N 2 III-CNL
Tennysee Brown 3:10 Coxsone 7" SO 0135A
Budie Bum Version
Brentford All Stars 3:10 Coxsone 7" SO 0135B
Check Mr. Lester
Prince Jazzbo 3:20 Coxsone 7" FCD 7446A
Choice Of Colour
The Heptones 3:00 Coxsone 7" C&N 0031x1 CN
Dennis Alcapone 3:17 Coxsone 7" CS 1063A
Pablove & Sound Dimension 2:09 Coxsone 7" CN 2788B
Pablove Black & Sound Dimension 2:09 Coxson 7" CN 2788A
Tony Tough 3:39 Coxsone 7" COX 1015A
Tony & Soundemension 3:44 Coxsone 7" COX 1015B
"I was unhappy with Coxsone's treatment – no money – so I didn't go back to him. I made the group Alton and the Flames and went to record for Duke's label, Treasure Isle. My first tune for Duke, Dance Crasher, went straight to number one. After that it was history because I had a string of hits like Cry Tough, Willow Tree, Girl I’ve Got A Date and Rocksteady. But Duke Reid gave me the same treatment as Coxsone. ...years later Coxsone and I were reasoning and he said: 'Boss, the hurtfullest thing you ever did to me was when you sang Girl I've Got A Date for Duke. That mashed down my business." - Alton Ellis more
Delroy Wilson 2:38 Coxsone 7" FCD 7309A
Sound Dimension 3:15 Coxsone 7" FCD 7339B
Declaration Of Rights
The Abyssinians 3:13 Coxsone 7" FCD 7339A
Do It Right Now
The Termites 2:26 Coxsone 7" CS 7025A
Don't Fight It
Wailing Soul 2:39 Coxsone 7" CN 3129A
Don't Fight It (Version)
Sound Dimension 2:39 Coxsone 7" CN 3128B
Don't Want To Be Lonely (Ver.)
Sound Dimension Band 2:44 Coxsone 7"
Sound Dimension 2:41 Coxsone 7" DSR-CN-5514-1
Devon "Soul" Russell 3:54 Coxsone 7"
Drum Song Pt.2
Devon "Soul" Russell 3:55 Coxsone 7"
Super & Sleepy 2:55 Coxsone 7"
Everybody Rude Now
Keith McCarthy 2:42 Coxsone 7" CS 1011
The Heptones 2:46 Coxsone 7" DYNA-CN 3088-1
Leroy Sibbles 3:32 Coxsone 7" DYNA JA 3160-1
Rolando Coral & Sound Dimensions 3:13 Coxsone 7" CN 2987A
Feeling Nice Pt. 2
Sound Dimension 3:24 Coxsone 7" CN 2987B
Fling It Gimmie
The Gladiators 2:58 Coxsone 7" FCD 7154 (CS 0173)
Johnny Osbourne 2:39 Coxsone 7" DSR 9136A
Roland Alphonso 2:39 Coxsone 7" FC 2099
Freedom Blues (remix)
Roy Richards 3:17 Coxsone 7"
Freedom Dub (remix)
Roy & Sound Dimension 3:15 Coxsone 7"
Sound Dimension 3:06 Coxsone 7" CN 3257B
Sound Dimension 3:03 Coxsone 7" CN 3257A
Gaylads Medley Pt.1
The Gaylads 2:47 Coxsone 7"
Gaylads Medley Pt.2
The Gaylads 2:45 Coxsone 7"
"I enjoyed working with Scratch. I also enjoy workin' with Coxsone. I enjoyed those two in different ways. Scratch would give lots of input and once you're willing to collaborate or cooperate, then it can be fun. With Coxsone, he just leave you alone and let you do your thing and then later on decide whether he wanna release that song or not. But for the most part, he allow the artist to put his or her idea down." ~ Clinton Fearon / Gladiators - more
Barry Brown 2:47 Coxsone 7" RMM 1708A
Give Love Version
Barry & Soundemension 2:48 Coxsone 7" RMM 1708B
Carlton & His Shoes 2:52 Coxsone 7" FCD 7368
Pablove Black 3:07 Coxsone 7" FCD 8300A
The Traps 3:52 Coxsone 7" CN 3520A
How Could I Live
The Sharks 3:13 Coxsone 7"
How Could I Live (remix)
The Sharks 3:03 Coxsone 7"
How Could I Live Pt..2
Sound Dimension 3:05 Coxsone 7"
I Believe In Yesterday
Tyrone Taylor 2:45 Coxsone 7" COX 1013A
I Don't Mind Version
Bassies & Soundemension 2:51 Coxsone 7" RMM 681B
I Had A Talk
King Cry Cry 3:22 Coxsone 7" DYNA JA 3182-1
I Need A Roof
Sugar Minott 2:06 Coxsone 7" RMM 847A
I Need A Roof Pt.2
Sugar & Brentford All Stars 2:05 Coxsone 7" RMM 847B
I Shall Be Released
The Heptones 3:14 Coxsone 7"
I Shall Be Released Ver.
Heptones & Sound Dem. 3:01 Coxsone 7"
I'm The Ruler
Anthony Ellis 2:20 Coxsone 7" CD 1031A
I'm The Ruler Version
Anthony Ellis &Sound Dimension 2:21 Coxsone 7" CD 1031B
It's A Sign
B.B. Seaton 2:00 Coxsone 7"
It's A Version
B.B. Seaton & Soundemension 2:01 Coxsone 7"
Jah Hold The Key
Devon Russell 3:26 Coxsone 7" JRS 6590A
Jah Hold The Key (Version)
Devon & The Brentford Rockers 3:13 Coxsone 7" JRS 6590B
Just Don't Want To Be Lonely
Horace Andy 2:45 Coxsone 7"
Keep That Light
Johnny Osbourne & The Prophets 3:18 Coxsone 7" SO 0030A
Keep That Light Pt.2
Johnny & The Brentford Rockers 3:03 Coxsone 7" SO 0030B
Soul Vendors 3:12 Coxsone UK 7" CS 7048B
"Marcia Griffiths, who later sang with me as one of the I-Three, says that studio One was Jamaica's Motown, "where all the great stars grew ... like a university you graduate." A lot of times different people would be working at once; songs were being written in every corner. You couldn't help but learn if you kept your ears open. Coxsone had a guitar that he loaned to those who were too poor to buy one. Bob had that guitar most of the time." - Rita Marley more
Learn To Live Right
The Jay Tees 3:23 Coxson 7" CN 3344A
Learn To Live Right Pt.2
The Jaytees 3:23 Coxson 7" CN 3344B
Trevor Shields 3:35 Coxsone 7" FCD 7516A
Trevor & Brentford Rockers 3:37 Coxsone 7" FCD 7516B
Long Liver Man
Hugh Black 2:33 Coxsone 7" C-N 2-II-CN
Love Is All
Carlton & The Shoes 3:36 Coxson 7" C&N...?
Love Me Forever
Carlton & His Shoes 3:39 Coxsone 7" WIRL CS 3933-1
Love Me Girl
The Heptones 2:34 Coxsone 7" CN 3121A
Love Me Girl
Leroy & Rocky 2:28 Coxsone 7"
Love Me Version
The Heptones 2:37 Coxsone 7" CN 3121B
Love Won't Come Easy (part 2)
The Heptones 2:19 Coxsone 7" SO 0071B
Alton Ellis 3:21 Coxsone 7" FCD 7501A
Alton & Soundemension 3:20 Coxsone 7" FCD 7501B
Make It Easy On Yourself
Dennis Brown 3:15 Coxsone 7" FCD 7476A
The Heptones 2:23 Coxsone 7" SO 0056A
The Heptones 2:23 Coxsone 7" SO 0056B
Ben Bow 3:51 Coxsone 7" CS 9023A
Man Of Creation
Jah Scotchie 3:43 Coxsone 7"
Sound Dimension 2:06 Coxsone 7"
Minister For Ganja
Rapper Robert & Jim Brown 3:11 Coxsone 7" SO 0065A
Minister For Version
Rapper Brown & Soundemension 3:12 Coxsone 7" SO 0065B
Brentford Disco Band 3:00 Coxson 7" CS 7277B
Richard Ace & Brentford Disco Band 3:00 Coxson 7" CS 7277A
The Lyrics 3:06 Coxsone 7" CS 7026B
"In the early sixties Duke Reid had made it already. Coxsone as well, because Coxsone is a man who exploit people. These people were making money from the early days. And Jamaica is a place where as long as you have money...! It's not like England, where if you commit an offence you would be charged, and it don't matter how much money you have, you can end up in prison. If a little producer make a record, these guys can tell the radio station not to play it. And you pack up unless you're very lucky. At one stage you only have two producers - Dodd & Reid. Then you have the man Leslie Kong - Beverleys, a Chinaman. And in Jamaica youu don't really see a poor Chinaman. It's either a coolie man or a black man. These people have a lot of influence. When I started up the label, the first tune went down, and the second tune went down. And then Big Youth started to come up. And was clamped down, when he started to do his own stuff, but he was kinda ...strongarm stuff. I'm kinda soft, I was the soft guy, I don't really tell a producer I'm going to chop off his head or going to shoot him or lick him with something. He don't respect you." ~ Dennis Alcapone more
Ernest Wilson 3:26 Coxsone 7"
Money Worries (Version)
Ernest Wilson 3:28 Coxsone 7"
The Monkey Speaks His Mind
Denzil Thorpe 2:31 Coxsone 7"
Brentford Reggae Band 3:22 Coxsone 7" CN 3380B
Johnny Osbourne 2:54 Coxsone 7"
Johnny & The Skatalites 3:05 Coxsone 7"
The Soul Vendors 2:32 Coxsone 7" FCD 7728
My Brethren Version
(Dennis Brown) 3:15 Coxsone 7" FCD 7476B
My Guiding Star
Joe White 3:12 Coxsone 7" WIRL CS 3902-2
My Whole World Ended
Dudley Sibley 3:43 Coxsone 7"
Roy Richards & Brentford Disco Set 3:24 Coxsone 7" SC 159B
Roy Richards 3:07 Coxsone 7" SC 159A
Prince Far I 2:09 Coxsone 7"
No Man Is An Island
Dennis Brown 3:13 Coxsone 7" FCD 2307
No Sad Songs
Barrington Llewellyn 2:25 Coxsone 7"
No Sad Songs
Barrington Llewellyn 2:25 Coxsone 7" FCD 007
Sound Dimension 2:54 Coxsone 7" C&N 2 VI-CNL
Proud As I Am
B.B. Seaton 2:33 Coxsone 7" SO 0108A
Proud As I Am Pt.2
B.B. & Soundemension 2:32 Coxsone 7" SO 0108B
Jim Brown & Devon Russell 3:11 Coxsone 7" JRS 6967A
Jim & Soundemension 3:10 Coxsone 7" JRS 6967B
Rain Drops (Ver.)
Delroy & Brentford All Stars 3:01 Coxsone 7" SC 123B
Rain Drops Keep Falling
Delroy Wilson 3:12 Coxsone 7" SC 123A
The Gladiators 2:45 Coxsone 7" CN 2849A
Re Arrange (Ver.)
Sound Dimension 2:48 Coxsone 7" CN 2849B
The Gaylads 2:18 Coxsone 7"
"He was mean to me. I built his studio and I remained with it for one year doing recordings some of which have never seen the light of day. Some, I think, are still shelved and some he used with his sound system to make a lot of money. These they call dubs and they just use them on the sound system for rivalry and they have never been in print at all. I did literally hundreds of these. I remember Saturday evenings in the studio for hours on end using an old primitive converted cutter to produce records for him. I was promised 10% and I have never seen 1/10 of 1%. In fact, when I disgustedly gave up the whole thing and left Kingston for Montego Bay , he was owing me a lot of money." ~ Headly Jones - more
Ride Me (Ver.)
Sound Dimension 2:01 Coxsone 7" CN 3708B
Ride Me Donkey
Dobby Dobson 2:03 Coxsone 7" CN 3708A
Right On Rasta
Im & Count Ossie 3:08 Coxsone 7" FCD 7726-B
The Gladiators 3:22 Coxsone 7" CN 3317B
Albert Griffiths & The Gladiators 3:12 Coxsone 7" CN 3317A
The Bassies 2:20 Coxsone 7" TS DODD 189
Rocking Sweet Pea
Soul Vendors 3:02 Coxsone 7" CS 1142-1
Slim & Soul Vendors 3:14 Coxsone 7"
Slim Smith 3:09 Coxsone 7"
Rub A Dub Party
Johnny & Sound Dimension 2:43 Coxsone 7"
Larry Marshall 3:04 Coxsone 7"
Run Babylon Pt.2
Larry Marshall 3:06 Coxsone 7"
Barrington Llewellyn 2:25 Coxsone 7"
Sea Of Love
The Heptones 2:47 Coxsone 7"
Sea Of Version
Heptones & Sound Demension 2:38 Coxsone 7"
Send Another Moses
The Willows 3:13 Coxsone 7" CN 3380A
The Hamlins 3:10 Coxsone UK 7" CS 7048A
Sinners Gonna Weep And Mourn
Owen Gray 2:26 Coxsone 7" FC 126
King Stitt 4:15 Coxsone 7"
Somebody Help Me
Jackie Mittoo 3:15 Coxsone UK 7" CS 7002A
Devon "Soul" Russell 3:37 Coxsone 7" CN 3341A
Jackie Mittoo & Soul Vendors 3:06 Coxsone 7" CS 7026A
ST.CT. & The Gladiators Band 3:18 Coxsone 7" FCD 8300B
Sounds Of Silence
The Gaylads 3:31 Coxsone UK 7" CS 7002B
Devon "Soul" Russell 3:44 Coxsone 7" CN 3341B
"It was intriguing and exciting. I was a little boy, coming into a recording studio for the first time. Hearing your own voice on a record is surprising. I admire Coxsone. Even though he was unscrupulous with me, he did his job. When you had the ability, Coxsone was the man to get it out of you. The payoff wasn't too good though (laughs), but at least he built my name. I knew Coxsone very well and he was a worker, a workaholic really; he worked day and night! It was a good experience and I regret none of it... only that I never got paid." ~ Cornell Campbell - more
The Summertaires 2:15 Coxsone 7" CS 7025B
The Soul Vendors 3:01 Coxsone 7" TS DODD 190
The Table Is Gonna Turn
The Clarendonians 3:25 Coxsone 7"
Tell It All Brother
Lascelles Perkins 2:14 Coxson 7" C&N 002A
Ten To One
The Mad Lads 2:27 Coxsone 7" SO 0120A
Ten To One Version
Sound Dimension Band 2:28 Coxsone 7" SO 0120B
Time Is Gettin Hard
Hubert Lee 2:54 Coxsone 7" SC 119A
Time Is Gettin Hard Pt.2
Hubert & Sound Dimension 2:54 Coxsone 7" SC 119B
Time Is Tight
Sound Demention 2:48 Coxsone 7"
Slim Smith 2:33 Coxsone 7"
Alton Ellis 2:20 Coxsone 7"
Tommy McCook & The Sound Dimension 2:09 Coxsone 7" CN 3048A
Sound Dimension 2:08 Coxsone 7" CN 3048B
Rodley Brissett 3:42 Coxsone 7"
Voo Doo Man
Roy Richards 3:30 Coxsone 7" CS 10080A
Voo Doo Ver.
Roy & The New Establishment 3:20 Coxsone 7" CS 10080B
What You Won't (Version)
Brentford Rockers 2:51 Coxsone 7" JRS 6591B
What You Won't Do For Love
Otis Gayle 2:32 Coxsone 7" JRS 6591A
Whole World Ended (Ver.)
The New Establishment 3:46 Coxsone 7"
Why Must I
The Heptones 2:50 Coxsone 7" WIRL CS 3185-1
The Wailing Souls 2:14 Coxsone 7"
Without You (Ver.)
Sound Dimension 2:14 Coxsone 7"
Work It Up
Jackie Bernard & Kingstonians 2:24 Coxsone 7"
Voice Roys 2:13 Coxsone 7" CN 3535A
Ya Ho (Ver.)
Sound Dimension 2:14 Coxsone 7" CN 3535B
You Don't Know
The Righteous Flames 2:29 Coxsone 7" WIRL CS 3726-1
Yours Until Tomorrow
The Martinis 3:09 Coxsone 7" WIRL CS 3811-1
Sound Dimension 3:03 Coxsone 7" CN 2473B
Burning Spear 3:01 Coxson 7" CN 2473A
all thanks and praises to Jah(n) almighty.