This is the first ever Revelation Records release and it was also my first ever Revelation (REV) release to put into my collection. Small back-story - Rev was started by Jordan Cooper and Ray Cappo in 1987 in New York. They went on to release the who’s who of the hardcore scene at the time. Over a period of 3 years they had put out over 23 releases, including the first ever Sick of It All release, Judge – Bringing it down LP, Gorilla Biscuits – Start today lp and many more. As this was the first ever release done by Rev, not everything came out perfect. They had to get help from Kevin Seconds who ran Positive Force records and Kane from BYO records. The recording was sent to Kane at BYO records, who also worked in a pressing plant. Kane then mastered the recording and then pressed the record, he certainly pressed the record, but I’m not sure how much work went into mastering the recording!


What Counts as a whole is an absolutely relentless attack on trend-hoppers, greed, and false friends. Their messages are relayed with conviction and sincerity, as portrayed in vocalist Patrick Flynn’s gravelly voice. Although the vocals are relatively unique, Have Heart throw some interesting melodies and time changes into the mix, slightly reminiscent of Youth of Today.


this was the original misfits LAST SHOW ever, at the greystone in detroit. Download my videos for the earliest misfits video, misfits live 1978 ft. Jerry and Glenn


There's no room for interpretation here. This isn't the sound of a hardcore band bending over backwards to appeal to a new audience. These aren't a bunch of guys trying to put in a little something for everyone. There are no games being played and there are no gimmicks being sold. This is Terror doing what they do best; you either get it or you don't.


When someone says Straight Edge Hardcore, the glory days of bands like Minor Threat, and Gorilla Biscuits pop in to my head. However that statement is usually followed by someone talking about the newst metallic "Beat you face in if you don't believe what we do" hardcore band. So when one of my friends was rambling on about this band called Champion, and saying they reminded him of Youth of Today, Judge, and other punk influenced hardcore bands, I decided you check them out. After listening to one of their songs on Bridge Nine's website(The label that released "Promises Kept")I decided to pick this album up.

26 September 2010


IT WAS NOT until the early seventies that deejays first made any substantial impression on the Jamaican recording industry. Although the likes of Count Matchuki and Sir Lord Comic occasionally frequented the studio to spice up instrumental recordings, by and large, their services were confined to sound system dances.

Initially little more than record selectors for sound systems, deejays assumed a greater role following the exploits of Winston 'Count Matchuki' Cooper, who in the early fifties began embellishing records with smatterings of live and aural effects. Others swiftly followed suit and by the late fifties the practice was widespread, with the deejay's profile considerably raised as a consequence. Despite this, however, it was still many years before they would be taken seriously as recording artistes.

The breakthrough came in 1969, when King Stitt (real name Winston Spark), a former deejay for one of Sir Coxsone's Downbeat systems, cut a series or popular releases for producer, Clancy Eccles. Recordings such as "Fire Corner", "Vigerton 2" and "Herbsman Shuffle" (on which he was accompanied by Lynford 'Andy Capp' Anderson) pathed the way for other deejays to follow suit. The first to do so with any sustained success was U Roy (b. Ewart Beckford). Inspired by the style of Count Matchuki, U Roy had began toasting for Doctor Dickie's Dynamic system in the early sixties, prior to working for Sir George and Sir Coxsone's Downbeat. In 1969 he joined King Tubby's Hi-Fi, where his talents came to the attention of leading Kingston producer, Arthur 'Duke' Reid. The deejay was subsequently brought to the producer's Bond Street studio where he toasted over the rhythm tracks of two of Reid's old Rocksteady hits. Upon release, the resulting recordings of "Wake the Town" and "Rule the Nation" became huge hits on the island, sparking an explosion of deejay releases over the ensuing months.

Eager to capitalise on the popularity of the style, producers wasted little time seeking out deejays to record, and of these, none were more successful than Dennis 'Alcapone' Smith. From 1970 until his move to the U.K. in 1973, Alcapone's output was prolific, cutting material for every producer of note on the island and rivalling U Roy in terms of popularity.

Others to make an impression during this period included David 'Scotty' Scott, Dave Barker and Lloyd Young, all of whom had first made their mark in Jamaica as vocalists. U Roy, however, continued to lead the way throughout the early seenties, maintaining his popularity with a succession of local hits for an array of producers.

Following Alcapone's departure from Jamaica's shores, one of the main challenges to U Roy's dominance as the island's leading deejay came from I Roy. Having first made his mark with a number of systems in Spanish Town, the deejay (real name Roy Reid) recorded a handful of sides for local producer, Barry Mudie and while these early recordings reflected a strong influence of U Roy and Alcapone, he rapidly developed a style uniquely his own. A razor sharp wit, allied to a keen sense of observation empowered I Roy to take the art of toasting to a new level and would have certainly claimed U Roy's throne had it not been for the recordings of Big Youth. Born Manley Buchanan, Big Youth served his musical apprentiship with the Lord Tippertone system, prior to making his recording debut in 1972 and like I Roy, his recordings frequently conveyed a clear, often profound message, often drawing inspiration from the Bible.

As the seventies progressed, a cultural awareness engulfed much of Jamaican society and this was clearly reflected in releases by deejay recordings, which became increasingly sagacious in their tone. Jive talking or nonsense verse were no longer enough to carry a record and the style of toasting made popular by the likes of King Stitt, U Roy and Dennis Alcapone became confined to history. This collection however, celebrates those early efforts from the late sixties and early seventies, when even the likes of I Roy and Big Youth felt no great compulsion to always make a serious statement. What these recordings may lack in the way of any meaningful comment, they more than make up for in their sense of fun. In the immortal words of King Stitt - hot it from the top, to the very last drop!



Screaming Target – Big Youth
Festival Wise – U.Roy
Yamaha Skank – Shorty
DJ’s Choice – Winston Williams
Hot Bomb – I .Roy & The Jumpers
King Of Kings – Dennis Alcapone
I Got To Get Away – Dave Barker
Pride And Joy Rock – Big Youth
Love Is A Treasure – Lizzy
The Tide Is High – U. Roy
Riddle I This – Scotty
Blackman Time – I. Roy
Herbsman (Shuffle) – King Stitt & Andy Cap
Cambodia – Blake Boy
S90 Skank – Big Youth
Place Called Africa – Winston Prince
Earthquake – U. Roy


Clean Race – Scotty
Spanish Amigo – Dennis Alcapone
Buck And The Preacher – I Roy
Hot Stick Version – Phillip Samuels
Be Careful – Big Youth
True True – U. Roy
Vigerton 2 – King Stitt
Cow Town Skank – I. Roy
Teach The Children – Dennis Alcapone
Red Gold And Green – I. Roy
Draw Your Brakes – Scotty
Jack Of My Trade – Sir Lord Comic
Moving Version – Big Youth
Give Me Power Version – King Iwah
Flashing My Whip – U. Roy
Fire Corner – King Stitt
Ripe Cherry – Dennis Alcapone


Hammering – Cat Campbell
Shock And Shake – Charlie Ace
To The Fields – Herman
I Worry – Scotty
Tripe Girl – I. Roy
Dreamland Version – Big Youth
The Great Woggie – Dennis Alcapone
Love I Tender – U. Roy
High Explosion – Lloyd Young
Wet Version – Dave Barker
Children Children – Scotty
The Right Song – Lizzy
The Killer – Big Youth
Ten Commandments – Prince Heron
D.J.’s Choice – Dennis Alcapone
Dr. Phibbs – I. Roy


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