K SPECIAL VA - Reggae Lovers Rock: The 214 Greatest Lovers Rock Reggae Tracks of All Time (Super Deluxe Edition) (17CD) (2026)

K SPECIAL

VA - Reggae Lovers Rock: The 214 Greatest Lovers Rock Reggae Tracks of All Time (Super Deluxe Edition) (17CD) (2026)

To celebrate Valentine's Day along with Black History Month: Sunday, February 1st, 2026 - Sunday, March 1st, 2026, here is my personal compilation of 214 (2/14 February 14th) classic Lovers Rock reggae songs.

Lovers Rock is a style of reggae music noted for its romantic sound and content. While love songs had been an important part of reggae since the late 1960s, the style was given a greater focus and a name in London in the mid-1970s.

Lovers Rock: A Romantic Journey

Lovers Rock emerged as a soulful and romantic genre, weaving tales of love and passion against the rhythmic backdrop of reggae. Originating in the late 1960s and flourishing in the 1970s, Lovers Rock represents a softer, more tender side of Jamaican music, providing a musical haven for romantic expression.

The birth of Lovers Rock can be traced back to the influence of American R&B and soul music. As reggae artists explored new sonic territories, they embraced smoother rhythms, heartfelt lyrics, and lush harmonies, giving rise to a distinctive genre that resonated with love-struck audiences. The Gregory Isaacs 1972 release “My Only Lover” is credited as being the first Lovers Rock hit coming out of Jamaica. Ken Boothe also scored a monster UK hit in 1974 with the release of “Everything I Own”, a cover version of the song written by American singer-songwriter David Gates and first recorded and released by his band Bread in 1972.

The sultry rhythms and romantic allure of Lovers Rock did not confine themselves to the shores of Jamaica. As Jamaican communities migrated across the globe, they carried with them the heartfelt melodies of Lovers Rock introducing the genre to new audiences eager to embrace its emotional depth.

In the mid to late 1970s Lovers Rock exploded in the UK with iconic tracks such as Janet Kay’s “Silly Games”. Released in 1979, the song encapsulates the genre’s essence, with Kay’s emotive vocals and the languid tempo creating a timeless ballad. As the home to a significant Jamaican diaspora population, Lovers Rock gained immense popularity in the UK. British artists like Maxi Priest, known for hits such as “Close to You,” embraced the genre, blending Jamaican and British influences to create a sound that resonated with diverse audiences. Nigerian-born British singer Sade’s “Your Love Is King” reflects the cross-cultural exchange between Jamaican lover’s rock and the global music scene.

Several non-Jamaican artists, captivated by the romantic allure of Lovers Rock have paid homage to the genre in their musical creations. In the United States, Lauryn Hill’s “Turn Your Lights Down Low” is a soulful interpretation that draws inspiration from the Lovers Rock tradition. The collaboration with Bob Marley posthumously brought the genre to new heights on an international scale. In the United Kingdom, the British band UB40 embraced Lovers Rock in their rendition of Neil Diamond’s “Red Red Wine.” The reggae-infused cover, released in 1983, became a global hit, further solidifying Lovers Rock as a genre with universal appeal.

Lovers Rock stands as a serenade to the heart. From the streets of Kingston to international stages, the romantic rhythms of Lovers Rock continue to captivate audiences, creating a lasting legacy that echoes through time.Lovers Rock remains extremely popular in Jamaica and among reggae fans around the world, as exemplified by the long and very successful recording and live performance career of Beres Hammond, who has scored numerous hit songs over the decades including “Rock Away”.

Initially centered around sentimental ballads voiced by young black British women, Lovers Rock provided the thrilling soundtrack to the late '70s and early '80s blues parties immortalised in Steve McQueen's excellent BBC film, Lovers Rock. One standout scene featured a crowded dance-floor united in singing Janet Kay's Silly Games, the reggae sub-genre's breakthrough tune. Written and produced by Dennis Bovell, Silly Games took Lovers Rock into the mainstream in 1979 when it reached Number 2 in the UK singles chart; it also made Kay the highest charting black British female of that time.

Based in south London, Bovell had witnessed the birth of the genre four years earlier, playing with his band Matumbi on what is widely acknowledged as the first Lovers Rock record, Louisa Mark's ‘Caught You in a Lie’, the then 14 year-old's cover of the Robert Parker soul song, which placed her sweet vocals over easygoing rhythms. It had been Bovell's erstwhile collaborator, the producer Dennis Harris, who originally coined the term with his Lover’s Rock label.

Utilising the core house band of Bovell and guitarist John Kpiaye, was home to a series of genre-defining singles by Brown Sugar, Vivian Clark, Cassandra and T.T. Ross.

Vital in bringing a female perspective to the male-dominated militancy of roots reggae, Lovers Rock took musical pointers from the rocksteady of Alton Ellis and Phyllis Dillon and the smooth soul of Philadelphia and Chicago, while aligning itself with the politics of disco.

Dennis Lascelles Harris

Harris is credited with introducing the term Lovers Rock to reggae.

His initial involvement was marketing recordings from Jamaica under the collective banner of Eve Records, securing a contract to release work from such luminaries as Winston Edwards, Lee Perry and Yabby You.

Notable Upsetters releases included Jimmy Riley’s cover version of Pluto Shervington’s ‘Ram Goat Liver’, which included a version on the b-side performed by the young Perrys, Omar And Marsha, who also appeared on a different cut of the Mighty Diamonds’ ‘Talk About It’.

Other releases included ‘Cutting Razor’ by the Versatiles and ‘Hurt So Good’ by Susan Cadogan, which entered the UK pop chart, peaking at number 4 in 1975 when Harris licensed the release to Magnet. The song also influenced a pop remake by Jimmy Somerville in 1995, revitalising interest in the original version. Magnet were also licensed to release the classic Junior Byles tune, ‘Curly Locks’, but disappointingly failed to secure an entry in the UK pop chart. With Yabby You, the label released Ram a Dam, considered by many to be a classic, along with Big Youth’s ‘Lightning Flash (Weak Heart Drop)’.

Inspired by his success, Harris began recording in the UK, producing hits with Two in Love (‘You Are Mine’) and with white singer T.T. Ross (a version of ‘Imagine’ and a remake of ‘Last Date’). ‘Last Date’ was licensed to Polydor Records as both parties were hoping to emulate the success of Cadogon’s hit.

His initial releases surfaced on the Dip, Lucky and Eve labels, but it was the introduction of the Lover’s Rock label that coined the phrase that lives on to this day.

Harris recorded Brown Sugar for their hits ‘I’m in Love with a Dreadlocks’, ‘Hello Stranger’ and ‘Black Pride’. Other Lovers Rock productions were Vivian Clark’s ‘Come and Take Me’ and Roland & Carolyn’s ‘I Admire You’, both of which had crossover potential but were sadly overlooked by the media.

By 1976 Harris was offering a dub plate service, where anybody could make a trip to Upper Brockley Road and purchase a unique disc similar to those heard in the sound systems, as well as take advantage of his generous rates to hire Eve’s eight-track recording studio facilities.

He enjoyed enormous success with his dub albums Leggo Ah Fe We Dis and Ah Who Seh Go Deh, credited to the 4th Street Orchestra whose albums were originally thought to have been recorded in Jamaica. The musicians who had successfully recreated the Jamaican sound were reported to be members of Matumbi, who had recorded the tunes in Harris’ south London studio.

He also introduced Sunday afternoon auditions in the same way that Coxsone Dodd had done in Jamaica in the early 60s. In 1977, Laurel Aitken ventured to Harris’ studio where he cut a version of the Demis Roussos tune ‘Forever and Ever’, which worked surprisingly well when given a reggae beat. Sadly, by the early 80s Eve Records had vanished, but not before making an important contribution to the history of reggae.

History

The roots of Lovers Rock lie in the last days of the rocksteady era and early days of reggae, with Jamaican and American singers such as Ken Boothe, Johnny Nash and John Holt enjoying international hits with versions of well-known love songs.

A style suited to the London reggae scene, Lovers Rock represented an apolitical counterpoint to the conscious Rastafarian sound dominant in Jamaica at the time, a continuation of the soulful and commonly love-themed rocksteady style, based on singers like Alton Ellis, who were not very optimistic about the rise of Rastafarian reggae. It combined the smooth soul sounds of Chicago and Philadelphia soul with rocksteady and reggae bass-line rhythms. Rooted in the sound systems of South London, the style had particular appeal amongst women and produced many female stars including Carroll Thompson. Louisa Mark was aged 14 when she had a major lovers rock hit with her version of Robert Parker's "Caught You in a Lie" in 1975. This spawned the distinctive young girl female sound associated with earlyLovers Rock.

Simplicity formed in 1975 and released their first hit "To Be in Love" produced by Coxson; the B-side was the Emotions' US R&B song, "A Feeling Is a Feeling". They were headhunted by Neville King who produced their UK reggae chart hit "Black Is Our Colour". This was followed by the husband and wife production team of Dennis and Eve Harris who then had a big hit with T.T. Ross's "Last Date". Dennis Harris then set up a new record label, Lover's Rock, at his South East London Studio on Upper Brockley Road along with John Kpiaye and Dennis Bovell, which gave the new genre a name.

South London trio Brown Sugar (including a young Caron Wheeler, later of Soul II Soul) pioneered a subgenre, 'conscious lovers', with songs such as "I'm in Love with a Dreadlocks" (1977) and "Black Pride". Others who released records in this sub-genre included the Battersea singer Winsome who recorded a sensational version of Barbara Acklin’s ‘Am I the Same Girl’ in 1986 for the Fine Style label, a subsidiary of Fashion Records. Lovers Rock became a staple of London's sound systems such as Chicken Hi-Fi, Success Sound, and Soferno B.

Neil "Mad Professor" Fraser became a key Lovers Rock producer, working with Deborahe Glasgow, while Bovell produced one of the genre's biggest hits, Janet Kay's "Silly Games", which reached number 2 in the UK Singles Chart in 1979. Although noted for the preponderance and youth of its female exponents, the new style produced male stars as well, including Trevor Walters, Honey Boy, and Winston Reedy. The trend also saw the emergence of many male groups, including Tradition, The Investigators and the Birmingham group Beshara, who in 1981, had the emotive reggae chart hit "Men Cry Too".

Subsequently, numerous well-established Jamaican acts attempted the new sound. Most successful among these were Gregory Isaacs, Dennis Brown, Sugar Minott, and later Freddie McGregor. Brown's "Money in My Pocket" (#14 in 1979) and Minott's "Good Thing Going" (#4 in 1981) were both successful hits on the UK Singles Chart.

Other Lovers Rock singers were Junior Murvin, Beres Hammond, Horace Andy, Kofi, Sanchez, Samantha Rose, and Marcia Aitken. Maxi Priest gained lovers rock hits such as "Wild World"(1988) and "Close to You"(1990).

Seminal punk/rock/ska/reggae crossover band the Clash popularised the term, introducing it to a wider mainstream audience, by including a song called "Lover's Rock" on their 1979 signature double LP, London Calling.

The popularity of Lovers Rock continued through the next decade. In the 1980s, the Fashion label was successful with UK audiences, and the Revue label had a chart-topper in 1986 with Boris Gardiner's "I Wanna Wake Up with You". In the 1990s, artists such as Mike Anthony, Peter Hunnigale and Donna Marie enjoyed success with the genre, and several British stars performed at Reggae Sunsplash.

Influence

The genre of Lovers Rock has heavily influenced the R&B, hip hop and pop music scenes since its peak in the 1960s and 1970s. Songs incorporating a mixture of love and romance, politics and reggae-inspired sounds have become an accepted trend in music. Steve McQueen's Lovers Rock film (with Dennis Bovell in a minor role), released in December 2020, chronicled a night at a 1980 blues party in West London in which Lovers Rock music played a central part in both the storyline and soundtrack.

Lovers Rock has been heavily constructed in line with romantic sound and themes. Lisa Palmer's "Men Cry Too: Black Masculinities and the Feminisation of Lovers Rock in the UK" discusses the lyrical contents found within this genre, which are notable due to how they shaped its gendering and politicisation. For instance, the song "Men Cry Too/Man a Reason" was important because it "captured the sense of loss, longing, and vulnerability that was part of black male life in Britain, but was and remains frequently overshadowed by the notion that black masculinity within the British roots reggae music scene is constructed upon the paradigm of political resistance and protest detached from emotional or erotic expression" (Palmer 128).

Politics

Because the majority of its audience were women, and it tended to have a romantic influence in sound and lyrics, Lovers Rock was often seen as intrinsically apolitical, whereas roots reggae and the black masculinity associated with it had clear political messages of emancipation and liberation. While not as explicitly politically conscious as other sub-genres of reggae, Lovers Rock was indeed political, however, “never [steering] too far away from the politics of romantic love and heartbreak”.

Lovers Rock, being indigenous to Britain with strong Jamaican influences, emerged with regard to the cultural and political environments of the time for Caribbean people in the United Kingdom. It engaged with politics for the female face of the genre, as well as for the male-dominated production and ownership of the genre. It portrayed patriarchal discourses through its creation of politically contentious erotic spaces that challenged racism, while also encapsulating the struggles of gendered oppression dealt with by women. Though much more subtle than other politically outspoken music, Lovers Rock did portray its own stance on the political climate of Britain in the mid-1970s.

Lovers Rock, moreover, was an indicator of social and cultural changes within Black and Caribbean communities living in the UK. As opposed to the singularity espoused by reggae music, Lovers Rock encouraged people to engage with one another in hopes of finding a love interest. This allowed for new dynamics of sex and gender, with women having more personal autonomy on the dance floor and a choice of who to engage or not engage romantically with.

There's a "faulty logic follow(ing) dominant perceptions within wider patriarchal cultures that love is not political and is ultimately female work" (Palmer 117). "While there remains much to celebrate within Lovers Rock’s historical legacy, sentimentality has given way to tackling the more challenging question of how black Britons are now imagining new discourses on black freedom that take seriously the gendered and erotic entanglements that shape and define our visions of black liberation," (Palmer 129). In an anti-black world that constantly places black people in a separate category as human, anything fighting against these notions is a push towards liberation. Love is the quintessential human feeling and by expressing it, the artists of lovers rock and other black genres are showing the humanity of black people and pushing towards liberation.

The genres of Brit funk and Lovers Rock also displayed an interesting interrogation of a black diasporic that received far less attention from mainstream music society; its portrayals of black diasporic identities in the United Kingdom at the time are unlike any other culture in the history of black music. Strachan states that being black and British, much like the thesis of "The Black Atlantic", involves quite a bit of manoeuvring as far as identities go. The identities went far beyond that of just Black Brits, as well as the musical influences. Much like how Lovers Rock and Brit funk have allowed for many genres to interact that never would have, many of these identities were introduced to each other for the first time. Though the genres were very much framed apolitically, as these tracks were the ones that received radio time, there was still a deep emphasis on the identity of the artists and listeners as marginalised in every sense. Many tracks displayed this, as well as artist interviews, but these received far less airtime.

According to sociologist Lisa Amanda Palmer, the patriarchal structures within Lovers Rock dictated female success as men were often the DJs and producers in that space. She cites the experience of Carroll Thompson, who created her own company (in which she maintained complete creative control of her projects) because she was tired of the sexist and prejudice attitudes within the industry. She also argues that these patriarchal structures are inherently harmful to both men and women. Pointedly, this gendering neglects the men who were allowed to be emotionally expressive and vulnerable within the context of lovers rock such as Beshara’s 1981 track “Men Cry Too” which highlighted the emotions that consumed Black British men. Furthermore, this gendering creates a tension between political protest and the emotional/erotic. Additionally, it places femininity in opposition to Black political protest. The gendering of Black diasporic music is commonplace, but Lovers Rock makes it clear that Black femininity is not inherently oppositional to Black power. Ultimately, Palmer asserts that Lovers Rock and roots reggae are not oppositional, but instead demonstrate the many forms of Black expression in a period of extreme radicalisation and prejudice.

While the exact first Lovers Rock song is debated, many sources cite "Caught You in a Lie" by Louisa Mark (1975) as a crucial early example that crystallised the genre. However, precursors like Ginger Williams's "Tenderness" (1974) and other 1972 releases by artists like Gregory Isaacs, John Holt, Ken Boothe, and Domino Johnson also laid the groundwork for the romantic, soul-infused reggae style.

The Gregory Isaacs 1972 release “My Only Lover” is credited as being the first Lovers Rock hit coming out of Jamaica. Ken Boothe also scored a monster UK hit in 1974 with the release of “Everything I Own”, a cover version of the song written by American singer-songwriter David Gates and first recorded and released by his band Bread in 1972.

Key early songs and artists:

Ginger Williams's "I Can't Resist Your Tenderness" (1974): Issued by Count Shelly, this was a significant early example of the genre.

Louisa Mark's "Caught You in a Lie" (1975):

This rendition of a Robert Parker song, produced by sound system operator Lloyd Coxsone, is widely considered a catalyst for the genre, establishing the sound of young, female vocals in Lovers Rock.

Artists like John Holt and Ken Boothe: These artists performed popular love songs that were early influences on the style.

Other 1972 Releases:

Records like Domino Johnson's "Summer Time" and Lorna Bennett's "Breakfast in Bed" demonstrate the existence of the romantic sound before the term "Lovers Rock" became common.

What is Lovers Rock?

Romantic Themes: The genre focuses on love, romance, and heartfelt emotions.

Soul-Infused Reggae: It features a smooth, soulful, and romantic sound, in contrast to the more conscious and political themes in some other reggae music.

UK Origin: Lovers Rock emerged in London in the mid-1970s, influenced by the Jamaican diaspora.

“Uptown Top Ranking” refers to the classic 1977 reggae hit by Jamaican teenage singers Althea & Donna , which became a number-one single in the UK in 1978, and is considered a quintessential Lovers Rock track. The song features the duo ad-libbing over a re-recorded rhythm of Alton Ellis's 1967 song "I'm Still in Love," and was produced by Joe Gibbs.

Background and Creation

“Uptown Top Ranking": was recorded by Althea Forrest and Donna Reid, at 17 and 18 years old respectively, as an "answer record" to the deejay track "Three Piece Suit" by Trinity. It was initially a joke and was featured on the Joe Gibbs production album Uptown Top Ranking: Trojan Ska & Reggae Chartbusters. The track was a re-recording of the riddim from Alton Ellis's 1967 song "I'm Still in Love with You," a song that had been popularised in the 1970s by Marcia Aitken's cover "I'm Still in Love with You Boy".

Release and Success

The song gained unexpected popularity after BBC Radio 1 DJ John Peel played it by accident, leading to many requests and a surprise hit. It reached number one on the UK Singles Chart in February 1978.

Legacy

The song is a prime example of reggae, with its characteristic rhythm and vocal style. It is also considered a key Lovers Rock song due to its romantic themes and smooth production.

As Jamaican reggae was exploding onto the mainstream UK scene in the 1970s, a younger, more omnivorous audience was forging a new genre called “lovers rock.” At the time, the children of the Windrush Generation, whose parents emigrated from the Caribbean and African Commonwealth en masse in the 1950s, were teenagers looking to establish themselves in the UK, and wanted to do it to their own soundtrack.

While reggae, through its network of under-the-radar soundsystem dances, had become the music of choice for so many Black youngsters, growing up in Britain in the ’60s had exposed them to all manner of other sounds. Motown, Philly soul, and pop music in general - everybody loved the Beatles - were part of their musical environment and were duly reflected in the reggae these kids created for themselves.

Reggae made in Britain at that point veered away from the higher profile Jamaican approach, which modeled itself after Bob Marley’s rebel music; steeped in roots ‘n’ culture ‘n’ Rastafari. British reggae became a Black pop music, the UK’s first, as it absorbed the more melodic aspects of American soul, focused on singing and harmonizing, and centered around young love found, lost, ignored, or precluded. “The songs,” explains Janet Kay the genre’s first mainstream star, “were all about us - falling in love, having our hearts broken - so they appealed so much to us as young kids, growing up and finding our ways in the world.”

Lovers Rock’s first superstar, Janet Kay remains its best-known artist. Born in London and influenced by the likes of the Supremes, Dusty Springfield, and Deniece Williams, she had ambitions to be a soul singer. Reggae intervened when the UK-based Jamaican artist and producer Alton Edwards gave Janet her debut in the studio: “Once I was doing reggae,” she says, “I wanted to do the sort of reggae that took in my other influences.”

Quickly a fixture on the underground Lovers Rock scene, it was inevitable that she would work with its foremost producer, Dennis Bovell, resulting in the genre’s first mainstream hit with “Silly Games,” which reached number two in the national charts. In order to perform on the BBC’s flagship TV show Top of the Pops, Janet had to ask for the morning off work. Janet still performs, releasing new music to a loyal army of lovers rock fans, old and new.

The definitive Hits Collection is a great illustration of the breadth within Lovers Rock. As well as the iconic “Silly Games,” this collection features “Capricorn Woman,” a huge genre hit that illustrates the just how much crossover there was between soul music and lovers rock; the bouncy “The Closer I Get to You” duet with Dennis Brown; the rootsy “Fight Life”; and a very 1970s cover of the rocksteady classic “I’m Still in Love with You.”

London producer Neil “Mad Professor” Fraser’s Ariwa label was key in Lovers Rock and this compilation is a who’s who of the style’s stars, including Carroll Thompson, Sandra Cross, JC Lodge, Nadine Sutherland, and Aisha. In the 1970s, Thompson was a genre superstar and officially the Queen of Lovers Rock. Her 1992 album, The Other Side of Love, was a late-model entry that subtly updated the style by easing in wider influences without sacrificing any of its roots.

Lovers Rock owed its creative independence to the environment in which it developed; away from the machinations of the mainstream music industry, it could respond directly and swiftly to its audience’s preferences. It evolved into a far more conventional pop sound, as it was made for a crowd to whom Jamaica and the common man’s sufferer culture was a concept rather than a lived experience. Significantly, this Born-in-Britain generation was made up of kids with roots from all over what used to be the Commonwealth - Africa as well as the West Indies - so loyalty to what was considered authentic reggae wasn’t a given. It made for a different approach to reggae music.

Dennis Bovell, born in Barbados, produced Janet Kay’s groundbreaking hit “Silly Games” and, along with Dennis Harris and John Kapaye, was responsible for the iconic Lover’s Rock record label which pumped out genre classic after genre classic. As a musician foremost, he understood the need for a new sort of reggae. “As a musician in a band - Matumbi - I wanted to write proper pop songs with verses and choruses, which so much reggae at the time didn’t have. I wanted to make the music that would get us on to the weekly chart TV show Top of the Pops, which is where our audience wanted to see us. They wanted us to show we were as good as that.Lovers Rock ticked all the boxes and gave those kids a music that they could be proud of and was always going to be theirs,” he says. Lovers Rock from Bovell’s bands shows how effectively and inventively the dub mix had been incorporated into the genre.

British reggae singer Janet Kay, born in London, who was 21 years old when her single ‘Silly Games’ rocketed to No. 2 on the UK chart in the summer of 1979. It was one of Britain's biggest ever reggae hits, and was a perfect example of the genre's tender soulful category known as Lovers Rock. Kay was on vacation in the Netherlands at the time of the records success, unaware that ‘Silly Games’ was climbing the charts. During the late 1970s and early 80s, reggae (including Kay's other records) was widely ignored by the radio establishment in Britain. ‘Silly Games’ had a quirky distinguishing feature, that of Janet's thin voice straining to reach the ultra-high notes of the song's climax. It remained her only pop crossover hit, but later records (such as the 1982 album Capricorn Woman, produced by leading UK reggae wizard Dennis Bovell) continued to be well received in the specialist market.

• "Night Nurse" by Gregory Isaacs (1982): A sultry and iconic track from the "Cool Ruler" became one of the most recognisable lovers rock hits worldwide.

• "Don't Let It Get to Your Head" by Black Harmony (1979): This sublime vocal harmony cut has become a staple of the genre.

• "Good Thing Going" by Sugar Minott (1981):

Minott’s take on this Motown classic, known for his sweet falsetto, is a definitive Lovers Rock cover.

• “Have I Told You Lately" by George Faith (1979): The "Jamaican Luther Vandross" delivers a tender and soulful Lovers Rock favourite.

• "Girl l've Got a Date" by Alton Ellis (1966): This ska and rocksteady original is considered a pre-lovers rock essential and was later adapted by many artists.

Don't Stay Away (1967) by Phyllis Dillon. Dillon was introduced to Treasure Isle studios by Tommy McCook, and recorded her first record for Duke Reid, "Don't Stay Away", in late 1966, a recording that has been described as "perhaps the finest female performance in Jamaican music" and quite possibly the quintessential pre-lovers rock tune.

Donna Rhoden is a prolific and versatile songstress and winner of a BBC Radio London British Reggae Award for 'Best Newcomer'. Born in Manchester and raised in London, Donna has been writing songs since she was twelve and started recording professionally at fifteen. She auditioned with the legendary lovers rock label Santic and producer Leonard Chin offered her a recording contract on the spot. Her debut single ‘Be Kind to My Man’ combined reggae with a hint of jazz and went straight to the top of the UK reggae charts. Her follow-up single 'It's True' took the concept to another level, eclipsing the success of the first, just when the lovers rock phenomenon was at its height. Both tracks are considered classics and are still being pressed and sort after globally to this day. in 2008 Donna received a Lovers Rock Award for an outstanding contribution to the British Reggae Movement.

Donna Rhoden was born in September 1964, London, England. She gained tremendous popularity as a lovers rock performer in the early 80s. She began her career performing on the Silver Slate sound system based in Stockwell, south London. Her vocal skills led to an association with members of the Well Pack band, who had provided backing for Brown Sugar - the latter’s delicate harmonies alongside 15-16-17 inspired Rhoden to embark on a recording career. Unfortunately, her work with the group made little impact but led to a collaboration with Leonard Chin, the lead guitarist from UK rockers Santic, who had successfully produced hits for Carroll Thompson and Jean Adebambo.

Her initial hit, ‘It’s True’, proved a success and was followed by the equally popular ‘Be Kind to My Man’. The winning formula resulted in her third release, ‘Shy Girl’, which did not make a significant impression on the charts. The failure of the single led to an effective change of direction, which resulted in the release of ‘I’ve Fallen in Love’. In 1982 the similarly titled ‘I’m Falling in Love’, the poignant ‘Don’t You’ and the celebratory ‘We Are in Love’ were released, all demonstrating the professionalism of the close-knit Ital group. Rhoden has since been recognized as one of the key performers in the development of lovers rock.

While Lovers Rock didn’t focus on reggae’s protest side, it wasn’t that Lovers Rock artists, producers, and audiences ignored it. During the 1970s and 1980s, inner city unrest, often as a result of police mistreatment of young Black men, led to a series of large-scale riots, and Lovers Rock was keen to reflect Black solidarity and pride. The desire for social commentary led to the very popular sub-genre, conscious lovers, which expressed the roots ‘n’ culture sentiments, but from a UK perspective and in a suitably melodic form.

London-based reggae producer Mad Professor (aka Neil Fraser) played a big part in moving Lovers Rock into the ’80s with his embrace of evolving studio technology. He also steered the genre towards roots reggae by using Lovers Rock tempos and arrangements, and opened up the dubwise aspect of the mixes to lean into the percussion and effects. With the addition of Rasta-influenced lyrics, the sub-genre “cultural lovers” was created, which was able to mix with more conventional Lovers Rock without ruining the vibe. These full-length disco mixes are as much about innovative dub technique as they are about the singing.

Singer Kofi (born Carol Simms) was once in a Lovers Rock trio called Brown Sugar (one of the others was Soul II Soul’s Caron Wheeler) and they created “Black Pride,” a song that became an anthem. That track is wonderfully revisited on this solo album by Kofi.

By the end of the 1980s, there wasn’t a huge amount of new Lovers Rock being made. Reggae had moved on and the next generation of Black British teens wanted their own soundtrack. The genre was far from finished though. Since its heyday, the style has proved remarkably versatile. Several tracks every year from singers both veteran and new take on the genre afresh with contemporary production ideas and sounds, while the classics are frequently updated to reach a new audience. Teenagers in love will never go out of fashion.

In 2011, a brilliant documentary, The Story of Lovers Rock, gave both old and new manifestations of the music a considerable boost. Lovers Rock’s most remarkable legacy, however, is that some 40 years later, the original stars regularly tour the UK, selling out mid-sized venues to crowds of, mainly, middle-aged Black women sufficiently devoted to sing along to almost every song.

Lover’s Rock. A Reggae label, founded in 1977 by Dennis Harris and Dennis Bovell in reaction to the masculine-orientated Roots Reggae which was prevalent at the time.

The aim of Lover's Rock was to provide a gentler, more soulful, kind of Reggae, which would appeal to women in particular. Thanks to the songwriting, production and instrumental talents of the team of Harris, Bovell and friend John Kipaye, that aim was achieved.

40 @ 40. No.10 LOVERS ROCK - Record Collector Magazine:

https://recordcollectormag.com/articles/40-40-10-lovers-rock

There are a number of producers and artists who would argue that they recorded the first Lovers Rock single. After all, from early 60s bluebeat onwards, matters of the heart were always to the fore on 7”s dominated by Jamaican artists that worked through ska, rocksteady and into reggae. However, by the mid-to-late 70s, reggae had got serious, dealing with the head rather than the heart, with lyrics exploring black consciousness, religion, oppression, Jah, the Rastafarian religion, Africa as the cradle of civilisation and a hankering to return there. Former ska boy Bob Marley crossed over like a reggae Christ with a guitar and even 10cc were singing about having gold chains stolen on ‘Dreadlock Holiday’ (but still loving reggae). Meanwhile, flipside instrumental versions had become sophisticated remixes and were not just left to B-sides but spread over entire LPs, where vocals were sparsely deployed.

While all this was happening, Lovers Rock emerged as a mostly home-grown UK phenomenon, offering a more soulful take on reggae, usually sung from the female perspective, and rewinding matters of the heart back to the dancehall. Now, there are not many Lovers Rock records worth hundreds of pounds here, but, as summer ends, here are 40 that allow you to wind up your waist or put your arms around someone else’s.

Let’s kick off with a classic patrol through Ashford & Simpson’s Silly Wasn’t I/Version by Sharon Forrester from 1973 (Ashanti ASH 403, £25) - a fine example of proto-lovers. Her first album Sharon is also worth seeking out (Ashanti SHAN 105, 1974, £30).

Next up is Caught You in a Lie, by Louisa Mark. Mark was 14-years-old when she recorded this influential single and it was first stamped on the black stuff by Safari in 1975 (SF 1105). The record sold 10,000 copies in a week, but a Mint copy is still worth £15. Mark was soon known to reggae fans as the “Markswoman” because she hit the spot, recording a number of singles of which Even Though You’re Gone/Gone Clear (Bushays BFM 100, 1978, £30) is the rarest. Equally essential is her only LP, Breakout (Bushays, 1981, £40).

The Nairobi Sisters’ version of Burt Bacharach’s There’s Always Something There To Remind Me/(Version) (Third World TW 14, 1975, £10) is more ska, but lovers in spirit, and is the only record listed here with a fiddle on it!

Two other early gems were Angelique’s Cry/Crying (Tempus TEM 102, 1975, £20) and Eva Smart’s One Life to Live One Life to Love/One Live Version (Empire EMP 903, 1976, £20).

When it comes to tender-hearted teens, Sonia Williams, Christine McNabb and Wraydene McNabb made up the trio 15, 16, 17, so-called because it was their respective ages when they released their debut single, If You Love Me, Smile, in 1976, though Black Skin Boy/Blacker Version (Morpheus DEB 6, 1977, £20) is an equally choice cut. Though an LP - Magic Touch - was recorded in 1977/78 it was not released until 2006 (DEB LP 101, £18) and is one you should check out.

Also in the mix are Simplicity, whose debut single, Feeling Is a Feeling/Been in Love (Student STU 1028, 1977, £20), is four-girl harmony heaven.

Brown Sugar (Caron Wheeler, Carol Simms and Pauline Catlin) were vital, and their I’m in Love with a Dreadlocks/Version is delicious on the ear. Crucially, …Dreadlocks (Lovers Rock CJ 613, 1977, £30) was released on the Lover’s Rock label, which gave the genre its name. All Brown Sugar records are essential, especially Black Pride/Version (Lovers Rock CJ 619, 1977, £25). The recent Soul Jazz compilation, I’m in Love with a Dreadlocks (2018), is a must-have, whether as the 2LP or CD set. Carol Simms’ solo records are also worth seeking out. Two of her best and rarest lovers outings - recorded as Kofi - came much later: Didn’t I/PROFESSOR DOPPLER: I’m a Dropout (Ariwa ARI 73, 1987, £35) and her 1989 LP, Black…with Sugar (Ariwa ARI LP 042, £30). Caron Wheeler went on to find fortune and fame with Soul II Soul.

Solo singer, Joan Ross, recorded under many names but hit the lovers G spot as T.T. Ross, with Last Date, in 1975, though the green-eyed Jealousy/Jealous Rock (Lucky LY 6039, 1976, £5) is probably better. Under her own name she covered songs such as Band of Gold and No More Lonely Teardrops.

Carroll Thompson

Hopelessly in Love

CARIB GEMS 1981, £25

“The album that defined lovers rock, no question about it. Fabulous”.

The undisputed “queen of lovers rock”, Carroll Thompson was one of the first female British reggae singers to write and produce her own material. From Letchworth in Hertfordshire, she grew up on her grandma’s ska, vocal jazz and rocksteady albums and sang back up with groups, including Imagination, before going solo and hitting the UK Reggae Number 1 spot with I’m So Sorry in 1980 and Simply in Love the following year. Both self-penned and sumptuous, they are included on this debut album, which was co-produced with Anthony ‘Chips’ Richards and is everything you might possibly want from a lovers rock album, conjuring pleasurable moods as Thompson’s deliciously soulful vocal brings instant uplift. High points, along with the aforementioned singles, include When We Are As One and No You Don’t Know, but it’s all crucial stuff.

Reportedly selling in excess of a million albums worldwide, the 10-track album included the aforementioned hits alongside additional new original works that have since become widely regarded as classics of the genre.

Recently voted by readers of MOJO magazine as the greatest lovers rock album of all time, the "Hopelessly in Love" album also demonstrated the breadth of Carroll's talent, with the singer not only performing and penning all of the material, but also co-producing the entire set.

Carroll Thompson started recording in 1980 and both I’m So Sorry/Sorry Dub (Santic SAN 0011, 1980, £8) and Simply in Love/Simply Dub (Santic SAN 0014, 1981, £8) topped the reggae charts and sold strongly. Her LP Hopelessly in Love (Carib Gems CGLP 15, LP, 1981) is a steal at £25.

As you may have gathered, many Lovers Rock songs were cover versions of well-known soul songs. Janet Kay started her career with a version of Minnie Ripperton’s Loving You/Loving Dub in 1977 (Stonehouse 003, 1977, £5) that was quickly reissued by Pye after her much-loved Lovers Rock single Silly Games/Dangerous went to No 2 in the charts in 1979. This evergreen song opened the floodgates, with producers and labels jumping on the bandwagon as fast as they could. Blood Sisters’ take on Anita Ward’s Ring My Bell/Dub (Sound City SCD 002, 12”, 1979) sold over 60,000 copies, but is such a great version it’s still worth £20.

Equally essential is Black Harmony’s take on Gamble & Huff’s Don’t Let It Go to Your Head/DEB PLAYERS: Don’t Let It Go to Your Brain (Laser 7” LAS 9/12” LAS 9 T, 1979, £15/£20). To be fair, Black Harmony’s Tight Rope/Time Longer Than Rope (DEB 040, 1979, £8) is equally good, and cheaper.

Motion’s Walk On By (Reggae Mix)/(Soul Mix) is another lovers cover on 7” and 12” (Blue Inc INC 10/INCD 10, 1980, £18/£8). Their eponymous LP (Double D DDLP 4, 1981, £30) has a sleeve that looks like it was done by a fan of Roger Dean, though it is as far from Yes as The Clash’s Lover’s Rock is from real lovers rock.

Another great lovers cover is Charmaine Burnett’s Am I The Same Girl/Direct Response (PRO PROD 001, 1981, £20). This was reissued by those perfect ears at Jazzman in 2013 (£6).

The other night my wife sang The Miracles’ Ooh Baby Baby at a karaoke bar and I would be found murdered in a ditch if I didn’t say it was equal to Sonia (Fergusson’s) Lovers Rock take on this classic - Ooh Baby Baby/Back Street Dub (12”) issued by D-Roy in 1979 (DRDD 18, £12). Fergusson’s Magic Lady LP (D-Roy DRLP 1006) has yet to be reissued, which has pushed the price up to £60. To be honest, it would be perfect for our Rare Record Club, if anyone knows who has the rights.

Another classic is Jean Adebambo’s third single, Paradise/Version (12”), produced by Leonard Chin and put out by Santic in 1981 (SAN 0012, £10). All Adebambo’s records are cheap, but the pick is her first LP, Feelings, (Ade J AJ 0123, 1983, £30). Another Santic lady was Erica Gale, who issued a number of singles, of which the one to have is Tonight Tonight/Instrumental (STY 003, 1982, £20). Finally, Ginger Williams must be mentioned here with her LPs Strange World (B&B BBLP 1001, 1977) and the more lovers-centric Cool Loving (B&B BBLP 1111, 1981), each £25.

Lovers Rock was not a flash in the pan and powered on through the 80s. Sandra Reid started her recording career in 1975 but her 1983 classic Don’t Tell Me Tell Her/Kaleidoscope is hard to find on 7” and near-impossible on 12” (Sir George SG 004, £25/75). Legato’s Buttercup/Butterdub (Adelphi ADE T 002, 12”, 1985, £45) is sung by a man, and almost too soulful to be lovers. Speaking of soul, The Cool Notes started the 70s as a soft reggae group and in 1982 did a cover of It’s Not Unusual (yes, the Tom Jones song), though it was the flip, People Make the World Go Round, that was a great lovers tune (Cool Note 12 CN 1001, 12”, £15). By 1984, the band were all curly perm soul and in the charts.

Though she started her recording career in the 70s, Sonia Spence’s 1983 LP, Pure Love, is pretty solid lovers, and collectors should note that the UK pressing (Starlight SDLP 912, £30) has a different sleeve to the US pressing (Enterprise ENPLP 006, £20) which, aptly, frames her face in a heart.

While the Mad Professor is best known for his reggae and dub productions, his Ariwa label released a slew of great lovers rock singles and albums, many of which can be snapped up cheaply today. Sandra Cross’ You’re Lying/Banana Republic (ARI 45 7”/12”, £2/£4) is a steal, and all of her Ariwa LPs are recommended, from Country Life (ARILP 026, 1985, £8) to the appropriately-named 100% Lovers Rock (ARILP 096, 1997, £20).

While this overview has only skimmed the surface and not even mentioned the great output of male singers like The Cool Ruler/Lonely Lover, Gregory Isaacs, and John Holt, whose vocals ruffled many a female feather, there are a vast number of Lovers Rock compilations out there to either investigate or swerve around. Many featured the soulful output of Jamaican artists such as Derrick Morgan, Pat Kelly, Owen Grey and Ken Parker. Sadly, some of the artwork harks back to early 70s reggae compilations, where naked female flesh is the selling point, which is hardly in keeping with the true romantic spirit ofLovers Rock. Soul Jazz’s recent Harmony, Melody & Style: Lovers Rock in the UK 1975-1992 is essential, though Ariwa’s compilation This Is Lovers Reggae (ARILP 061, 1990, £12) deserves a nod, as the sleeve sports a bunch of flowers and purple silk sheets. And as Barry White - Mr Lover Lover - sang, “Let the music play, I just want to dance the night away…”

Many have stated there has never been a truly comprehensive overview of classic Lovers Rock featuring all the key artists and era defining tracks with correct original versions, B-side dub mixes (versions), etc., some of which have never been released on CD or digitally. It was my intention and goal to finally compile the ultimate collection.

Since many of the tracks featured in this box set are extremely rare and hard to find, mainly because a substantial amount have never been released on CD or digitally, certain tracks have been ripped from the only existing source, that being the original 7" and 12" vinyl singles. These tracks have been precicely digitally edited, cleaned up and spliced together from various sources to create the very best final versions available anywhere.

A BIG shoutout goes to PAKUZOW who has ripped hundreds of his extremely rare 7" and 12" lovers rock vinyl singles over the past few years in superb sound quality, many of which are included in this collection.

Over 21 and a half hours of pure reggae Lovers Rock!

I hope this 214 track compilation with over a year of extensive and exhaustive research, plus hundreds of hours of digital editing finally puts things to rights.

Enjoy!

K

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Track lists

CD01

1 Janet Kay - Silly Games b/w Dangerous (Original 1979 Arawak 12" Extended Vocal & Dub Mix) 12:52

2 Sheila Hylton - The Bed's Too Big Without You (Discomix) 7:58

3 Louisa Mark - Caught You in a Lie b/w Caught Dubbing (Original 1975 Safari Records 7" Single Version) 6:48

4 Gregory Isaacs - Night Nurse (Discomix) 7:09

5 Matumbi - After Tonight (Original 1976 Safari Records 7" Single Version) 3:18

6 Winsome - Am I the Same Girl (Original 1986 Fine Style UK 12" Single Version) 4:28

7 Winston Reedy - Baby Love 3:57

8 Donna Rhoden - Be Kind to My Man (Original 1981 Santic Records 12" Extended Vocal & Dub Mix) 6:47

9 Winston Curtis - Be Thankful (For What You've Got) (Original 1984 World International Records 12" Extended Vocal & Dub Mix) 5:37

10 June Powell - The Best Thing for Me 3:21

11 Simplicity - Black Is Our Colour (Original 1980 King & City Records KCD 004A 12" Extended Vocal & Dub Mix) 7:12

12 15-16-17 feat. Sonia Williams, Christine McNabb and Wraydene McNabb - Black Skin Boy b/w Blacker Version (Original 1977 Morpheus 7" Single Version) 6:44

CD02

13 Barry Biggs - Break Your Promise (Discomix) 6:42

14 Lorna Bennett; Harry J. All Stars - Breakfast in Bed b/w Breakfast in Bed (Version) (Original 1972 Harry J Records 7" Single Version) 6:11

15 Alton Ellis; Alton & Sound Dimension - Can I Change My Mind b/w Change My (Version) (Studio One 12" Discomix) 10:56

16 Marie Pierre - Can't Go Through (With Life) (Original 1979 Attack 12" Extended Vocal & Dub Mix) 7:02

17 Winsome - Can't Take the Lies (Original 1986 Fine Style UK 7" Single Version) 3:27

18 Cynthia Schloss - Cha La La, I Need You 3:51

19 Deborahe Glasgow - Champion Lover (Original 1988 Anchor Records 12" Extended Vocal & Dub Mix) 5:58

20 Marie Pierre - Choose Me (Original 1979 Attack 12" Extended Vocal & Dub Mix) 5:14

21 Dennis Bovell as Africa Stone - Choose Me b/w Right Choice (Version) (Original 1978 Tempus 7" Single Version) 7:15

22 Vivian Clarke - Come and Take Me b/w Just Take Me (Version) (Original 1978 Lover's Rock 7" Single Version) 8:15

23 Brown Sugar - Confession Hurts (Original 1978 Studio 16 12" Extended Vocal & Dub Mix) 7:53

CD03

24 Gregory Isaacs - Cool Down the Pace b/w Cool Down the Dub (Original 1982 Island 7" Single Version) 8:52

25 Bob Marley and the Wailers - Could You Be Loved (Original 1980 12" Mix) 5:25

26 Marie Pierre as Angelique; The Dennis Bovell Dub Band - Cry b/w Crying (Cry Version) (Original 1977 Tempus 7" Single Version) 8:42

27 Jocelyn Brown and the Robotiks - Day Dreaming (Hey Baby) (Original 1990 Ariwa 12" Extended Vocal & Dub Mix) 7:22

28 Kofi; Professor Doppler - Didn't I b/w I'm a Dropout (Original 1987 Ariwa 12" Extended Vocal & Dub Mix) 10:51

29 Winston Reedy - Dim the Light 4:39

30 Brown Sugar - Do You Really Love Me (Original 1978 Lover's Rock 7" Single Version) 4:17

31 Sheila Hylton - Don't Ask My Neighbours 3:57

32 Erica Gale; Santic All Stars - Don't Draw the Line b/w I Need You (Version) (Original 1981 Santic Records 12" Extended Vocal & Dub Mix) 8:32

33 Black Harmony feat. Diane Cape, Denise Mansfield and Dup'e Odelade - Don't Let It Go to Your Head (Original 1979 Laser 12" Extended Vocal & Dub Mix) 7:19

34 Phyllis Dillon - Don't Stay Away (Original 1967 Treasure Isle 7" Single Version) 2:33

35 Sandra Reid - Don't Tell Me Tell Her (Original 1983 Sir George 12" Extended Vocal & Dub Mix) 5:57

CD04

36 Donna Rhoden - Don't You b/w Don't You Dub (Original 1982 Ital Records 12" Extended Vocal & Dub Mix) 8:37

37 Paula - Dynamic 4:05

38 Sonia Ferguson; The Overnight Players - Easier to Love (Original 1980 Cha Cha 12" Extended Vocal & Dub Mix) 9:45

39 15-16-17 feat. Sonia Williams, Christine McNabb and Wraydene McNabb - Emotion (Original 1978 D.E.B. Music 12" Extended Vocal & Dennis Bovell Dub Mix) 12:34

40 Louisa Mark - Even Though You're Gone (Original 1978 Bushays 12" Extended Vocal & Dub Mix) 5:47

41 Ken Boothe - Everything I Own (Original 1974 UK 7" Single Version) 3:44

42 Marcia Griffiths - The First Time Ever I Saw Your Face 4:08

43 The In Crowd - Getting Cozy 6:03

44 John Holt - Ghetto Queen 4:46

45 Deborahe Glasgow - Gimme That Touch (Original 1989 Anchor Records 12" Extended Vocal & Dub Mix) 6:30

46 Alton Ellis and the Flames - Girl I Have Got a Date (Original 1966 Dutchess 7" Single Version) 2:29

47 15-16-17 feat. Sonia Williams, Christine McNabb and Wraydene McNabb - Girls Imagination (Original 1978 D.E.B. Music 12" Extended Vocal & Dub Mix) 8:44

CD05

48 The Tamlins - Go Away Dream (Discomix) 7:12

49 Sugar Minott - Good Thing Going (We've Got a Good Thing Going) 3:34

50 15-16-17 feat. Sonia Williams, Christine McNabb and Wraydene McNabb - Good Times (Original 1978 D.E.B. Music 12" Extended Vocal & Dub Mix) 7:37

51 Keith Rowe - Groovy Situation 3:26

52 George Faith - Have I Told You Lately That I Love You 3:49

53 Dennis Brown - Have You Ever Been in Love (7" Mix) 3:06

54 Brown Sugar - Hello Stranger (Original 1977 Lover's Rock 7" Single Version) 3:27

55 Louisa Mark & Zabandis - Hello There (Original 1984 Oak Sound 12" Extended Vocal & Dub Mix) 7:43

56 Jimmy Riley - Hey Love (Discomix) 7:09

57 Vivian Weathers - Hip Hug (Original 1978 Virgin Front Line 12" Extended Vocal & Dub Mix) 7:12

58 Dennis Brown - Hold On to What You've Got (7" Mix) 3:03

59 Winsome - Homebreaker (Original 1986 Fine Style UK 12" Single Version) 3:59

60 Delroy Wilson; The Dennis Bovell Dub Band - Hooked on You b/w Ang Up (Version) (Original 1980 Studio 80 12" Mix) 10:22

61 Carroll Thompson - Hopelessly in Love (12" Mix) 5:05

CD06

62 Dennis Bovell & Brown Sugar; The 4th Street Orchestra - Hurtin' b/w Hurting (Give It Up) (1977 7" Single Version) 7:26

63 Susan Cadogan; The Upsetters - Hurt So Good b/w Rub a Dub (Original 1974 Perries 7" Single Version) 6:44

64 Marcia Griffiths; The Revolutionaries - Hurting Inside b/w Still Hurting (Version) (Original 1978 High Note 7" Single Version) 8:38

65 Roland & Carolyn; Eve All Blacks - I Admire You b/w I Admire You (Version) (Original 1977 Lover's Rock 7" Single Version) 7:23

66 Sandra Cross - I Adore You 3:25

67 Jennifer Lara - I Am in Love (Original 1981 Studio One 12" Extended Vocal & Dub Mix) 6:39

68 Pauline & the Brown Sugar - I Am So Proud (Original 1978 Studio 16 12" Extended Vocal & Dub Mix) 7:33

69 Marie Pierre - I Believe 3:29

70 Audrey Hall - I Can Not Wait (No More) 3:39

71 Samantha Rose - I Can't Believe I'm Losing You (Original 1979 Paradise 12" Extended Vocal & Dub Mix) 6:13

72 Gregory Isaacs - I Can't Give You My Love Alone 3:34

73 Ginger Williams - I Can't Resist Your Tenderness (Original 1974 Paradise 7" Single Version) 3:03

74 Janet Kay - I Do Love You (Original 1979 D-Roy Records 12" Extended Vocal & Dub Mix) 6:27

CD07

75 George Faith - (I Forgot) To Be a Lover (Have Mercy) 5:59

76 Susan Cadogan - I Keep On Loving You 2:51

77 Merlene Webber - I Wasn't Born to Be Lonely (Original 1978 Rattie Soul 12" Extended Vocal & Dub Mix) 6:17

78 T.T. Ross - I Will (Original 1977 Lover's Rock 7" Single Version) 3:27

79 Cassandra - I'll Never Let You Go Out of My Life (Original 1977 Lover's Rock 7" Single Version) 3:42

80 Ginger Williams - I'll Still Love You (Original 1976 BB Records 7" Single Version) 3:36

81 15-16-17 feat. Sonia Williams, Christine McNabb and Wraydene McNabb; D.E.B. Players - I'm Hurt b/w I'm Hurt (Version) (Original 1978 D.E.B. Music 12" Extended Vocal & Dub Mix) 9:57

82 Brown Sugar; Jonny One Star - I'm in Love with a Dreadlocks b/w Dreadlocks a Sugar (Version) (Original 1977 Lover's Rock 7" Single Version) 6:49

83 Carroll Thompson - I'm So Sorry (Original 1980 Santic Records 12" Extended Vocal & Dub Mix) 6:27

84 Marcia Aitken and the Mighty Two; Althea & Donna - I'm Still in Love (With You Boy) (Original 1977 12" Extended Single Version) / Uptown Top Ranking (Original 1977 Joe Gibbs Record Globe 7" Single Version) 10:28

85 Donna Rhoden; Ital Fullstar - I've Fallen in Love b/w I'm Dubbing in Love (Original 1981 Ital Records 12" Extended Vocal & Dub Mix) 8:19

86 Gregory Isaacs - If I Don't Have You 4:13

87 15-16-17 feat. Sonia Williams, Christine McNabb and Wraydene McNabb - If You Love Me, Smile b/w If You Love Me, Smile (Version) (Original 1976 Morpheus 7" Single Version) 5:56

CD08

88 Cassandra; Eve Allstars - If You're Not Back in Love by Monday b/w Deadline Monday (Dub) (Original 1977 Lover's Rock 7" Single Version) 8:50

89 Ginger Williams / All Stars - In My Heart There's a Place b/w Black Moon (Original 1974 Paradise 7" Single Version) 6:22

90 Cornel Campbell - Investigator 3:38

91 Paulette Walker - Is There a Place in Your Heart for Me (Original 1978 Bushays 12" Single Version) 4:34

92 Bob Marley and the Wailers - Is This Love / Is This Love (Dub) 8:02

93 Paulette Walker - It May Be Winter Outside But in My Heart It's Spring (Original 1977 Burning Sounds 7" Single Version) 3:33

94 Alton Ellis - It's Hard to Be a Lover (Original 1978 Channel One 12" Extended Vocal & Dub Mix) 6:23

95 Donna Rhoden; Santic All Stars - It's True b/w Love On (Version) (Original 1981 Santic Records 12" Extended Vocal & Dub Mix) 8:57

96 Sandra Cross - It's You (Original 1986 Ariwa 12" Extended Vocal & Dub Mix) 6:35

97 T.T. Ross - Jealousy (Original 1976 Lucky 7" Single Version) 3:06

98 Vivian Weathers - Just a Game b/w Cheat Heart Dub (Original 1979 Island Records 7" Single Version) 6:31

99 Carol Brown - Just Enough to Keep Me Hanging On (12" Mix) 4:09

100 Sonia Ferguson - Just for Your Love (Original 1978 D-Roy Records 12" Extended Vocal & Dub Mix) 7:10

CD09

101 Horace Andy - Just Say Who (Original 1972 Money Disc 7" Single Version) 3:50

102 Louisa Mark - Keep It Like It Is 2:43

103 T.T. Ross - Last Date 3:06

104 Black Harmony feat. Diane Cape, Denise Mansfield and Dup'e Odelade - Let's Be Lovers b/w Let's Be Dub (Original 1981 Cyprian Records 12" Extended Vocal & Dub Mix) 8:23

105 Dee Sharp - Let's Rub It Up b/w Let's Rub It Up (Version Horns) (Original 1980 Fashion Records 12" Single Version) 15:13

106 The Robertson Sisters - A Little Love My Way (Original 1980 Positive One 12" Extended Vocal & Dub Mix) 7:06

107 Ruddy Thomas - Long Lost Lover 4:50

108 Love Joys - Long Lost Lover (Original 1983 Wackie's 12" Extended Vocal & Dub Mix) 8:47

109 Kofi; Mad Professor - Looking Over Love b/w Junkie Traffic (Original 1989 Ariwa 12" Extended Vocal & Dub Mix) 8:00

110 Sheila Hylton; Sheila Hylton & Harry J. All Stars - Lot of Love b/w Labamba (Original 1979 Jaywax 7" Single Version) 8:01

111 Junior Delahaye - Love (Original 1982 Wackie's 12" Extended Vocal & Dub Mix) 5:35

CD10

112 Hortense Ellis - (Love Comes from the Most) Unexpected Places 4:18

113 Dennis Brown - Love Has Found Its Way 4:29

114 Carlton & His Shoes - Love Me Forever (Original 1968 Supreme Records 7" Single Version) 3:52

115 Cassandra - Love Me Sweeter Tonight (Original 1976 Lucky 7" Single Version) 3:14

116 Davina Stone - Love Power (Original 1979 Ariwa 12" Single Version) 4:21

117 Freddie McGregor - Lovers Rock J.A. Style (Extended) 6:15

118 Janet Kay - Loving You 3:34

119 Simplicity - Loving Kind (Original 1979 King & City Records 002A 12" Extended Vocal & Dub Mix) 6:23

120 15-16-17 feat. Sonia Williams, Christine McNabb and Wraydene McNabb - Magic Touch (Original 1978 D.E.B. Music 7" Single Version) 3:34

121 Carroll Thompson & Sugar Minott; Black Roots Players - Make It with You b/w Make It with You (Version) (Original 1983 Carousel 12" Single Version) 8:14

122 Vivian Weathers - Married Woman b/w Wounded Dub (Original 1979 Island Records 7" Single Version) 7:03

123 Beshara - Men Cry Too 5:38

124 Dennis Brown; Dhaima; Joe Gibbs & The Professionals - Money in My Pocket (1978 Version) / Can't Buy My Love b/w Natural Feeling (Original 1978 Joe Gibbs Record Globe 7" Single Version) 10:47

125 Marie Pierre - My Best Friend 5:25

CD11

126 Gregory Isaacs - My Number One 3:42

127 Paulette - My Only Love b/w Only Dub (Version) (Original 1986 Solomonic 12" Extended Vocal & Dub Mix) 7:49

128 Gregory Isaacs - My Only Lover (Original 1972 African Museum 7" Single Version) 3:05

129 Sugar Minott - Never Too Young 3:54

130 Claudia Fontaine; Corner Shot - Natural High b/w Take Me to the Sky (Version) (Original 1981 JB Music 12" Extended Vocal & Dub Mix) 11:43

131 Winsome - Never Found a Love (Original 1987 Fine Style UK 12" Single Version) 5:02

132 Carroll Thompson - No, You Don't Know 3:21

133 Gregory Isaacs - Not the Way 3:51

134 Marie Pierre - Nothing Gained (From Loving You) b/w Not a Ting (Original 1979 Trojan Records 7" Mix) 6:55

135 Karen Smith - Oh Me Oh My 4:01

136 The Main Attractions feat. Sharon Jones and Michelle Thompson - Once Upon a Time (Original 1978 Instant Groove 7" Single Version) 3:33

137 Eva Smart - One Life to Live One Life to Love b/w One Life (Version) (Original 1976 Empire Records 7" Single Version) 5:18

138 Bob Marley and the Wailers - One Love/People Get Ready / One Love/People Get Ready (Dub) 6:39

139 15-16-17 feat. Sonia Williams, Christine McNabb and Wraydene McNabb - Only Sixteen (Original 1978 D.E.B. Music 12" Extended Vocal & Dub Mix) 6:27

CD12

140 Sonia Ferguson - Ooh Baby Baby (Original 1979 D-Roy Records 12" Extended Vocal & Dub Mix) 6:51

141 Marie Pierre; Dennis Bovell - Our Tune b/w Fe We Dub (Original 1979 PC Music 12" Extended Single Version) 11:56

142 Jean Adebambo; Santic All Stars - Paradise b/w Paradub (Original 1981 Santic Records 12" Extended Vocal & Dub Mix) 10:22

143 Carolyn Catlin - Peaceful Woman (Original 1977 Lover's Rock 7" Single Version) 3:52

144 Errol Dunkley - Peek-a-Boo (Original 1980 Scope 12" Extended Vocal & Dub Mix) 4:57

145 Louisa Mark - People in Love (Original 1980 Radic 12" Extended Vocal & Dub Mix) 5:11

146 Kofi - Place in the Sun (Original 1987 Ariwa 12" Extended Vocal & Dub Mix) 7:15

147 Gladwin Wright - Portrait of You b/w Dub Gallery (Original 1979 Arawak 12" Extended Vocal & Dub Mix) 11:12

148 Joy Mack - Reality (Original 1981 Nature Records 12" Single Version) 5:44

149 UB40 - Red Red Wine (Original 1983 'Labour of Love' Album Version) 5:20

CD13

150 Marlene Webber; The Revolutionaries - Right Track b/w Dub on the Track (Original 1977 Rattie Soul 12" Extended Vocal & Dub Mix) 9:55

151 Blood Sisters - Ring My Bell (Original 1979 Sound City 12" Extended Vocal & Dub Mix) 7:57

152 Gregory Isaacs - Sad to Know (You're Leaving) b/w Sad to Know (Dub) (Original 1982 Island 7" Single Version) 7:48

153 Bob Marley and the Wailers - Satisfy My Soul (1978 UK Island 7" Single Edit) 4:25

154 Donna Rhoden - Shy Girl (Original 1981 Solid Groove Records 7" Single Version) 4:34

155 Barry Biggs - Sideshow (Original 1976 Dynamic Sounds 7" Single Version) 3:35

156 Janet Kay & Rico - Silhouette (Original 1978 Bushays 12" Extended Vocal & Dub Mix) 6:49

157 Sharon Forrester; Now-Gen - Silly Wasn't I b/w Silly Wasn't I (Version) (Original 1973 Ashanti 7" Single Version) 4:37

158 Carroll Thompson - Simply in Love 4:00

159 Black Harmony feat. Diane Cape, Denise Mansfield and Dup'e Odelade - Since You've Been Gone (Original 1979 D.E.B. Music 12" Single Version) 3:58

160 Cassandra - Sitting in the Park (Original 1979 D-Roy Records 12" Extended Vocal & Dub Mix) 7:19

161 Louisa Mark; The In Crowd feat. Rico - 6 Six Street (Original 1978 Bushays 12" Extended Vocal & Dub Mix) 6:40

162 Paulette Walker - So in Love 4:24

163 Junior Tucker - Some Guys Have All the Luck 3:57

CD14

164 Marie Pierre - Somebody Else's Man (Original 1979 Attack 12" Extended Vocal & Dub Mix) 5:08

165 J.C. Lodge; Prince Mohammed; Joe Gibbs & The Professionals - Someone Loves You Honey / One Time Daughter / Don't Feel Left Out (Original 1980 Joe Gibbs Music 12" Single Version) 11:49

166 15-16-17 feat. Sonia Williams, Christine McNabb and Wraydene McNabb - Someone Special (Original 1979 D.E.B. Music 12" Extended Vocal & Dub Mix) 5:48

167 T.T. Ross; Sandpiper - Sorry Doesn't Always Make It Right b/w Instrumental (Version) (Original 1976 Lover's Rock 7" Single Version) 8:14

168 Gregory Isaacs - Special Guest 3:52

169 Sylvia Tella; Roots of Distinction - Spell b/w Spell (Version) (Original 1981 Sarge 12" Extended Vocal & Dub Mix) 8:56

170 Domino Johnson - Summer Time (Original 1972 Green Door 7" Single Version) 3:12

171 15-16-17 feat. Sonia Williams, Christine McNabb and Wraydene McNabb - Suddenly Happiness (Original 1978 D.E.B. Music 12" Extended Vocal & Dub Mix) 5:33

172 The In Crowd - Sweet Man 3:56

173 Tony Tuff - Sweet Maureen 5:09

174 Pat Kelly; Dillinger - Talk About Love (Original 1978 Chanan-Jah 12" Discomix) 7:02

175 Leroy Brown - Taxi 4:03

176 J.C. Lodge - Telephone Love (Original 1988 12" Mix) 6:18

CD15

177 Candy McKenzie - Tell Me a Lie 4:55

178 Marcia Griffiths - There's No Me Without You 3:11

179 Lord Echo feat. Lisa Tomlins (vocal), Andy Christiansen (trumpet) - Thinking of You (Original 2010 Wonderful Noise Productions 12" Extended Vocal & Dub Mix) 6:58

180 Ginger Williams - This Life (Original 1975 BB Records 7" Single Version) 3:14

181 Barbara Jones - This Love Makes Me Happy 4:02

182 Bob Marley and the Wailers - Three Little Birds 2:59

183 Black Harmony feat. Diane Cape, Denise Mansfield and Dup'e Odelade - Tight Rope (Original 1979 D.E.B. Music 12" Extended Vocal & Dub Mix) 5:57

184 Simplicity - To Be in Love (Original 1977 Student 7" Single Version) 3:48

185 Claudette Miller; The Conscious Minds - Tonight Is the Night b/w Tonight (Version) (Original 1975 Dutchess 7" Single Version) 5:46

186 Barrington Levy - Too Experienced b/w Too Experienced (Version) (Original 1990 Super Power 12" Extended Vocal & Dub Mix) 6:33

187 Claudette Miller and the Ebony Sisters - Too Much Heaven (Original 1979 Grove Music 12" Extended Vocal & Dub Mix) 6:35

188 Alton Ellis - Tumbling Tears (12" Discomix) 7:19

189 Bob Marley and the Wailers - Turn Your Lights Down Low 3:38

190 Sugar Minott - Two Time Loser 3:07

191 Janet Lee Davis - Two Timing Lover 3:34

192 Sonia Ferguson - Use to Be My Dread (Original 1978 D-Roy Records 12" Extended Vocal & Dub Mix) 8:26

CD16

193 Simplicity - Waiting (Original 1980 King & City Records 003A 12" Extended Vocal & Dub Mix) 6:02

194 Bob Marley and the Wailers - Waiting in Vain / Waiting in Vain (Dub) 8:10

195 Donna Rhoden - Warm & True b/w Warm Dub (Original 1983 Ital Records 12" Extended Vocal & Dub Mix) 8:53

196 Beres Hammond - What One Dance Can Do 4:29

197 Black Harmony feat. Diane Cape, Denise Mansfield and Dup'e Odelade - What's It All About (Original 1981 Third World Recordings 12" Extended Vocal & Dub Mix) 5:59

198 Angela Stewart - When Love Comes Knocking (12" Mix) 5:08

199 Erica Gale / Santic All Stars - Where Are They Now b/w Quiet Place (Original 1982 Ital 12" Extended Vocal & Dub Mix) 10:05

200 Jimmy Lindsay - Where Is Your Love (Original 1979 GEM Records 12" Extended Vocal & Dub Mix) 8:39

201 Jackie - Who Can I Run To (Original 1980 Cha Cha 12" Extended Vocal & Dub Mix) 5:15

202 Maxi Priest - Wild World (Long and Saxy) (Original 1988 10 Records 12" Extended Vocal & Dub Mix) 6:13

203 Donna Rhoden - We Are in Love (Original 1983 Ital Records 12" Extended Vocal & Dub Mix) 10:00

CD17

204 Honey Boy - You Are Mine (12" Mix) 6:30

205 Carroll Thompson - You Are the One I Love (12" Mix) 6:12

206 Dawn Penn - You Don't Love Me (No, No, No) (Extended Mix) b/w You Don't Love Me (No, No, No) (Instrumental Dub) (1994 12" Single Version) 7:42

207 Joy Mack - You Had Your Chance (Original 1978 Four Sixty 12" Extended Vocal & Dub Mix) 6:24

208 Ruddy Thomas & Susan Cadogan - (You Know How to Make Me) Feel So Good 3:39

209 Sylvia Tella - You Might Need Somebody (Original 1982 SRL 12" Extended Vocal & Dub Mix) 6:38

210 John Holt; The Aggrovators; Mad Professor - You'll Never Find Another Love Like Mine b/w Version (Original 1977 Justice 7" Extended Vocal & Mad Professor Dub Mix) 11:18

211 Sandra Cross; Mad Professor - You're Lying! b/w Dub of Lies (Original 1985 Ariwa 12" Extended Vocal & Dub Mix) 11:02

212 Elizabeth Archer and the Equators - Feel Like Making Love b/w Feel Like Making Dub (Version) (Original 1977 Lightning Records 7" Single Version) 7:15

213 Brown Sugar - Black Pride b/w Proud (Instrumental) (Original 1977 Lover's Rock 7" Single Version) 6:43

214 Marie Pierre; The Dennis Bovell Dub Band - Walk Away b/w Walk Away (Version) (Original 1978 Horse 7" Single Version) 7:11

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Music weaves itself into the fabric of our emotions, dances through the corridors of memory, and whispers to the soul of who we are. Sharing these stories deepens the connection, turning the experience into something timeless and profound.

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