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The Tide Is High
John Holt's tender lead vocal floats above Bob Andy and Tyrone Evans's delicate backing harmonies, accented by Tommy McCook's fluid tenor saxophone and Lynn Taitt's ringing rhythm guitar.
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Wear You to the Ball
Duke Reid's Treasure Isle studio captured this pinnacle of romantic group harmony, where Holt's effortless phrasing blends seamlessly with close, conversational responses from the trio.
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Rivers of Babylon
Brent Dowe and Trevor McNaughton trade lead verses on this profound rastafarian hymn, framed by gentle acoustic guitars and exquisite three-part spiritual harmonies.
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Fattie Fattie
Leroy Sibbles's soaring falsetto and buoyant bassline drive this Coxsone Dodd production, with Earl Morgan and Barry Llewellyn delivering sweet, immaculate counter-melodies.
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Girl I've Got a Date
Widely regarded as the very first rocksteady record, Ellis's soulful phrasing is cushioned by The Flames' silky doo-wop harmonies and Jackie Mittoo's rolling organ chords.
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Ba Ba Boom
Winner of the 1967 Jamaican Festival Song Contest, this Treasure Isle masterpiece layers exuberant close harmonies over Tommy McCook's swinging horn riffs and a stepping bassline.
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You Don't Care
Slim Smith's piercing, emotive tenor leads The Techniques through breathtaking harmony arrangements that set the standard for vocal elegance at Duke Reid's studio.
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Queen Majesty
Adapting The Impressions' 'Minstrel and Queen', Pat Kelly's stunning Curtis Mayfield-style falsetto and the group's lush backing chords create an untouchable rocksteady standard.
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Love Me Forever
Carlton Manning and his brothers construct an ethereal, gossamer vocal tapestry at Studio One, floating over a languid rhythm that became one of reggae's most re-versioned foundations.
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Engine 54
Leonard Dillon and Stephen Taylor deliver rhythmic vocal calls and syncopated train chants over Karl Bryan's chugging saxophone and a tight, infectious rocksteady skank.
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Hello Carol
Albert Griffiths's soulful country-reggae lead intertwines with Clinton Fearon and Errol Grandison's rustic harmonies on this Duke Reid production full of warmth and longing.
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Baby Why
Keeling Beckford's plaintive lead vocal is wrapped in tender, melancholic group harmonies over a classic Clement Dodd rhythm that would be sampled and re-recorded for decades.
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