Side A 1. Rebel Rock 2. Repatriation Remedy 3. Our Dream World 4. Patricia's Love 5. Soothing In The Mind Side B 1. Black Moon 2. For All Ways 3. Just For Joy 4. Train To Skaville 5. Moog In Blues Re-issue of the original 1975 album with the majority of its rhythms from Errol Dunkley's album "Sit And Cry Over You"! - This is a cooperation of Pressure Sounds and Count Shelly's legendary Third World label. The album comes with sleevenotes by Steve Barker and excellent pictures from the period! The instrumental album "Rebel Rock" derives the majority of its rhythms from Errol Dunkley's album "Sit And Cry Over You" released by Count Shelley, produced and arranged, and probably engineered, by the great Sid Bucknor. For the instrumental version the overdubs and remixes were done at the Chalk Farm and E.F.M. (better known as Berry Street) studios with a credited line up of Rico Rodriguez on trombone, Eddie "Tan Tan" Thornton on trumpet, Michael 'Bammi' Rose on sax, Lester Sterling trumpet and saxophone, Buggis Norman on alto sax, "Organ D" aka Tyrone Downie on keys and "Ronnie Bop" aka Ranford Williams on guitar. The original backing tracks for the Dunkley album were by Gladdy Anderson & his All Stars so its likely that featuring bassist Jackie Jackson, drummer Winston Grennan, guitarist Hux Brown and keyboardist Winston Wright may be in the mix! Between 1948 and 1970 nearly half a million people left their homes in the West Indies to seek a better life in the UK, by far the largest group came from Jamaica. At the time of the earliest departures through the 50s and into the 60s, the popular music of choice for Jamaicans both at home and in their “mother country” was the sound of rhythm and blues floating over distant radio frequencies in the States to occupy the jukeboxes and dominate the sound systems of Kingston. Over in London though, the outlet for these sounds was mainly via ‘shebeens’ and 'blues dances' - parties organised in private houses, or even hired rooms, where patrons paid at the door. Along with the adoption and growth of the sound system culture in the cities across England housing Caribbean immigrants – the ‘blues’ became an institution, and a handy way to raise quick money. Unlike back home, where parties were generally held ‘inna yard’, both blues and sound systems in the UK had to operate exclusively indoors due to both the weather and the environment, noisy neighbours were never that popular. So indigent Jamaican culture began to adapt to changed circumstances whilst still asserting the well-rooted already traditions and customs of homeland origins. Ephraim Barret was a bricklayer and mason by trade, though he was known to turn his hand to any kind of work and was likely to have a number of jobs at any one time – reputedly he was also a professional cyclist! Like a lot of his fellow skilled countrymen he made the move to England in the early sixties, arriving to settle in Swindon, around 80 miles west of London, in 1962 – just around the time that the new sounds of ska were breaking in Jamaica. He spotted the chance to diversify into music and by the early seventies had established himself in London, becoming known locally as Count Shelly. He built and developed his own sound system to rival the popularity of Balham’s Duke Reid (A different operation from his Jamaican namesake), Lloydie Coxsone’s Sir Coxsone Outernational from Battersea and Peckham’s Neville the Enchanter in the process claiming the title of the Heavyweight Champion of the North (North London that is – Tottenham and Stoke Newington!) – together these sound systems became known as the “Big Four”. During this period, from the late sixties through the early seventies, Shelly had come to source the music for his sound system from Lord Koos, who had run his ‘The Universe’ sound system out of Harlesden in North London since 1964. Lord Koos, aka Eric Scott, was an astute purchaser of music and started by buying his records from the original Randy’s in Tennessee back in the early fifties – firing him up for later competition with the legendary sound system originator Tom the Great Sebastian. By the early 70's Shelly was the resident DJ at the Four Aces Club in Hackney, East London, the club had opened in 1966 on the site of an old Victorian theatre built to house Robert Fossett's Circus in 1886 on Dalston Lane and by 1970s the club had become one of the main centres for West Indians in cultural exile, attracting audiences from all over London and beyond. The basis of the Third World Allstars were in fact usually visiting Jamaican musicians plus a pick of the session musicians available in London. The instrumental album “Rebel Rock” derives the majority of its rhythms from Errol Dunkley’s album “Sit And Cry Over You” released by Shelley produced and arranged, and probably engineered, by the great Sid Bucknor. For the instrumental version the overdubs and remixes were done at the Chalk Farm and E.F.M. (better known as Berry Street) studios with a credited line up of Rico Rodriguez on trombone, Eddie “Tan Tan” Thornton on trumpet, Michael 'Bammi’ Rose on sax, Lester Sterling trumpet and saxophone, Buggis Norman on alto sax, “Organ D” aka Tyrone Downie on keys and “Ronnie Bop” aka Ranford Williams on guitar. The original backing tracks for the Dunkley album were by Gladdy Anderson & his All Stars so its likely that featuring bassist Jackie Jackson, drummer Winston Grennan, guitarist Hux Brown and keyboardist Winston Wright may be in the mix. The title track “Rebel Rock” was originally derived from Gene Rondo’s single “Rebel Woman” issues by Shelly on his Queen Bee subsidiary in 1974 and the track that opens side two “Black Moon” is from the Ginger Williams single “There is Something in my Heart” issued on the Paradise label. Ginger actually hit big in 1974 with here single “I Can't Resist Your Tenderness” aka “Tenderly” one of those tunes that sold tens of thousands in London alone and was a genuine precursor to the imminent takeover of the reggae scene by Lovers Rock – the following year Louisa Mark's “Caught You in a Lie” produced Dennis Bovell for Lloydie Coxsone's sound system really opened the floodgates for Lovers. “Black Moon” was also used a couple of years ago by that most cultural of American rappers Mos Def on his album paying tribute to reggae riddims “Mos Dub”. As is usual when quality Jamaican sessioneers get together free quotes from jazz standards and ballads can be found interspersed with re-utilised rhythms, so “Repatriation Remedy” can not only be traced back to Errol Dunkley’s “Repatriation” but also to Bunny & Skitter on their Studio one single “Lumumbo” and even before that Willie Bobo’s “Spanish Grease”. As the seventies moved on Count Shelly relocated his operations to New York and eventually his Super Power Records in Brooklyn became the reggae shop of choice through the dancehall and digital eras, a meeting place for the movers and shakers of the time. Located on Church Avenue between Utica Avenue and E 49th Street in Flatbush, the shop became notorious as the scene of the shooting incident between deejays Super Cat and Nitty Gritty. Shelly continued to record with big hits such as Louie Rankin’s “Typewriter” and Sluggy Ranks dancehall recut of “My Time”. Becoming tired of NYC and business there Shelly relocated back home to Jamaica and around 2008 Super Power closed down due to financial problems. According to Striker Lee Shelly is still only semi-retired, running a restaurant and cook shop, although now 81 years of age he is still in good health and now resides in the desirable Norbrook Heights area in the parish of St. Andrew. Rebel Rock is an excellent addition to the Pressure Sounds catalogue and the album comes with CD booklet sleevenotes by Steve Barker and excellent pictures from the period. The vinyl album is a single LP format.