Blackstones

A couple of weeks ago I was over at Penny Reel's and he played a tune from the Mighty Soul Rebels - he also played a cut of 'Flying Machine' from Augustus Pablo, Carl Finlay on Facebook then linked me with cut on a Studio One version produced by Junior Lincoln of the tune called 'Listen And Observe' from the Soul Rebels I understand there is a connection to the Blackstones?

"Yes, that is our cut."

When was it recorded 71 or 72?

"Oh my gosh, I can't remember its such a long time ago. That was the time, that Junior Lincoln was the HQ for Studio One in England., before Peckings."

So was that the very beginning of The Blackstones?

"Yes, it was the origins from where I was coming from. That I could do something like singing. It started with myself and Melvin Dochery, alias Mellos."

And they became the Mighty Soul Rebels?

"We were the Mighty Soul Rebels from day one. The Mighty Soul Rebels were myself Leon Lifer, Brent Soloman, Brent was born in Guyana. And Melvin Dochery. We all lived in the surrounding area of Hornsey, London N.8. We played football and cricket and go to Fatman sound system dances. Or Sir Biggs, or Sir Dees. Or Sir Nyah, or Count Shelly for entertainment back in the days what we called 'House Dance'. Or  at the weekend we would go to a club called 'Bluesville' which was in Wood Green. We started singing as something to occupy our time. I used to by my friend Mellos at Middle Lane - he used to live with his Auntie. Near Parry Park. Melvin had quiet a lot of friends and I was one of them. Along with Dennis Daley, and Barrington Thomas. And being friends we made a group of friends! So it was myself - 1, Melvin/Mellos 2, Brent 3, Barrington 4, and Dennis Daley 5."

We had no experience in learning to sing from any teacher, we pick up our singing from listening to the records. And the singers coming from Jamaica."

I was going to ask you about that Leon. One voice on that 'Listen and Observe' tune sounds just like Prince Lincoln of The Royal Rasses.

"I don't know, you hear what you her. Anyway, that was us. We started to learn from songs by Derrick Harriott and The Jiving Juniors, The Paragons, The Melodians, The Techniques, and The Impressions. At that stage we didn't know what out of tune mean or what flat mean. But eventually along the way we did get to learn all of that. And based on that we went to Junior Lincoln. And we sang for him, in his office down at Bamboo Records. And his word was that you sound OK, but you need more rehearsal. We weren't pleased with that. Maybe it was a nice way of turning us away. So we left a bit downhearted. And when we leave the shop. Just coming into the shop as we were leaving was Fatman. Of Fatman Hifi Sound. And he must have seemed that I was looking a bit upset. He say "Wha happen Leon?" So I told him, that we just tried to get a thing done with Junior Lincoln, but him say, we nah ready yet."

"So Fatman say I'm playing down at Blackstock Road in Finsbury Park, come down there tonight. And we didn't have to pay! And he arranged for us to met up with Lord Koos. And a few weeks later we ended up in Harlesdan/Willeden. We met Lord Koos outside of the original Pama Records. And they Fatman and Lord Koos took us around to see Gichy - the Guitarist with The Cimarons. So we sing a song, and Gichy structure the song. And we went to a studio which they payed for and we recorded 'I'm the One Who Loves You'. There was a guy singing with us, who wasn't part of the group. His name was 'Afro'. And then we sing a tune called "You're Gonna Lose Me' 'Judgement Day' Those songs did not come out straight away. Count Shelly, Fatman and Lord Koos were playing them in the dance for years."

And the studio you mentioned can you remember the name?

"It had something to do with 'PYE'"

And who was the band?

"It was The Cimarron's!, and then what happened Shelly decided to leave the Sound System business. And go into the record business. He said at the time, Trojan and Pama are joking they are not putting out what people want. And he think he could do better.And a lot people were saying that what Shelly was doing was dangerous. Jumping from this to this was risky, and it was. But then Bunny Lee came on board.  And started to suppy Shelly with music. And the very first release on Shelly label was an album by Laurel Aitken. I remember the album had a picture of a river on the cover. The first three singles were all by us. On a red and yellow label. The Mighty Soul Rebels."

Pic: Junior Lincoln

"And Junior Lincoln, call us back, and there a song out called 'Flying Machine' from Cliff Richard. And so he gave we the rhythm. (Recorded at Studio One by Freddie McGregor) and he also gave we a rhythm from an Alton Ellis album. We sang 'Listen and Observe' And it was The Mighty Soul Rebel - (listed on the label as the Soul Rebels)

And who wrote that song?

"It was all of us, and then we wrote 'What Is Love' and that was another Studio One rhythm, and it was released on the Banana label. After that now, the five of us...We were not professional. And Junior Lincoln advised us that there was too many of us in the group. And we wouldn't get much money. But we were not doing it for that. We was just doing it for the love - and the dream of singing on stage.

"So in the end now Melvin and Brent went on as The Mighty Soul Rebels, and I was singing by myself. There was a show at the Club Noreik - with some artist from Jamaica. And myself and a guy called Ben Cocharan, who eventually became a member of The Blackstones, but not for long. We were supporting artists on the show, and I sang a song - can't remember what it is. But Melos - uncle, brother Wolfie - he was at the show, and I saw him a couple of days later - and he was shaking my hand and saying "Leon Don't Give Up The Singing" I used to sing in a falsetto - very high. I think it was 'Born To Love You' that I sang at the show."

"And sheer co-incidence I was walking up to Stamford Hill from Brighton Road, I buck up on the late great Roy Shirley, what happen? You still singing?" So I say I don't know

What to do about this group thing. He said "I know a great youth singer, he sound a little

Like John Holt and a bit like Gregory Isaacs. Him name Neville let me call him." So we go in a Shelly's shop up at Brighton Road. And we call Neville - he was in, and he say yes to it, even when he didn't really know what we were doing. And he came along. And Ben Cocharan who I was more familar with - because he lived in the area at Wallford Road. Ben was a nice friendly loving guy. Always telling jokes!! He had a deep voice a baritone voice. So we decided we would form a group. And by just listening - we found we had a sound. But Ben was more a dreamer you know. He would be saying he could see we in Wembley Stadium!!! He had these kind of wild dreams. I remember he was singing a tune from the Heptones 'Country Boy' And Ben would start to laugh every time we got to point in song where the Heptones "You no know, know Light Post." But Ben couldn't sing the tune no further - he was laughing so much. "

"And then Ben left, and the group started to go forward, and we got Byron Otis in."

Another great singer!!!

"Right,so when Byron Otis come in now, we started to build around his voice as lead. Singing harmony is a technical thing. And still today I'm learning certain things. You can have great singers, but they can't sing harmony. And over the years we get better. So with Byron loving the lead singing we just rehearse it around him. And we might get a chance to sing a song if he no like the song. So me and Neville. So we would learn it - but its hard for him to keep the harmony. But I'm not taking anything away from his ability as a talented singer. So we became the the Blackstones - and started to work with Phil Pratt. And recorded  the album 'Insight' for him. We had a release called 'Revolution Time' 

The first time I became aware of The Blackstones was the tune released on the Daddy Kool label

"That came just before Phil Pratt, what happened was there was a young man 'Lance' whose family run the club 'Phibes'. In Shacklewell Lane. Even Tony Mahoney had some experience in there in competition. And Byron Otis and Neville Henry. It was like the Waterhole and entertainment for a lot of people."

"Yes we recorded the song 'We Nah Go Suffer'. We record that at Decibel Studio. The song was written by myself and Byron Otis."

And who was studio band?

"It was Jah Bunny on drums. We recorded other songs on the sessions - but those songs never came out, a lack of money. Daddy Kool released 'We Nah Go Suffer' it did very well. It was No.1 in the NME reggae chart, and No.1 in Black Echoes chart. Lance didn't didn't do anything else with us."

"And then I heard a Jah Woosh record produced by Phil Pratt. I phoned him, and he was at Magnet Records - which was ran by Mr Coke. And Phil gave us the rhythm tracks from the Jah Woosh 'Religion Dread'. And I come home to Dunns Road. And  myself and Bryon wrote the song 'Revolution Time'. In those times, the reggae songs were very militant. So we write something in that style. And that was another very popular tune. And after doing all these things for Phil Pratt now."

And then the album came?

"Yes it was released on Burning Sounds. This is the 'Insight' album, which came out in 1977. Phil Pratt had big hits with Al Campbell 'Gee Baby' and Pat Kelly 'Talk About Love' I can't recall the exact date. From Phil Pratt now, we link back up with Count Shelly. And how that happened was with a brother named Ranny Bop. Who came here on tour with The Wailers. He is a guitarist."

Ranny Bop : Pic Beth Kingston

An amazing guitarist!

"And he was playing in a band called The Xpress Band."

And that is the connection with Jumbo Records up in Leeds.

"Right, Shelly set him up to have a business. And he had a record stall in Chapel Market in Islington. Ranny came with the Wailers but never went back home. He was keeping himself by producing tunes like 'I Can't Resist Your Tenderness' by Ginger Williams. Anyway Ranny Bop decided to go home to Jamaica for a holiday. And he asked  me and my girlfriend - now my wife Faye Addison to help his girlfriend with the market stall. While he was away, for a month or so. And we said yet. And then something happened - so she left. And then Shelly came along and said if we could stay and maintain the business for him. Because all along Count Shelly was in the background supplying the music. Music was really selling in those days. We was supporting the actual record shop that was in Brighton Road. So we and Shelly became closer and closer. And Shelly even help us to get our first proper flat 95 Dunns Road. So we respect him for the help that he gave us. So Shelly took a liking to see the effort that I was putting in. So I had two tracks that I recorded with my own money one was 'Little Nut Tree' and one was 'How Sweet It Is'. We recorded that at Decibel Studio."

"And while we was recording the song Marc Bolan from T Rex came to the studio, and he was not in a hurry, and he suggested we put his friend to play some rock guitar on it. If you listen to 'Little Nut Tree' you will hear some wild rock guitar. And Jah Bunny, Gene Rondo and some of the original 'Undivided' band played on it. And from that point on - people started to ask for us."

There were so many people involved in the reggae business at that time. Did you have any contact with Clem Bushay?

"We met Clem Bushay going over, Willesden, Harlesden way. And when we were the Mighty Soul Rebels - Clem Bushay came to check us - with excitement saying that we will have to do some harmonies for Bob Marley. Peter Tosh and Bunny Wailer had gone back home, and Bob have a concert in Finsbury Park, but it never took place. We went to rehearsals - but the thing never take place. We were nerve wracked - because the Wailers harmonies were not simple."

So how about some of the other reggae people in the UK Reggae Scene, you have mentioned Gene Rondo.

"Well there was Mike Dorain, he had his own studio, but when the Blackstones went forward it was when we did the song 'Sweet Feeling' the Carlton and The Shoes song. So we went and sing it, and it took off like!!! It was selling like hot bread. We produced this tune for ourselves, round at Eddy Grant's studio. I remember the bass player was named Piper. I think he played on Sugar Minott's hit 'Good Thing Going' he was part of Sugar Minott's touring band. Piper used to play a bass that looked like a violin (a Hofner bass). And we have Padjit King on keyboards. And we have Armstong Neville on guitar one of the great guitarist, the late great Armstong, never mind reggae music - Overall. He played the guitar like Jimi Hendrix. But he was a sensitive guy - he didn't like to hear people cuss and so on. He was just unplug his guitar and walk out."

I'm assuming Leon, that with all these great - Gene Rondo, Mike Dorain, Roy Shirley - did you do back up harmonies on there songs?

"No, the only people we did harmonies for,, was people like Winston Curtis, we sang harmony for Samantha Rose. And then we harmonies for Alton Ellis for his 'On Top' album that was released by Body Music. We have sung harmonies on so many things I can't remember. Honey Boy was someone else we worked with. We sung harmoines for Dennis Brown. We were the harmonies on 'Just My Imagination'

You were also involved at the beginning of Dennis Harris's DIP studio in South London?

"I'm glad you bring me to that point, that is where I want to be! The two tracks we did at Decibel Studio was 'Little Nut Tree' and 'Can't Get No Money To Spend' and just before the carnival. The year they had the big riot. We went to DIP Studio. They were going strong. And He said that he would take the song, but that we would have to do another song. So DIP bring out 'Can't Get No Money To Spend' for us. So the same day he took the track. He took us downstairs, the DIP studio was in the basement. And we could see a young man doing a song which was a version of The Meditations 'Babylon Trap Them' DIP wanted us to do the same song there and then. But to give credit to Byron he wanted to come home and learn the song, and study the song - and phrase it how he wants it. He wasn't like Tony Mahoney or myself who would try and feel out the rhythm. So we took the tune home. And Byron's voice was quite similar to Dennis Brown's voice. And when we got to the studio to do the tune. There was a singer there called George Williams doing a song called 'Behind Closed Doors'. And Jackie Robinson one of the singers from The Pioneers who said that the song sound good...The musicians involved were Dennis Bovell, and Jah Bunny on drums all from Matumbi at the time."

"So went home, with it on cassette. There was a guy called Derrick at DIP, and the next time we hear it, it was mixed and everything. And the gentleman offered us £40.00. And Byron said "£40.00 each"? And he said, no man £40.00 for the tune. And Byron got upset and said he would them to rub off the tune off the tape. So me and Neville agreed that Byron could have the £40.00. We was still building our name. So we went along took the £40.00 and gave it to Byron. He took it. We expected the tune to be released as the Blackstones, because we saw the labels. But when the tune played on the radio we heard Steve Barnard say that one was by the fabulous Dennis Brown!" So we complained to Black Echoes. And then some people from DIP then threaten Black Echoes. And it got out of hand. So me and my friend Jah Larry. He was a guy who used to box for England. He didn't go the Olympics because he wanted cut off his dread."

Didn't Jah Larry eventually end up producing Byron Otis? 

"Yes! He also worked with Lloyd Charmers as a DJ. So we told Jah Larry what had happened. He was young and dangerous at that time. And we went down to DIP with bad intentions. And when DIP see the size of Larry. An Indian man said he was just going into his office to get some money for you lads. And when he went into the office he locked himself in! Haha. So he wouldn't open it - and we left. And the bad publicity around the tune became good publicity. "

"So went on, and Byron leave. Because he wanted to go solo. And I went to see Tony Mahoney. And his whole family is musical. His brother Desmond played drums with Black Slate. And I remember them, when they were known as the Young One's From Zion! And Melvin from the Mighty Soul Rebels was working with the Young One's From Zion. They used to rehease up by the side road near Stoke Newington library. Desmond Dekker used to rehease there as well."

"Anyway I went around to Tony, to see if he would join us. I like the Slim Smith voice, the Pat Kelly voice and the Ken Parker, and the Delano Steward. They are my kinda voices. I wasn't one who was crazy about the Wailers, but the Melodians and Paragons they were to me - the ultimate. And Tony was there with a brethren Ken now known as Kareem from Quest. So Tony said, I'm so busy all I can do is introduce you to my brethren Ken. And Ken gladly stepped in and came around to my home and sang. And myself Ken and Neville. We went on to make the track 'Sweet Feeling' because by that time Byron had left us."

"And then me and Ken, and Neville started to tour, with people like Prince Jazzbo, The Heptones, Delroy Wilson, Dennis Brown, Jackie Edwards, I can't remember everyone, and we became popular and people started to swell we head. And it went on like that for some years. And then Neville Henry get fed up, we are too good, we should be getting money to sing. We are working, its not fair.. This reggae music is not right. So he step off, and we went and got Lloyd from the Chantells."

Lloyd Forrester?

"Yes, when the Chantells came here, they got mixed up in some court problem. And they attend to attend the Police Station every morning and every evening due to what one member did. It went to Old Bailey and one member got a custodial sentence. And Lloyd and the other brother was found not guilty. The other member went back to Jamaica and then got shot and killed. Lloyd stayed in England for a period of time, and while he was here he was singing with myself and Ken. And we recorded songs like 'Don't Truk Badness' and 'And .'Jealously Taking Over' we did that  withErrol Bailey and 'Ain't She Looking Fine' they were both released on Body Music. While 'Don't Truk Badness' was released by Jah Larry."

"So after Lloyd, had to go back home. And Ken got involved in 'The Black Heroes In The Hall Of Fame' which was a very successful show here. He became the musical director for that show. And it was that time that Tony Douglas came into the group. Neville Henry than left. And Kareem, then met some Asian guy who put some £10,000 into the recording of an album. We went to Livingstone studio in Wood Green and recorded 'Take Another Look At Love' It was number one in the Black Echoes chart. Bob Andy was no.2 with 'Friends'."

"Then Fitzroy Sterling of Body Music employed Lloyd Charmers to produce an album with us called 'The Colours Of Love' and we bring back Neville for that. And Tony Williams had us topping the bill at the BBC Radio London awards show."

An album that impressed me a great deal was 'Somebody Ought To Write About It' how did that come about?

"I financed that, and that is where Tony Mahoney comes in. And Byron Otis. Because Byron had returned to the group. Because Byron as left the Blackstones two or three times. And he had a chance the last time, but I said to Tony's lets get someone else because I can't take the headaches. And that is how Junior Bailey come in. So the 

'Somebody' album was all done by Lindell Lewis except a few overdubs, and we did it at Chips Richards studio. Jah Larry had a connection with Prestige Records. And they gave us an advance. And Jah Larry had to change the cheque from dollars to sterling, because they pay in dollars. And when we got the money, I said I need to take my producing money out of it, and split the rest amongest us. And then Bryon said, no man we split it three ways! And then Tony said no, Leon paid the production costs. Some people don't consider these things."

It is an incredible album...

"Yeah, but it never got to the black market, because Prestige don't distribute like that. Prestige sell these things in places like Argentina, Brazil, and in places in Europe that we don't know about. Sometimes we are on a motorway and we will pick up an album and see four and five tracks on it licensed from Prestige. One of our songs was in a movie called 'Her Own Rules' we also had an album with them called 'Riding High' with some old tracks on it "

"Then we did an album for Jah Larry called 'Outburst' and that was on Prestige as well. All those works was with Tony Mahoney, myself and Bryon Otis. And then Byron leave for the last time, and my and Tony, were doing our own thing in studio. And it was at that time that I phoned Lindell Lewis. Who had a band called 'The Sus Band' would you mind if Junior come in with us. And he said "No problem, we are doing anything at the moment. Everything is flat man, here is Junior's number call him" So I called him. And he was here the next day, and he sang some stuff with us. And he took the album home with him, and he know his part in harmony, and he can lead. It was meant to be a few shows, but he's still here after 15 years."

How did you make the connection with Coxsone and Studio One? It was Studio One

first, and then Bunny Lee?

"Well we have always been working with Bunny, Bunny Lee is like a man who is a brother to us. He loves us because of the kind of style that we have. He's done so much for the business and still don't get full credit. He is a pioneer. Back to the Studio One thing now, it happened because a member of the Chosen Few AJ Franklin. He came back from Jamaica - and he bring me back a poster of the Chosen Few - and pictures of the Chosen Few. The newspaper editors splash them all over the papers - a veteran group coming home. They were doing a show with the gloves on them hands, full white outfits and change half way through the show. Real Vagas style - it was 'Heniken Show Time' So when he was showing me these newspaper clippings. I noticed that one of the artists on the shows was the Jays. And Lloyd Forrester was now a member of the Jayes."

"And it was Lloyd and a brother was a member of the original Black Uhuru - Errol Wilson. But he is now the leader for the Jays. And Jennifer Lara had stepped in as well, because one of the guys was not feeling well. So I saw the picture, and I said "Bredrin, I never knew that my friend Lloyd was part of the Jays?" And Franklyn said we just finished doing an album for Studio One, and he said that Mr Dodd just come back from New York. And I said I would like to do something too, you know. So Franklyn said he would phone them - and it was Bunny from the Chosen Few who answered the phone. And Frank spoke to him, and Bunny said that Mr Dodd is not putting anyone on any old rhythms. Too many artists have been on these rhythm, he's going to bring in some new rhythms. And that was that."

What year was that Leon?

"2000, perhaps 2003, and then one day Lloyd was at the Studio and I call him. And he say who said that about the old rhythm, let me ask Mr D. So he asked Mr Dodd, and he said come. And I said to Lloyd - I need to talk to Mr Dodd myself before I can do that. And then one day I was at home and my phone ring - and it was Clement Coxsone Dodd - and him say, "When do you guys want to come?" And that is difficult - because all of us work. So Mr Dodd say, "Make it a couple of months from now." So I tell Tony and then Junior and before I could explain anymore they said yes. So before long here we was on a plane going to Jamaica to work with Mr Dodd.  Well accommodated better than any hotel. We was at Tony Mahoney's father's home in St.Thomas. A place called 'Ramble' it was right next to a famous pond, named after two brothers who fight over land, and when they get up the next day, the place flood. It's a beautiful place."

"So we live from there everyday to go Studio One, and when we go to the Studio Lloyd and Mr Dodd was there to greet us. I have forgotten to mention that Tony from the Ruff Cut band had actually taken down one of our CDs on our behalf and he take it to Studio One. And so Mr Dodd had a chance to hear us before, and they were comparing us to the groups of the past like the Gaylads. So Mr Dodd was welcoming us. And there was a lot of people there it was very very busy."

I remember you said you see, The Congoes, Brent Dowe - The Melodians. The Gladiators, even Sly and Robbie.

"It was very crowded - so that day we didn't get to see Mr Dodd. He just waved at us. I was a bit disappointed, we had come us this way.....and Tony said cool man, its cool. So we go away and the next day we were there bright and early. Maybe around 12 or 1 pm. And he told us to go around to the studio, but we had to leave everything we had in our hands at the front desk - including cameras. And by the time we had finished, Mr Dodd was called by him son Courtney. And then Mr Dodd and King Stitt started to look for tapes of rhythms that we want to sing on. Some of them have different names in England. The next day we came he allowed us to take camera and bag and everyting into the studio. He was showing us trust. He had seen that we were not the type of person who had not been dragged up - we were brought up well. So we give it him, 100 per cent. And we started to voice, we forgot about tea breaks or lunch breaks."

"And on one occasion on the way back to St Thomas, Tony's friend stopped the car in Yallas. So I went upstairs to this restaurant, so I walk upstairs the side of the building going into the restaurant. The lady said "I know you" So I say, "You Don't Know Me?"

It's the first time me come in this place. And Junior arrived and she say "Me know him as well" and Tony appear - and she say it again, I know him too."

"So I said "Where you know we from" because I'm thinking she is up to something. I went to show in Sheperd's Bush and you was there. She couldn't remember who else was on the show - but she remember us. I said "Were we that bad!" And she said "No, you guys were great. And she started phoning people nearby saying she had artists from the UK. And a lot of people started to come and gather around, and from that point we would stop and go and have something to eat there."

"Back at Studio One, we come across King Stitt, we come across Bunny and Scully, Keith Enid, which is Courtney's mother. We come across Errol Dunkley, and Wentworth Vernal. We were invited to the Studio One Boulevard opening. We wrote a tune 'Tribute To Studio One' Tony altered the lyrics to put 'Boulevard' in there. So that is probably the only tune released with that in it."

It is truly an amazing album Leon.

"And then what happened next was that was invited to the Studio One stage show. But Jamaica was hit by a tremendous storm...."

At this point Leon is called away, so Tony Mahoney steps in. So what happened next, Coxsone didn't die while you was in Jamaica?

"No, when we went down there the first time they change the name from Brentford Road to Studio One Boulevard. And sort of people from the government came. And made speeches and gave him an award. The Skatalites band was playing. And we performed out there that day for him. And when we left Jamaica, maybe two days after that. And after about three days after we got back to the UK, he died. I think we were the last to record with him at Studio One."

And there was a video that Leon sent from an Heartbeat CD Rom. Where you are in the Studio - recording. Very few people have acutally seen anyone recording at Studio One.

"Very, I think we remind him of the days... The Heyday of the Studio. It was the 50th anniversary for Studio One. He wanted to do something new. After we came down to work with him, he dropped a lot of the projects and started to concentrate on us. He promised us a lot of work, so really and truly we lost out a bit there."

But it's not just recording for Studio One, its getting Mr Dodd to release it as well?

He's got so many albums with so many artists - that have just been 'parked'.

"Yeah, I don't know, he really took to us. Even when we was there - he said to his people I want that to be done straight - dub plates etc. And then when we went down the second time to do the show, and then the show got canceled. So we said, we are still going to go - and Mrs Dodd gave us the run of the studio."

Was it Mrs Dodd who made the decision to release your album, because your album remains the only new album to be released by Studio One since the passing of Coxsone Dodd.

"Yeah, she knew what her husband wanted. And Coxsone made it very clear what he wanted. He told Bugsby who mixed it, and his son Courtney - all these guys. He promised us that it was going to be released. She kept his promise. When was there the second time, we recorded a another set - a second album. And then she passed on. And the whole estate of Studio One....I don't see anything else coming out soon."

And then Courtney passed as well.

"There are two Courtney's the one we knew is still with us. And then you have Carol she is still in New York. 

Singles - Selection

Soul Rebels - Listen & Observe  Junior Lincoln - Banana - 1972

Soul Rebels - What's Love - Junior Lincoln - Banana - 1972

Soul Rebels - Judgement Day Is Near - Count Shelly - Count Shelly - 1973

Soul Rebels - I'm The One Who Love You - Lord Koos - Count Shelly - 1973

Blackstones - Revolution Time - Phil Pratt - Sunshot - 1975

Blackstones - Can't Get No Money - Blackstones - Lucky - 1976

Blackstones - Little Nut Tree - Blackstones - Jamatel - 1976

Blackstones - We Nah Go Suffer - Sir Lance - Daddy Kool - 1976

Blackstones - Open The Gates - Phil Pratt - Channan Jah 12" - 1978

Blackstones - Medley Rock - Shelly - Third World - 1980

Blackstones - Created By One Power - Fatman - KG Imperial 12" - 1981

Blackstones - Riding High - Blackstones - Jah Lion 12" - 1981

Blackstones - Satify Her Soul - Fatman - Jah Lion 12" - 1981

Blackstones - Ain't She Looking Fine - Ras Elroy, S Thomas - Live & Love 12" - 1982

Blackstones - Jealousy - Blackstone - Live And Love 12" - 1982

Albums

Blackstones

Insight

Burning Rockers

Phil Pratt

1979

Blackstones

Outburst

Prestige

Blackstones

1996

Blackstones

Riding High

House Of Reggae

Blackstones

1996

Blackstones

Somebody Ought To Write About It 

Prestige

Blackstones

2001

Blackstones

Tribute To Studio One

Studio One

Coxsone

2005

Blackstones Meet Chosen Few

Various Artists

Ocean

Blackstones

2009

Blackstones

Salute to Slim Smith & Uniques

Supertech

Bunny Lee

2011

Blackstones

We Can Do It

VPAL

Kyah/Fire

2015