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Friday, February 15, 2019

Gaylads - (1967) Soul Beat

 Studio One ‎– 001
The Gaylads are a Jamaican vocal group. They were one of the top rocksteady vocal groups active in Jamaica between 1963 and 1973. The group, formed in Kingston, originally consisted of singers Harris "B.B." Seaton, Winston Delano Stewart and Maurice Roberts.

There would be several line-up changes throughout The Gaylads' ten year history, with Maurice Roberts remaining the only constant member.

Besides recording several hit records, The Gaylads also backed many influential musicians (including Ken Boothe) on recordings.

Originally released in 1967. Recorded by Jamaica Recording Studio & Co., Publishers. Manufactured by Jamaica Records Manufactures Ltd. 13 Brentford Rd. Kingston 5, Jamaica, W.I.
Made In Jamaica

Glen Brown And King Tubby - (1996) Termination Dub (1973-79) CD

Blood & Fire ‎– 015

Glen Brown is one of the unsung heroes of Jamaican music. He began as a singer in the 60's, developed his skill as a melodica player, and then made his indelible mark as a producer in the 70's. His forte was the rhythm. Not the bouncing, melodic bass of Studio One, but the heavy pounding rhythms ideally suited to the era of Rasta militance. Typically he would develop a new rhythm, make umpteen cuts with various singers and DJs, hand them over to King Tubby for mixing, and then move on to the next one. He didn't have many rhythms, but boy were they good! Top titles too: "Leggo The Herb Man Dub", "Wicked Can't Run This Dub" and "Request Granted Dubwise" (possibly his best and a surprising omission from this compilation). They were well-suited to Tubby who keeps them simple - chopped, rewound and echoed to the max. Sometimes he interferes too much, when all you want to hear is the bass boom and the drums pound. But you can't really argue with the quality of tracks like "Father For The Living Dubwise" or "Melodica International". Blood and Fire have established themselves as reggae archivists without parallel. Respect granted dubwise.

Gregory Isaacs - (2014) Slum In Dub CD

 Tad's Record ‎– 0912 
I've found this to be strangely absent on many 'Best Dub' lists, despite its obvious place among the classics.
There are utterly wonderful tunes, bass-lines, and general high musicianship by some of Jamaica's greatest musicians behind the expertly and lovingly produced Dub job on these Gregory Isaacs tracks by his Highness Prince Jammy. This is one of Mr. Isaacs' best selling albums despite Isaacs' voice being only present here in a few tiny, manipulated snippets. There is also some terrific percussion work on the album, juxtaposed with the vital intricate drumming of the trap kit.

Habitat Sound System - (2007) Meets Prince Zohar And The Mystics CD

 Gematria Records ‎– 002
Wow! This is by far the best modern dub record we've heard in ages! And you know we love us some vintage dub (Lee Perry, King Tubby, Prince Jammy, etc.) but we've been pretty underwhelmed with so much newly recorded dub these days. Most dub records recorded in the last decade tend to be nothing more but slick exercises in smoothed out reggae and cheesy electronics. Maybe perfect for swanky lounges and as backdrops for radio dj's but when we want dub we want it to be in our face, raw and vibrant, sizzling and brimming with heat and magic. And the debut full length from Habitat Sound System delivers just that!
This is REAL dub, designed to ring in your ears and move your body. No laptops or electronic middle of the road shortcuts here, instead you get a record that echoes with the true sound of organic dub. The instrumentation includes bass, piano, melodica, harmonica, organ, trumpet, electric and acoustic guitar, array mbira, analog synth and of course tasty blown out vocals. When demos from this record started surfacing, dub folks were freaking out, as they were hungry for something new and exciting in a scene that had been overtaken by dull and predictable modern dub, drab and boring and so pointless. Even some of the true originals like Scientist and Mad Professor heard this and gave it major props, in fact Mad Professor ended up doing additional mixing, and even mastered the disc. We first heard Habitat Sound System, fronted by Irwin's brother Preston, earlier this year on a great split with Monosov Swirnoff on Eclipse records, and while this is a way different beast than what Swirnoff does when he plays with Ilya Monosov or in his psych-rock outfit The Shining Path, there is no doubt that he definitely has his finger on the pulse of dub in a way that's been totally kicking our asses! When we first got this in and were playing it in the store, it not only had everyone working nodding their heads and subtly sort of grooving, but customers who instantly bought copies didn't believe us when we told them it was a brand new record, as they were convinced that this was a lost seventies gem from Jamaica. Truth is, Habitat Sound System have created a timeless and near perfect slab of summery dub. So damn good and of course highly recommended!

Horace Andy - (2014) Get Wise CD

 Pressure Sounds ‎– 083
UK reissue specialist Pressure Sounds set the dubplates aside for one of their rare album unearthings in this 1975 Horace Andy LP with cult producer Phil Pratt. Pratt has been running a successful takeaway restaurant business in West London for years, so it made sense that he and Pressure Sounds would strike up a relationship that commenced with the compilation Phil Pratt Thing in 1999.

Phil Pratt was the singer of outstanding 60s singles such as the proto-roots rocksteady classic Reach Out. He then put down the mic for his Sunshot label, chairing of some of the early 70s most distinctive productions: often featuring the spiky guitars of Earl Chinna Smith and Tony Chin of Soul Syndicate band.

It is alleged that Horace Hinds – cousin of Justin – took the name “Andy” due to having songwriting abilities similar to Studio 1 penman Bob Andy. Session drummer Fil Callender recalls Andy auditioning and the musicians being taken aback at his high honey vibrato voice. Yet in a moment that illustrated his vision, impresario Coxsone Dodd was impressed by the unusual tone – one that would be imitated repeatedly in a crowded market of other singers in years to come.

Pratt met Andy at Studio 1 and they began to work together. Al Campbell, who supplies backing vocals for this set, and recorded his own massive pre-lovers rock hit Gee Baby at Sunshot, has claimed that Andy wrote Strange Things for John Holt and The Half for Dennis Brown. Pratt corroborates this in the informative liner notes by Pressure Sounds owner Pete Holdsworth.

Two of the most famous tunes included here – Zion Gate and Money The Roots of All Evil - are better known for the versions voiced for Bunny Lee. But these less exposed cuts have their own subtle power. As well as deep roots we hear brooding lovers in a cover of Ken Boothe’s Let Your Teardrops Fall (which may also have inspired the melody to the Abyssinians’ Good Lord) and culture/romance fusions in the title track (a topical precursor to Andy’s Tappa Zukie smash Natty Dread A Weh She Want). The original record’s ordering has been juggled and embellished with some dub versions and Jah Stitch’s celebrated deejay cut to Roots of All Evil - Evilous Things.

Music-wise there isn’t much to say beyond asking: what would you expect of Horace Andy singing with Phil Pratt producing and Sly and Robbie, Dougie Bryan, Earl Chinna Smith, Fully Fullwood and Santa Davis playing the rhythms? That said, the reissue is a little rough ‘round the edges soundwise. Though it captures the high fidelity sound of vinyl nicely there’s a slight hiss behind many of the songs. But given the time and money involved in locating a mint first press, the majority of collectors will accept this as a fair deal.

The ‘Get Wise’ album was built around a series of singles recorded mostly between 1972 and 1974, as finances permitted. Eventually, a 10-track album was released in 1975. The CD version contains two additional bonus tracks not found on the 14-track album reissues (tracks 15 & 16).

Inturns - (2015) Consider Yourself CD

 Pressure Sounds ‎– 086
This album used to be hard to get before “Pressure Sounds” saved it from obscurity. Inturns are better known as “The Viceroys” and started as a Rocksteady group releasing a couple of rather unsuccessful “Studio One” singles. It’s a shame how this group has been abused by the industry and taken advantage of by producers, only their love for music kept them going. It was first released on the obscure, Jamaican label “Chanan Jah” in 78′ and is produced by “Phil Pratt” so no, it’s not Rocksteady or from “Studio One”. Let us focus on what this album is instead, namely one of the finest Roots Reggae Lp’s ever. I have owned the “Burning Rockers” release for over 10 years and it’s still one of my favorites.

First song on here is “Send us”, a repatriation tune where lead singer “Wesley Tinglin” tells us about the necessities of all black men and women to return to Africa and how he wishes for that day to come. It’s all done over an excellent, organic sounding track which is just a tad bit melancholic and a perfect introduction to the album. Things get way more upbeat next, on “Consider yourself” a love song with great harmonies and while being a good song it’s not one of my favorites on here.

Iv’e always been more of a fan of the “sufferers” tunes (no matter the artist performing it) but the third song, “Detour” is absolutely awesome with great organ and a very catchy refrain (it also was the title of the album when it was released by “Burning Sounds” under the alternative name “Interns”). It’s one of the best songs on the album and would be a perfect anthem song (although “Jah ho” would get that honor if there ever was a Viceroys/Inturns anthem). Another stand out song is “Nothing is impossible” a bit more on the melancholic side although the lyrics are very inspirational. I love the harmonies on this tune.

No review of this album could be complete without mentioning “Jah ho”, despite the spelling it got nothing to do with god and is more a examination of the pirates that kinda discovered Jamaica and what they where up to. It’s easily their most famous song and has been covered by multiple artists (who all made it bigger than “Viceroys” ever did). Once again it’s very catchy and easily get stuck in your head.

There is 2 extended 12″ mixes on the re-release of the tunes “Nothing is impossible” and “Detour” which incorporates the dubs. I don’t care too much for the dubs but im sure some will be happy they are there. As far as musicians go we get greats like “Robbie Shakespeare”, “Carlton Barret” and “Ansel Collins”, it was recorded at “Channel One” and definitely has an organic feel to it, no digital vibes, it’s all real instruments.

It’s a must have album, very few titles come close to “Consider yourself” (or whatever your release is called). It’s the best and most needed re-release “Pressure sounds” have done. It’s early on in the year but this is the release of the year as far as im concerned. If I did not already own 2 versions of it i would buy it immediately and not regret it. Viceroys has released 3 more albums which all are very good (as of this moment they are not easily available) but this is the best of the bunch.

Irie FM - (2010) Skills Of The Youths CD

 Mascom Records ‎– none
Irie FM is a vocal-instrumental experience that counts nine people, gathered around one idea.The band plays roots reggae in the original style along with dub versions of all songs which are played live as “Showcase” versions. The original music is interpretated by the compact setup of instruments containing both rhytm and brass section: the Drum, Bass, Rhytm and Solo Guitar, Keyboards, Percusions, two Trombones and Saxophone.
Formed 2001 in Belgrade, Serbia
IrieFM started by playing traditional roots reggae enriched by jazzy brass moments. As they grew more mature as a band, their music gained plenty of new dub, soul, and punky reggae features. Recognized as Jamaican spirit guardians, in 2006 IrieFM were invited to open for the greatest dance hall artist of today, Capleton. After this, they almost went straight away to Del Arno’s “D.A.B.Ing” studio, where, after two years of ripening, their album “Skills of the Youths” is ready to be picked. Their career continued by their trip to India, and by their signing for “World Music”, and the whole subcontinent market, alongside the likes of Sade, Richard Bon or John McLaughlin

Jackie Mittoo - (1995) Tribute To Jackie Mittoo 2xCD

 Heartbeat Records ‎– 189/190 
A fabulous collection of Jackie Mittoo's cuts for Studio One, which stuffs 31 numbers onto two superb CDs. A few reach as far back as the ska days and his time with The Skatalites, but most come from later in the decade and the dawn of reggae.

Although the set does include a lavish booklet with an excellent biography, frustratingly few of the songs are actually mentioned in the notes, and many of Mittoo's biggest hits -- "Ram Jam," "Darker Shade of Black," "Hot Milk," and "Peanie Wallie" aren't included. For trainspotters it's even more frustrating, as the compilation is a chronological jumble, no dates are given for the songs, nor are the accompanying bands (which include the aforementioned Skatalites, The Soul Brothers, the Soul Vendors, and Sound Dimension) listed.

Details, details: forget all that, and just immerse yourself in the fabulous music. Even with the notable omissions, Tribute to Jackie Mittoo is a phenomenal celebration of the artist's work, beautifully showcasing his versatility, and the myriad of styles he worked within. Delta blues, sizzling reggae riffs, lush numbers, breezy compositions, psychedelic pieces, even Nyabinghi offerings can be found within. There are instrumental versions of hits across the entire musical spectrum from "Old Man River" through contemporary British chart busters, and of course his solo takes on a myriad of Studio One classics.

Beyond the spectacular musicianship all these tracks boast, there's Mittoo's superb arrangements, a craft at which the organist excelled, as he engagingly blends musical styles together, conjuring up a myriad of atmospheres, and sometimes even seamlessly shifting moods between his own solos and the accompaniment. There are too many masterpieces here to list, amongst them a number that were recut to much effect later in the '70s including "Drum Song," "West of the Sun," and "Ghetto Organ.".

Jackie Mittoo - (2000) The Keyboard King at Studio One CD

 Universal Sound ‎– 008 
As Soul Jazz Records enter into the mighty vaults of Studio One , the most respected label in reggae history we present you with this showcase of Jackie Mittoo , one of the defining figureheads of reggae music, and his years at Studio One. From forming The Skatalites, at age 15, alongside Don Drummond, Roland Alphonso, Tommy McCook and others to his work as writer, arranger, producer at Studio One records during the sixties, writing and playing for artists such as Alton Ellis, Ken Boothe, Marcia Griffiths and The Heptones (to name a few), to his career as a solo artist as well as leader of bands such as The Soul Brothers, Soul Vendors and The Sound Dimension, Jackie Mittoo is at the heart of reggae music. He was one of the instigators of Ska music, Rocksteady and Reggae. In the seventies, DJ music and Dancehall were based upon classic rhythms of the sixties, many using the instrumental tracks that Jackie Mittoo created at Studio One at this time. This compilation features the work of Jackie Mittoo at Studio One. It features music recorded as a solo artist (as opposed to the numerous singers that he accompanied). Most of these are taken from his recordings in the mid sixties where he was recording on an almost daily basis at Studio One's Brentford Road studios developing the funky reggae sound that was his trademark. Soul Jazz Records are releasing this CD as the first of a series of Reggae artists to be covered following the success of the 100%Dynamite releases. Jackie Mittoo is as much an icon of Reggae as he is to fans of Funk music. He is without doubt the funkiest keyboard player ever to come out of Jamaica! This is the first volume of Jackie Mittoo' s music to be released on Soul Jazz Records. A second volume featuring his work for other producers in the seventies such as Bunny Lee and Sugar Minnot will be released later on in the year. "CD of the Week. The coolest man who ever lived" THE GUARDIAN***** "Named by MOJO as one of the 100 cult heroes of all time, this is a lovingly curated compilation" THE INDEPENDENT "After Soul Jazz Records' groundbreaking 100% Dynamite CD's comes Jackie Mittoo. If you've caught the funky reggae bug, you need this" MUZIK "Rocksteady, compulsively funky Ska and Soul. An excellent Soul Jazz compilation".

Jackie Mittoo & The Soul Brothers - (2003) Last Train to Skaville CD

 Soul Jazz Records ‎– 080 
Following on from Soul Jazz Records' earlier Jackie Mittoo "The Keyboard King at Studio One" comes Jackie Mittoo and The Soul Brothers "Last Train To Skaville". Jackie Mittoo is one of the most important artists in the history of Jamaican music. As founding member of the legendary Skatalites, as in-house arranger/producer at Studio One and as a solo artist in his own right leading groups such as The Soul Brothers, Sound Dimension and Soul Vendors. These classic and rare recordings were made in the mid-1960s at Studio One. The Soul Brothers bridged the gap between Ska and the arrival of Rocksteady mixing it all up with Funk, Jazz and Latin styles. The Soul Brothers recorded at Studio One between 1965-1967. This was the transitionary period between Ska and Rocksteady where the music was a mixture of Funk, Latin and Jazz sometimes with a reminder of Ska and the hint of Rocksteady. The previous era of Ska had been dominated by the Skatalites. The Skatalites were made up of Don Drummond, Roland Alphonso, Jackie Mittoo, Johnny Moore, Lloyd Knibbs, Lloyd Brevett, Tommy McCook, Ernest Ranglin and Lester Sterling. Formed in 1963, The Skatalites were the first in-house band at Studio One and created scores of classic hits such as "Guns of Navaronne", "Man in the Street", "El Pussy Cat" and many more. Unfortunately the strong personalities in the group meant that The Skatalites stayed together for less than two years. It was also around this time that the mentally unwell Don Drummond was arrested for the murder of his girlfriend, the dancer Margerita. In August 1965, barely a week after the demise of the original Skatalites, The Soul Brothers (featuring ex-Skatalites members Jackie Mittoo, Roland Alphonso, Johnny Moore and Lloyd Brevitt) were up and running as the new house band at Studio One. Other members in this group included Wallin Cameron (guitar) and Bunny Williams (drums). This release could just as easily have been called Rolando Alphonso and The Soul Brothers or just The Soul Brothers as the group were essentially a collective, releasing material under their own name or under a nominal leader (usually Jackie Mittoo or Rolando Alphonso). The group line-up changed over time with Bobby Ellis (trumpet), Bryan Atkinson (bass), Dennis Campbell (Sax), Harry Haughton (guitarist) and Joe Isaacs (drummer) replacing various members alongside the ever present Jackie Mittoo. The Soul Brothers mix of musical styles is described as Ska, Jump-Up and Soul sounds. The opening track "Last Train to Skaville" signalled the end of the Ska era, as the Soul Brothers started to forge a new sound that by 1967 had become known as Rocksteady, a slowed down funky version of Ska. The main difference between the sound of The Skatalites and The Soul Brothers is the arrival of electric instrumentation such as Jackie¹s organ as well as electric guitar on some tracks. In 1967 Clement Dodd decided to take a group of musicians to England. Alongside the singers Alton Ellis and Ken Boothe, he asked Roland Alphonso, Jackie Mittoo, Johnny Moore, Lloyd Brevett, Bunny Williams and Errol Walters. This group would be named The Soul Vendors and signalled the end of the short-lived Soul Brothers. Shortly afterwards Jackie Mittoo recorded his first solo album "Jackie Mittoo in London" with The Soul Vendors. For the next three years Jackie Mittoo came into his own, as in-house producer and arranger at Studio One, as well as his solo career. In 1968 he emigrated to Canada continuing to return to Jamaica to record for Studio One. These early recordings show the roots of a sound that Jackie Mittoo made uniquely his own.

Jah Shaka - (1988) The Commandments Of Dub 1 CD

Jah Shaka Music ‎– 824 

Jah Shaka's Commandments of Dub, Vol. 1 has a unique dub style that sets itself apart from other roots records. Throughout the album, Jah Shaka uses less organic sounding effects and plays with the rhythms sonically. His obsession with an effect that sounds like a siren doesn't fade and gives the album an overall character. Ringing chimes, pops and echoes color the tracks with a very recognizable style. Jah Shaka's production skills are impressive but he doesn't dub any standout rhythms. The clean sound of the bass and drums doesn't back up what he is doing behind the mixing desk, and it robs the record of some of its potential. Commandments of Dub, Vol. 1 is a layered, well-mixed album that shows Jah Shaka's unique dubwise technique but doesn't have the rough pounding rhythms that so many roots-dub records have. The bass and drums are loud and at the forefront but don't have the edge of a Keith Hudson or a Joe Gibbs' production. Commandments of Dub, Vol. 1 is an eerie mix with definite appeal for fans of dub production.

Jeb Loy Nichols - (2016) Long Time Traveller 2xCD

On-U Sound ‎– 130

Singer/songwriter Jeb Loy Nichols hasn't issued an album since he and Nostalgia 77's Ben Lamdin teamed up for The Jeb Loy Nichols Special in 2012. A few limited-edition singles have popped up, but the artist has kept a low profile. Long Time Traveller dates back to 2010, when it was issued in Japan as a very limited release from On-U Sound and Beat Records. The songwriter has a longstanding relationship with On-U Sound dating back to the earliest days of the post-punk era, when he provided occasional backing vocals for its dubplates. Nichols' love of reggae goes back to his days with the Fellow Travellers, who fused Americana, country, and dub. As good as those recordings were, though, they don't touch these. This date finds him in familiar company with members of the Dub Syndicate, Roots Radics, and the Crispy Horns, as well as Skip McDonald and Ghetto Priest. Producer and sonic alchemist Adrian Sherwood is at the controls. Sherwood (who did a stellar remix of Nichols' lone hit "As the Rain") effortlessly stitches the singer's soul-tinged Americana croon to steamy, dreadwise dub riddims. He also thoroughly remixed and remastered the date for this release. Opener "To Be Rich (Should Be a Crime)" weaves grooving, Jackie Mittoo-esque organ and a Flabba Holt-inspired bubbling bassline, rolling tom-toms, and snares as they roil under skanking guitars. Nichols (with backing vocalists who croon equal parts Nyabinghi and gospel) indicts the wealthy. But their case is made softly, almost sweetly -- the rhythm section underscores the lyric weight and brings it home. "The Day You Came Over the Hill" uses irony and metaphor to express love, loss, and heartbreaking vulnerability The R&B-cum-Nashville vibe in "Lonely King of the Country" is highlighted by a ranking bassline, elastic atmospheric space, and a hooky melody. "Mr. Nobody" offers an unusually crystalline honky tonk piano. Nichols' vocal is tenderness personified, supported by a Sherwood mix of rocksteady grooves played gently enough to buoy the loneliness in the vocal, not steamroll over it. "97 Miles" is great lover's rock, but in the melody the singer manages to graft his trademark delivery even as he evokes both Gregory Isaacs (Roots Radics were his regular backing band) and country-soul crooner Ronnie Milsap! Nichols can also be as humid and dank as the dub musicians behind him: Check the dark, paranoid strangeness in "Moving Time" where the Crispy Horns add the track's only glimmers of light. On-U has added a second disc to this reissue. It contains four previously unreleased songs. ("Miss Moon" is prime Nichols, while "This Dark Road" is among the most straight-ahead "country" tracks he's ever cut.) In addition are seven alternate mixes, and each is killer. Long Time Traveller is a fine resurrected lost chapter. The songs are great, of course, but uncharacteristically, they're equaled by the assembled musical corps. For fans of Nichols, (and/or Sherwood and On-U Sound), this set is a must.

Joe Gibbs & The Professionals - (2005) African Dub All-mighty Chapter One & Two CD

 Crazy Joe Records ‎– 004

Joe Higgs - (2008) Life Of Contradiction CD

 Pressure Sounds ‎– 058
A mere footnote in mainstream musical history, Joe Higgs name is inextricably linked to that of Bob Marley. It was Higgs who taught the teenaged Wailers to sing and harmonise at his Trench Town home and was the first in a series of surrogate father figures who helped create and refine the Bob we know today.

But Joe was also a respected singer and composer in his own right. He'd been present at key moments in the development of ska (as part of the duo Higgs and Wilson), rocksteady (with Lyn Tait) and reggae (touring and recording with Jimmy Cliff) before releasing Life Of Contradiction in 1975.

Recorded three years earlier but held back due to the all-too-familiar rights issues, Contradiction saw him teamed with the formidable and versatile Now Generation band. The result was a highly conceptual, deeply personal record by one of reggae's true masters that deserves to cross over into popular music's wider canon.

Of the three Wailers, Higgs deep, rich voice sounds closest to that of Peter Tosh, but is a more mournful, weary instrument, the sound of one who has suffered great hardships with a shrug and a smile. From the battle-worn but hopeful Come On Home, to the poignant There's A Reward, through to the clattering hand-drums and sad solo trombone of bonus instru-dub Freedom Journey, each song draws on universal themes of love, redemption and pain, while each note played by the band shadows Joe's every ambiguous mood.

The level of songwriting and the breadth of influences on display will impress the casual or non- reggae fan. Glimpses of Dylan and the Band, Simon and Garfunkel, Cat Stevens and Otis Redding bubble to the surface in this melting pot of jazz, country, roots, rock and soul.

Unjustly ignored on first release, Life Of Contradiction is a work of astonishing depths and bruised, aching humanity. Give this album some time and you'll get your just reward.

Keith Hudson - (1974) Flesh Of My Skin, Blood Of My Blood CD

Basic Replay ‎– 1005 

A lost gem, finally reissued! Hudson's voice as a producer remains one of the most unique and idiosyncratic of his era, and this first LP issued under his own name stands as a shining document of his genius. Cut very near the time of his classic dub side Pick A Dub, this album shares the haunting mood that runs through the best of Hudson's work, all the while delivering a resounding roots message. The rhythms are fierce, laid down by Leroy Sibbles, Fully Fullwood, Santa Davis, Count Ossie and Augustus Pablo, a dozen mighty tracks in all: "Hunting", "Flesh Of My Skin", "Blood Of My Blood", "Testing Of My Faith", "Fight Your Revolution", "Darkest Night", "Talk Some Sense (Gamma Ray)", "Treasures Of The World", "My Nocturne", "I Shall Be Released", "No Friend Of Mine" and "Stabiliser".