Born in 1972, Bitty’s earliest memories were punctuated by the music he would hear courtesy of his Father’s sound system, where at the tender age of ten he started singing over Jamaican Dub and Instrumental riddims.

In 1992, he not only co-produced but played, sang, and engineered UB40’s hugely successful album "Promises And Lies" selling in excess of 10 million copies.

In 1993, Bitty’s own first album, "Just To Let You Know", included the Top 10 singles
It Keeps Rainin’, Dedicated To The One I Love and Here I Stand, selling over
1 million records.

The subsequent years saw Bitty accrue an awesome catalog of Top 30 singles,
as well as play UK arena tours with UB40, Wet Wet Wet, and Simply Red..

bitty about 1

In 2004, he recorded, produced, and released the superb "On Bond Street",
in which Duke Reid’s Treasure Isle instrumentals by the legendary Tommy McCook and The Supersonics formed the basis of the album. Bitty complemented these Ska and Rocksteady tracks with such elegance it is hard to believe he was not there when the original riddims were put on tape.

2006 was the beginning of what has become a longstanding collaboration with the world's greatest rhythm section, drummer Sly Dunbar, and bassist Robbie Shakespeare. Recording and touring extensively, they have built a catalog that includes the critically acclaimed albums "Movin’ On", "The Taxi Sessions", "Heart Mind and Soul" and "Love Restart".

bitty about 2

2023 saw the release of the brand new "Forward" LP. Sly and Robbie set a solid foundation of Rockers, Rub-a-Dub, and Roots Reggae for the compelling lyrics and melodies of Bitty McLean, whose trademark voice and penmanship skills continue and affirm his position as one of Reggae’s premier vocalists. 

And now, Bitty McLean is releasing a new version of "Walk Away From Love", produced with Sly & Robbie and Guillaume Bougard, especially for TABOU1.

About Bitty McLean 3

Bitty McLean

Drummer Sly Dunbar and bass player Robbie Shakespeare are Jamaica's most prolific and prestigious rhythm section and production team.

They have worked on an estimated 50,000 tracks since they started their career in the early 70's. Their TAXI label, created in 1974, boasts a catalog of more than 5,000 songs, featuring every Jamaican singer or DJ ranging from Bob Marley, to Peter Tosh, Jimmy Cliff, Chaka Demus & Pliers, Shaggy, Sean Paul, Beenie Man...

sly & robbie about 1

In addition to being the main driving force of Jamaican music in the last 50 years, what separates Sly & Robbie from the rest is the fact that they have worked with numerous international stars, such as Bob Dylan, the Rolling Stones, Mick Jagger, Keith Richards, Grace Jones, Paul McCartney, Annie Lennox, Joe Cocker, James Brown, Shakira, No Doubt, Sinead O'Connor, Serge Gainsbourg, etc…

A key reason for their longevity is the utmost care they take in producing music, their sound is immediately identifiable, both very HEAVY, yet musical and accessible to Reggae and non-Reggae fans alike.

About Sly & Robbie 2

Sly & Robbie

Born on 12 January 1955, Johnny Clarke rose to prominence in Kingston`s highly competitive Reggae scene in 1973 when he started working with producer Bunny Lee and Robbie Shakespeare, Bunny Lee`s studio band leader, the Aggrovators.

In an interview given to Jah Rebel, he declared: “I kind of grew up in a very musical family, you know. Like so many in Jamaica I started out as a choirboy, singing in church,
but my first steps in the commercial circuit I really took when I started hanging out
with a local sound system called VJ the Dub Master.

That man motivated me a lot in those early days. At that time, I was still attending school, but I already knew what I wanted to do with my life, so what you did in those days was go to downtown Kingston and visit all the different producers there, hoping that one of them might take a shine to you and let you voice a tune. It was all about
persistence and determination in those days.

About Johnny Clarke 1

I got my first break when Clancy Eccles let me voice a tune called “God Made The Sea And The Sun”. It didn`t do too much to be honest, but I kept on going and moved on
to work with Rupie Edwards. For his Success label I recorded a tune called “Everyday Wondering” (1974, red.). On the B -side of that 7” was another tune called “Julie” and
it was that track that became my first real hit in the dancehall. I voiced that tune at King Tubby`s studio and that was really the beginning of my career as a hit maker. Of course, the ball really got rolling when I voiced “Shall Escape The Judgement”. The instrumental part of that tune was recorded at Treasure Isle and I did the voicing at King Tubby`s.

I always voiced my songs at night, because my throat tended to clearer then
and my voice would sound smoother. That song also launched a new revolution
in reggae music, the sound we now know as the flying cymbal.”

About Johnny Clarke 2

He became more popular than international stars Bob Marley or Peter Tosh in Jamaica, scoring dozens of hits like “African Roots”, “Play Fool To Get Wise”, and “Every Knee Shall Bow” in which he expressed his Rastafarian faith and encouraged his fellow Jamaicans
to live a righteous, non-violent existence.

While he recorded a majority of his hits for producer Bunny Lee, he did a number
of superb tunes for Robbie Shakespeare`s Bar Bells label, which he had founded
in the mid-70s before teaming up with Sly Dunbar later that decade. Robbie had taken over the bass and musical director duties for the Aggrovators after Aston Barrett concentrated on his work with Bob Marley`s Wailers band.

About Johnny Clarke 3

Clarke was named Artist of the Year in Jamaica in both 1975 and 1976, and became one of the most popular singers on the island, mixing original songs with covers of popular reggae songs by other artists, and mixing roots and lovers-themed material.

Over the last 40 years, he has continued to add new music to his plethoric discography while touring relentlessly.



In early 2022, he entered Gaylard Bravo’s SmallWorld Studio to voice instrumentals produced by Sly & Robbie for TABOU1. In addition to the versions on Sly & Robbie’s riddims, TABOU1 commissioned Clevie (of Steelie & Clevie) and Robbie Lyn to build brand new digital reggae beats. As a result, for the first time ever, each of the album’s songs will be released with two entirely different arrangements: the so called “live” riddim and the “digital” riddim.

About Johnny Clarke 4

Johnny Clarke

William Clarke, better known as Bunny Rugs, was chiefly known for being the lead singer of the Reggae supergroup Third World from 1976 to his passing in 2014.

Before joining Third World, he had worked for Jamaican genius producer Lee Scratch Perry, recording the "To Love Somebody" album in 1974, TABOU1 had the privilege of re-issuing in 1999.

His career took off when he joined Forced with the then-up-and-coming Third World which went on to become one of the leading Reggae formations in the late 70s and which has been active ever since, touring and releasing more than 20 studio albums so far.

About Bunny Rugs #1

With Third World, he recorded the seminal "96 degrees" in 1976, then a smash hit cover of "Now That We Found Love" in 1978, the "Hooked On Love" banger in 1981, and recorded "You've Got the Power" in 1982 with Stevie Wonder producing the group on two tracks, including the "Try Jah Love" million seller.

Parallel to his immense career with Third World, Bunny Rugs toured with Sly & Robbie in 2004 and recorded solo material. In particular, he worked with TABOU1 from 1999 onwards, starting with a collaboration with U Roy ("I Know who I am"). Over the years, Bunny Rugs and TABOU1 accumulated material that was recently mixed by mixing engineer legends Steven Stanley (Bob Marley, Black Uhuru, Grace Jones, Tom Tom Club, etc…), Godwin Logie, and up-and-coming Dartanyan Winston. The result of this fruitful collaboration is a deluxe edition of all of the mixes of each song, mastered by Bruno Sourice.

About Bunny Rugs #2

His soulful voice and ebullient personality concealed an unrivaled work ethic: during a break in Third World's 2005 tour of Europe, instead of relaxing in his hotel room in Amsterdam, he instead chose to use the 3 days off productively, asking that TABOU1 book studio time for him in Paris to record new material. We are proud to present a collection of previously unreleased tracks produced with Sly & Robbie and others as a tribute to one of Jamaica's finest singers.

About Bunny Rugs #3

Bunny Rugs

Born in Waltham Park, Kingston, Jamaica, Joseph Jackson, better known as Ranking Joe, exploded onto the music scene with a bang! From the get-go, the infectious beats and rhythms of his homeland fueled his fire. Joe didn't just dip his toes into the musical waters; he dove in headfirst, making waves with the Smith The Weapon sound system and later with El Paso, rocking stages as Little Joe.

Cutting his teeth with the legendary Clement "Coxsone" Dodd at Studio One in 1974, Joe's first single set the stage for what was to come. After a brief detour into the world of electronics, he was back, microphone in hand, laying down tracks. Hits like "Honda 750" and "Psalm 54" were just the beginning. Working with Bunny Lee and Derrick Howard, Joe wasn't just in the game; he was playing to win.

1977 was a turning point. The "Little Joe" moniker was out, and Ranking Joe was in, thanks to Prince Tony Robinson. Tracks like "A You Mr. Finnegan" and "Navel String Cutter" showcased his unique style and charisma.

By 1978, with Greensleeves Records dropping "Weakheart Fade Away" and Cha Cha Records releasing "Saturday Night Jamdown Style', Ranking Joe was unstoppable.

About Ranking Joe 1

Ranking Joe's journey from the streets of Kingston to international reggae stardom is a story of resilience, innovation, and unstoppable rhythm. His latest album, "Top Ranking" was produced with Guillaume Bougard and Sly & Robbie. It is available exclusively on the TABOU1 store.

About Ranking Joe 2

With Angus Taylor's authorization, we present parts of the interview Angus had with Ranking Joe for UnitedReggae.com in 2012

Ranking Joe (born Joe Jackson, 1959, Jamaica) grew up around his father's dances in 1960s Kingston. Bitten by the bug, at the age of just 15 he became resident deejay on Dennis Alcapone's El Paso Hi Fi, when the elder talker migrated to London. His began his recording career at Studio 1 in 1974 under the handle Little Joe, which led to him voicing for Bunny Lee, Joe Gibbs, Sly & Robbie and many others.

A name change to Ranking Joe (suggested by the producer Prince Tony) and the development of his various vocal trademarks (like his legendary superfast "tongue-twisting" introductions) consolidated his status as one of the great mic-men of the late 70's and early 80's - adapting to the new decade's musical developments with continued success. At the same time, he undertook a parallel career as a producer, issuing his own music as well as other artists like Barry Brown and his schoolfriend Earl Sixteen.

In 1980 he and his production partner Jah Screw took the Ray Symbolic sound system to London, giving the city a taste of what they'd previously only heard on tapes. Joe then settled in the States, where he remains to this day, although he still tours, impressing audiences worldwide with his wonderful way with words and sounds. "Privilege" is one word Joe uses a lot when discussing his life and music.

Sound system is quite literally in your blood isn't it?

I grew up literally on a sound system in dancehall music. Because my father is a man who used to go around and play domino games, like tournaments with friends, people from friends" clubs, and the big sound systems would play and entertain them during the daytime. You'd have kids and everyone during the day and cook and eat food until it reached a certain time in the evening when the kids would have to go home or people would come out of the dance and then have to start paying to come back in! If they wanted to stay they would have to pay the gate man when he comes around then that was a different thing but the deejay would hold the mic and say "All for free... go to the gate and pay him a lickle rate, yunno... that would be great... it's all for free" - so that was when the dance began to officially start. So I got a privilege to see a bit of that and then a bit of the dance starting - then I would have to leave!

Growing up my dad would buy a little speaker box and amplifier inside the house with foundation rhythms and records and things - and I would catch my practice that way. We didn't have a mic but I would use a telephone receiver to put into the input of the amplifier and I would deejay through that. People would gather round and say "Yeah, yeah, yeah you sound nice!" and I when I'd see father coming in I'd have to plug it out and run!(laughs)

You were at school with Earl Sixteen, Winston McAnuff... Did you ever consider being a singer?

No, I was just concentrating on following U Roy's footsteps. And I Roy, Big Youth, Dennis Alcapone, Scotty and Dillinger.


So how did you get first opportunity to record?

The first opportunity came through studying the Better Dub LP, the Mean Girl rhythm, and practice in school shows and school concerts and things like that. I had the privilege to win a talent show at Bohemia Club on Hagley Park Road at the time - where you'd have different contestants. But then I took my talent over to Studio 1 and then stay for days after days from leaving school and try to beg Mr Dodd to listen to me audition.

Did you get auditioned by Mr. Dodd himself rather than one of his musical aides?

Yes. But when those producers were coming through the gate people were running behind them! They'd say "What you want?" and you'd say "I just need a little chance to have a song. They'd tell you "Let me hear it" and then you'd have to just be sharp and ready! But from just practicing on that rhythm, although I didn't have that rhythm with me, I did have the lyrics. So when he said come back and check him I didn't know what he meant but when I did check him I got the privilege to go back behind to where the studio is. Because before we were just out in the front yard under the mango tree with a lot of different artists waiting for a break and then around foundation artists who already had their break but you had to sit with. So when you went through that gate you'd go "Well... something ago happen!"


I told him the rhythm and they searched for the rhythm and I got a chance to record it. When I was there voicing the rhythm and thinking I'd finished, he'd just say "Ready Jackson, ready to take it!" I had never even been in a studio before! When he said "Ready now" I was like whoa... But it was a chance I got and when that record was released, named Gun Court on the Bongo Man label, one of Studio 1's labels, it went big. Because Mr. Dodd had his program on the radio where he played the latest songs for month or this week or couple of weeks. Then from that it was just history because different producers started saying "That's you Little Joe?" and I said "Yes" and started going down Randy's to Idlers Rest, Chancery Lane, where all the artists would be hanging out and people would come and buy records - you'd have Randy's, you'd have Chancery Lane and you'd have Joe Gibbs, you'd have Winston Riley Techniques Records in the lane. So all different artists would be coming through and when you can hang with the big boys - it's a privilege!

So we've heard how you got into deejaying. How did you get into production?

I got into production by seeing sound systems and seeing the trouble you'd have to go through to record a song for producers! Because I used to check Duke Reid before I checked Coxsone but I got through with Coxsone. Once I got through with Coxsone producers started it to check me and it made it a little more easy because you can say "I did that. I did that song". But then I started to see that from playing on sound systems, some of the lyrics that the people would start to react to or dance to, when you'd go and check certain producers they'd be wanting to try to change your style or change your ways from what the street people want. So that's why you'd just go in the studio, build a rhythm or makeover or revamp back that rhythm into a different style into what the people want. So that's how I got into the business and starting producing artists like myself, Barry Brown, Tristan Palma, Sugar Minott to name a few.

Winston McAnuff is in France, Earl Sixteen is in London. Why did you go to the States?

From being on one of the first sound systems to go to London in 1980. We toured England and the UK and it made a great impact - that was the birth of some of the fast talking deejays like Smiley Culture, Papa Levi and all those guys. So from being in London we got a call to go to New York by Mikey Jarrett which is one of the best deejays there, so I got a visa and we go to New York playing on a sound named Papa Moke HiFi. And it was history again, because Ranking Joe and Jah Screw, we left from England after the death of Ray Symbolic, the first sound to travel to England we went to New York which was the next place. And by keeping so much history there by making dances in New York I kept going back and forth until, seeing a lot of work needed to be done there, I started to base there while going back and forth to Jamaica. I had my Ranking Joe label, working alongside General Lee, High Power, who manages things and we live like brothers, doing my production alongside High Power Music.

You got your start at Studio 1 but you're also friends with the British singer Alpheus who was one of the last people to be signed by Coxsone himself and has put out one of the great albums this year, using revamps of Studio 1 rhythms.

Yes! He was one of the last. Alpheus and Glen Washington, they were some of the last people there. I met Alpheus by him coming to New York. When he'd come to the studio we'd all just say "Yes, you sound good" and we'd exchange a lot of experience tactics about the business and approaching the business so that's the way you have to go about it and keep up the good works. I'm proud of him today that he really hung in there and he has a great album right now, a very, very brilliant album with Roberto Sanchez. You cannot tell the difference between that album and Studio 1 because they are such great productions.

Special thanks to Angus Taylor and Unitedreggae.com

Check out Ranking Joe's impressive discography at

https://www.discogs.com/artist/146061-Ranking-Joe