On the A side run-out groove it has etching that reads "There's no message just pure politics",then flip the record over to the B side run-out grooves it says "Good,arn't we?",with a spelling mistake in "aren't" though the correct spelling has been etched then scored out before the flaw.Regardless of this most reviewers and listeners couldn't fail but to agree,the single being a top 10 hit reaching the number 9 spot a week after it slid in the charts at number 24 on it's 2 June release.One thing I found confusing on the sleeve was the songwriting credits.The bands surnames are all there apart from Jon Baker,his surname is displayed as 'Day'.Before I thought it was a different person,until I saw this statement from Jon Baker,quote;"As a joke I once put my name down as Jon Day and it was something that stuck and even ended up in some of the songwriting credits".

When listening to this record and hearing the distinct and authoritive voice of Junior Braithwaite,you can wonder how this talented singer never made it as a Wailer.In fact,it was the sessions during the recording of these songs on the new sound of Ska,that was to bring about a change that would determine the future of Bob Marley's music career.Junior Braithwaite left Jamaica for Chicago with his family,if Coxsone was to continue working with the group,The Wailers required a clearly defined lead vocalist and after some discussion within the group,the task fell to Bob Marley,though Bunny and Peter were promised their share of lead vocals.These songs were recorded at 13 Brentford Road for Coxsone's Studio 1 label after he replaced the one-track studio with a two-track machine and most were huge hits in Jamaica during 1964.

When I put this record on,the B2 track 'Subtitle' always gets another play and always never fails musically to send chills down my spine.It sounds a little rougher,less polished than the version on 'Between 10th And 11th',but equally as good especially when it can make a physical reaction in you.As for the lyrics,turns out they came about when Burgess decided to go in the studio and sing the first things that entered his head.It's an interesting experiment that has obviously worked by reaching the listener and making a reaction to mind and body.

This record I bought back in summer of 96/97 in a store in Bristol-I've only heard it played once by Producer at Nosebleed.It's been well produced-throughout the track you hear a voice violently screaming for breath-a tremendously
hard bass line where the beats increase faster and faster
making it a challenge to mix.