This is a curious collection of tunes celebrating/recollecting that most bizarre of British youth sub-cultures ... The "Skinhead" craze of 1968-1971 ... complete with an interesting essay that documents how it was intertwined with appreciation of Jamaican popular musical styles.
The essay relates how the "Skinhead" look evolved in London through 1968 (essentially when a lot of working-class youth started to fuse the mid '60s "Mod" look with Jamaican "Rude Boy" styles), and the preferred music amongst these people shifted to Jamaican Ska and Rocksteady.
The essay doesn't really mention it but the "Skinhead" craze, and interest amongst white youth in what was now becoming known as "Reggae", started to spread out of London in the spring of 1969, gained momentum when Desmond Dekker's "Israelites" topped the UK charts in April, spread further outwards during the summer and reached EVERYWHERE once the 1969/70 football season got started in August. As the year progressed hair got shorter and shorter, boots got bigger and bigger, back-street barbers got richer and richer, sales of Doc Marten boots and Ben Sherman shirts skyrocketed and more and more "Reggae" records started to appear in the UK charts (as can be seen in This Chart from November 9th 1969).
The essay also glosses over the negative side of the whole "Skinhead" craze, notably the violence that could be shown towards anyone of who the skinheads disapproved, though these issues are addressed in some of the tracks on here .. notably in "Skinheads A Bash Them" and "Skinhead A Message to You".
Otherwise we have three discs and fifty tracks of unrelenting fun, highlights include such tunes as "Reggae Fever" by The Pioneers (basically an update of The Valentines "Guns Fever" found on the Trojan Rude Boy Box Set), Tony Tribe's version of "Red, Red Wine" (the song famously recorded in the 1980s by UB40 who assumed it had been written by some obscure Jamaican songwriter), Tony Scott's "What Am I To Do" (the vocal version of Harry J's "Liquidator") and Symarip's "Skinhead Moon Stomp" (a bit of a cash-in on the craze but good fun all the same).
The essay also relates how the whole "Skinhead Reggae" scene started to implode towards the end of 1970, leaving behind bemused barbers who wondered where their customers had gone and leaving an entire generation of people nostalgic for the music and mayhem of 1969.