First issued in October 2013 by France’s Iroko on CD and LP, this roots gem is now getting a reissue on wax. Repressed by A-Lone Productions, it gives collectors and new listeners another chance to hold a piece of roots history in their hands.

The spotlight here is on the late Milton Henry, a name that serious reggae heads respect, even if his discography feels way too short. He’d already been working in the business since the mid-‘60s, voicing tunes like No Bread And Butter, This World, and Gipsy Woman. Strong records, yet somehow they never pushed him into the spotlight the way they should have. For many fans their main reference point is his debut album Who Do You Think I Am?. That powerful debut set was recorded in New York under the guidance of producer Lloyd “Bull Wackie” Barnes and released on the iconic Wackies imprint. It had that unmistakable Wackies sound. Deep basslines, haunting mixes, and that spiritual, late-night atmosphere Wackies was famous for.

A follow-up, Babylon Loot, arrived two years later via Japan’s Tachyon, but it felt more like a quick continuation than a fully realized statement. And then… silence. No new albums. No long run of releases. Which is why, when you look back, his story feels almost unreal. For someone with such a commanding voice and roots credibility, there should be far more recordings out there. Instead, we’re left with a handful of releases that hint at a much bigger story. He stands today as one of those rare Jamaican singers whose impact outweighs the size of his catalogue, an artist reggae lovers rate highly, even if the world never got to hear enough of him.

Born in Allman Town, Central Kingston, Milton Henry’s talent was discovered at the tender age of 13 when vocalist Carl Dawkins heard him playing his guitar and sing. He enlisted him as an arranger and became an affiliate of the circle that included Carl Dawkins, Slim Smith, and and early line-up of The Techniques. Milton Henry’s motivating source were music greats like Slim Smith who together with Curtis Mayfield had a lasting influence on his singing style. In 1966 he formed the short-lived vocal group The Leaders together with Keith Blake (who would later take the moniker Prince Alla) and Roy “Soft” Palmer. After the group disbanded he was a member of The Progressions, replaced Max Romeo in The Emotions, and then embarked on a solo career. By the time he set his sights on a solo career, he wasn’t just another singer. He was shaped by harmony groups, mentored by strong voices, and grounded in that rich Kingston tradition we all love.

During this period, Milton Henry wasn’t tied to one studio or one producer. He voiced singles when the right opportunity came along, working with names like Lee “Scratch” Perry and Bertram Brown. It was a steady but selective output, the kind of recording path many artists from that era experienced. But something else was happening too. Milton started looking beyond the microphone. He wanted to understand the structure of the music business, not just perform in it. That interest grew after his family relocated to New Jersey, and in 1979 he made the move himself, settling in the US for good. Not long after, he crossed paths with Lloyd “Bull Wackie” Barnes in New York City. That meeting sparked a strong creative partnership. Recording for the Wackies label, Milton delivered key tunes such as Come On And Rock With Me, featuring Clive Field Marshall, along with Why The Fussing and Who Do You Think I Am?. Those songs became cornerstones of his career.

In 2013, after a very long hiatus, Milton Henry returned with a new album called Branches And Leaves. The project came out of a strong link-up with Spanish producer Roberto Sánchez and his crew from A-Lone Productions, musicians known for their dedication to analogue textures and heavyweight roots arrangements. The album follows the old-skool “showcase” format: six vocal cuts, each paired with its dub version. No fillers. Just voice and version, the way it used to be. The mood is very much in line with And God Said To Man by Earl Zero. Both albums revive the spirit of Greenwich Farm, echoing the style once heard on Freedom Sounds sessions and associated with singers such as Prince Alla, Rod Taylor, and Philip Frazer. The riddims were played live by Lone Ark Players, delivering that warm, live feel that digital productions rarely capture. For this session they even adopted the name Lone Ark Riddim Force as a nod to the classic Wackies house band tradition. Milton’s vocals were then recorded at Wackies studio in New York City, bringing everything full circle.

Two of the songs you hear on this set, Rastafari Cannot Die and Let Go The Ego, actually appeared earlier in mid-2013 as 12″ singles on Iroko Records, though in different mixes. The title Rastafari Cannot Die says it all. It’s a standout from the first listen. The lyrics are heartfelt, the arrangement is clean and grounded, and Milton Henry sings with a tone that’s both gentle and commanding. It’s easily one of the key moments on the record. Let Go The Ego moves in another direction. This one calls out the vanity and posturing that can creep into the industry. Built on a lively riddim reportedly sparked by a remark from Anthony Chimming, the track’s bright horns and a sharp, chopping guitar style instantly recalls Soul Syndicate, one of Jamaica’s great studio bands of the 1970s. The album starts strong with Crisis, a reflective opener that grabs your attention from the first bars. Rastaman Beware and Gimme Gimme Teke Teke continue the social commentary, both addressing the struggles and illusions of Babylon. And just when you think you know where the album is heading, the closing tune Hold My Hands shifts into lovers rock territory, warm and sincere. Add to that the expertly mixed dub versions, which deepen the listening experience and show real respect for the showcase tradition, and you’ve got a record that rewards every spin.

If you missed the original release, you get a second chance to add Milton Henry’s third album to your collection. Highest recommendation!