The result is that many of these represses are produced with a small quantity of copies on the original label - some have suggested only 25 or 50 may be left of each label as they are only leftover surplus stock. seems to have uncovered stocks of the original 60's and 70's labels that were unused at the time of the original presses. The really exciting thing about this new era for me - and i am a bit overexcitable when it comes to Studio 1 records, i admit - is that along with the old stampers, Clement Dodd Jr. In any case the economic reality is that there is no way the Studio 1 camp are about to start messing around with costly remastering of master tapes and production of new stampers when they have a massive stock of old ones ready for production at no cost. However, i would rather they use this method than recording vinyl copies of the records digitally and using that as a source for new stampers, which is the method used by many manufacturers of horrible sounding represses these days. Since they are 40 or 50 years old, the stampers often have some damage and that translates as surface noise on the new press. The use of original stampers is hailed by some as a great thing (often by the sellers of the represses, it has been noted elsewhere!) and cursed by others as a cheap alternative to getting the original tapes remastered and the stampers remade. These have been pressed using the original metal stampers made for the first or second issues of these golden oldies - mostly from the 60's and 70's. It seems there was some disagreement and legal wrangling between Dodd's benefactors since the great man passed away in May 2004, but the situation seems to have been ironed out sufficiently to allow a steady flow of represses organised by Clement Dodd Junior. In the last few years there has been an exciting resurgence of activity from the mightiest record label in reggae, Sir Coxsone Dodd's Studio One. PHOTO: Vin Morgan sorts piles of original labels for new pressings at Studio 1 (2015)

Studio one records