"007 (Shanty Town)," Desmond Dekker & the Aces' 1967 rocksteady hit, drew directly on "rude boy" street culture and gang imagery, helping establish the rude-boy narrative as a recurring theme in Jamaican pop reaching international audiences.

John Holt's rocksteady side for Arthur "Duke" Reid at Treasure Isle, released around 1968-69 with (uncredited) Joya Landis, later circulated as its own versioned rhythm.

Willi Williams's Studio One roots record for Clement "Coxsone" Dodd, cut on the "Real Rock" rhythm (recorded 1977, issued 1979) and famously covered by The Clash - a vivid case of a Studio One riddim reaching global rock audiences.

"Beat Down Babylon" (1972), Junior Byles's fierce Rastafari protest record produced by Lee "Scratch" Perry, capturing the militant, change-is-coming mood of early-1970s Jamaica.

"Better Must Come" (1971), Delroy Wilson's hopeful reggae hit on Dynamic Sounds, adopted as an anthem of Michael Manley's PNP in the 1972 election and remembered both as a people's cry for change and as a case study in political appropriation.

"Big Ship" is a Freddie McGregor recording and label-identity marker whose title became shorthand for McGregor's production world as well as a major song in his 1980s reggae catalogue.

"Blood & Fire" (1970), Niney the Observer's brooding, apocalyptic roots hit, one of the best-selling Jamaican records of its moment and a landmark in the Rastafari-fire lyric that broadcasters once kept at arm's length.

'Breakfast in Bed', Lorna Bennett's 1972 cover of the Baby Washington soul song, was commissioned by producer Harry J and arranged by Geoffrey Chung; the single's success made Bennett the first woman to top the Jamaican singles chart, and its Scotty-voiced deejay B-side is a landmark of the toasting era.

"Cherry Oh Baby," Eric Donaldson's win at Jamaica's 1971 Festival Song Competition, became an enduring reggae standard covered by artists including UB40 and the Rolling Stones - an unusually long afterlife for a song that began as a national song-contest entry rather than a commercial single.

"Do the Reggay," recorded by Toots and the Maytals in 1968, is widely credited as the first song to use the word "reggae" in a title - lending its name, within a couple of years, to the entire genre that grew out of rocksteady.