Similarly to Lennie Hibbert, Junior Delahaye has been lost to time to a certain extent. The work that the singer turned in with Bullwackie and his Wackie’s stable of musicians might not stand up as a towering beacon of versions and vocals, but Reggae Showcase has enough impressive moments to ingratiate it to most fans.

Bullwackie was still amidst his classic period even as late as this 1982 album. And a great deal of this work has ties to other Wackie’s related discs – most notably, Horace Andy. In addition to the production being roughly the same, both Andy and Delahaye have similar voices. A few comparisons have been made between the work produced between Bullwackie, this vocalist and Lee Perry and Junior Murvin. And while this cadre of has more than a passing similarity, there aren’t any overwhelming commonalities. Even the false setto of this singer and Murvin bare only a slight resemblance.

The Slim Smith comparison has dogged Reggae Showcase as well. And with the inclusion of a Techniques tune, it’s understandable. But again, Delahye is more likely than Smith to sing in a natural tone as opposed to the constant false setto.

This disc, though, came at a time when religious concerns were being dismissed for a more secular and relationship centered approach to lyrical content in reggae music. Eventually, in England it would be termed lover’s rock and have some major impact on the record buying populace. Here, though, Delahaye mixes both the religious and secular, which at times seems to refute itself.

The lead of track here, simply called “Love” and its follow up “I Love You For All Seasons,” are both obvious secular songs without a tie to Rasta philosophy. And while in neither track does the singer say that this type of physical or emotional feeling is all he needs, it becomes clear that this is going to be a reoccurring theme on Reggae Showcase. The third track, though, seems to refute the previous tracks in its professed religiosity.

“All I Need is Jah,” sports a refrain of “I don’t need anybody else.” But of course, the nine previous minutes of the album have been given over to Delahaye recounting the ways in which he loves a women. This doesn’t mean that he’s not devout, but it does call into question how this disc and its track listing were assembled. Perhaps, Bullwackie simply told the singer what he needed to do in order to complete a disc with him. And while there’s no basis to actually believe that, the lack of further recording from Delahaye might be ample proof.

Regardless of that, the album being worked out in a showcase style provides ample instrumental passages for any listener that may be dismayed by this lack of lyrical consistency. The Love Joys, on occasion, give up some slight background vocals that fill out the dubs. And while the Wackie’s production here hints at its vintage, there are enough of the old tyme sounds to make any passing Wackie’s fan want to include this in their collection.