Led by Leonard Dillon and reflecting his shifting interests over a multi-decade spanning career, the Ethiopians have remained atop of any and all JA music genres when the group’s seen fit to traffic in a specific sound.

Beginning in the mid ‘60s, Dillon and company first worked in ska that so utterly captured the island’s imagination. But as that decade was coming to a close, the sounds of what would eventually be referred as rock steady emerged - and of course after that the international sound of reggae. But during its formative musical stages, the island and the Ethiopians worked in concert to create one of the most enduring catalogs from the period – and that includes the likes of the Wailers and Burning Spear.

Collected on a spate of compilations, there’s really no way to avoid snagging a few disparate versions of the same song from Dillon and the Ethiopians. Sir J.J. And Friends is no different. The disc, however, does include a collection of versions that work to good effect. It’s all gravy, though. So learn a bit and cop it well.

The Ethiopians: Not just here, but across the entirety of the group’s catalog are what sound like work songs. It’s not that these are citified field hands, but a great deal of Dillon’s repertoire deals with toiling in one manner or another. On “Everything Crash” a litany of occupations that might put one in harms way are related. It doesn’t come off as an homage to fire fighters – which, as we all know would be well intentioned, but probably pretty lame. But when Dillon isn’t lamenting back breaking work, he’s pontificating on all the reasons why folks need to escape Babylon as he discusses “The Selah.”

Of course, there’re still a few good time numbers and love songs. “My Girl” – and no, surprisingly it’s not the Temptations’ song – the group works out some thoughts on scandalous women. It’s all pretty heady lyrical content considering the time and place, but works to good effect.

J.J. All Stars: The group churning out all of – or most of - the music on Sir J.J. And Friends gets a few features sans vocal encroachment. As we’ve made mention of Skinhead reggae here in the past, it’s appropriate to note that “Mango Tree,” “Version Drop” and “Selah” all qualify for the genre tag. There’s a bit of variation, but that’s not really what fans of the genre want. We just want some tough mid-tempo rockers. And that’s here in spades.

And Friends: Apart from the All Stars, the Ansel Collins make a brief appearance on “Bigger Boss.” It’s all just versioned from the vocal tracks, but the song’s nothing short of inspiring as listeners hear Collins shout some disjointed smack atop of the organ solos. If nothing else, we all learn that this is some “exclusive” stuff right here. No one can disagree.

With all of this working for the album, it’s still gotta be noted that there are a few more focused collections from the Ethiopians’ catalog – even the early Engine '54: Let's Ska and Rock Steady might lend a better perspective as to where and when this all got its start.