George Faith teamed up with Lee Perry on a selection of reggaefied versions of soul classics showcasing his sweet voice and Scratch’s experimental production.

In the late Seventies, when I was living in a ground-floor room of a big house in Clapton, I became enchanted by the smooth soulful voice of George Faith, initially on a dub plate featuring an Upsetters dub and a toast by Dillinger.

I was entranced by the contrast between Faith’s swooning sentimental singing style – something of a Smokey Robinson or Sam Cooke of reggae – and the hard roots riddims and spacy productions of Lee ‘Scratch’ Perry.

I duly began avidly collecting the limited-edition 12-inch “discomix” singles of George Faith, which were released every few months and consisted mostly of reggaefied soul covers – In The Midnight Hour, To Be A Lover, Turn Back The Hands Of Time, I’ve Got The Groove.

And this version of a Paul Anka tune, which sounds as if Lee Perry mixed it in an underwater tank. Which, considering his eccentricities and the name of his studio (Black Ark) seems entirely possible. (One of the YouTube commenters says: “I always feel I have to wear a snorkel when listening to this”).

Not long after I completed collecting my set of 12-inch singles, of which there were only 1,000 of each, our shared house was burgled and the intruders methodically went through my reggae collection, hand-picking the best records.

They left Bob Marley and UB40 behind but that was the last I saw of George – and, frustratingly, the 12-inch versions are among the rare absences from YouTube and Spotify. So this is the album version.