Slightly earlier than most of the Skinhead tracks in this section this is none the less associated with the movement. Skinheads began appearing in London around 1965, they were mostly Mods who didn't wish to become part of the long haired 'Hippie' movement - the term hippie was first used by black musicians in America during the 1940's as a term of derision for the false, or pseudo, hipster. One possible reason why Skinheads or Skin's embraced Jamaican music was its emphasizing of a class struggle which was closer to the social circumstances of most Skin's at the time. It can also be argued that not only the music but much of the imagery associated with it expressed an aggressive, no nonsense, even sometimes violent dimension that would have reflected the image the Skins had of themselves. This association was taken further by many Jamaican recording artists who were either touring or resident in Great Britain that were singing songs directly aimed at the Skinhead movement, while all other sections of the vast music/entertainment industry purposefully and resolutely ignored them. And, of course, while it was less utopian it none the less offered a danceable alternative to the psychedelic sounds that Western pop bands were playing at that time. In the 1990's Prince Buster lost a high court battle against the Warner Brothers Corporation for the copyright of the term Judge Dread, one aspect, at least, of the court room drama must have been worth while; when some musicians of Count Ossie's Rastafarian brotherhood along with other veteran Dreads who formed part of the original Folkes Brothers, all of whom had played some part in the original recording, gave evidence in a thick Jamaican patois, (an interpreter was needed) interspersed with Biblical references and salutations to Jah.

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