Crab Records

Lore & Background

Crab Records operated as a subsidiary of Pama Records, one of the major UK reggae labels alongside Trojan Records. The label issued releases from 1968 to 1971, focusing primarily on Derrick Morgan, whose self-produced records formed the core of its catalog. Morgan appeared on numerous singles, often with B-sides by other artists such as Peter King, The Tartons, and The Thunderbirds.

The label's discography includes 67 numbered releases, featuring artists like The Ethiopians, The Versatiles, Ernest Wilson, Rudy Mills, and The Tennors. Some releases had duplicate white-label issues, such as Derrick Morgan's 'Send Me Some Loving' and Busty Brown's 'Broken Heart'. The label also issued collaborative tracks, including Derrick & Jennifer and Bim, Bam & Clover.

Reader's Guide

Crab Records represents a focused chapter in UK reggae history, serving as a vehicle for Derrick Morgan's self-produced work during the late 1960s and early 1970s. As a subsidiary of Pama Records, it contributed to the broader distribution of reggae in the UK, alongside Trojan Records. The label's catalog, though short-lived, includes contributions from notable Jamaican artists such as The Ethiopians, The Melodians, and The Paragons. Its releases were primarily 7-inch singles, a common format for the genre at the time. Today, Crab Records is owned by Phoenix Music International, which continues to distribute its catalog digitally, ensuring the preservation of this niche but historically significant output.

Did You Know?

• Derrick Morgan was the main artist on the label, and his records were self-produced.
• Crab Records is now owned by Phoenix Music International, which distributes its catalog digitally.

A Cornerstone of the UK Reggae Scene

Crab Records occupied a distinctive niche in the British reggae landscape during the late 1960s and early 1970s. Operating as a subsidiary imprint of Pama Records, it shared the UK reggae market with the equally prominent Trojan Records, the two parent labels together forming the backbone of Jamaican-influenced music distribution in Britain. Active from 1968 through 1971, Crab carved out its own identity within that Pama family, releasing a steady stream of 7-inch singles that captured the energy of the era. The label's relatively compact three-year window of activity made each release feel like a snapshot of a rapidly evolving sound. For collectors and historians of UK reggae, Crab sits alongside Pama and Trojan as one of the essential imprints that brought Jamaican music to British audiences during a formative period.

The Derrick Morgan Connection

Derrick Morgan stands as the undisputed anchor of the Crab Records catalogue. Of the label's sixty-seven numbered releases, Morgan appears as the lead artist on a remarkable run of singles spanning the entire 1968-to-1971 period. What makes his association particularly noteworthy is that these were his self-produced records, meaning Morgan exercised creative control over the material he put on the imprint. His tracks range from romantic ballads like 'Seven Letters' and 'Lonely Heartaches' to more energetic numbers such as 'Mek It Tan Deh' and 'Moon Hop,' and he even appeared in collaborative pairings, including the 'Derrick & Jennifer' duo and a duet with Owen Gray on 'Take A Letter Maria.' Several of his B-sides featured other artists—Peter King, The Tartons, Roy Richards, and The Thunderbirds—suggesting a collaborative studio environment. For fans of UK reggae, the sheer volume of Morgan material on Crab makes the label virtually synonymous with his artistry.

A Roster of Roots and Ska Voices

Beyond Derrick Morgan, Crab Records assembled a remarkably diverse roster of artists across its three-year run. The Ethiopians contributed multiple singles, including 'Fire A Muss Muss Tail' and 'I'm A King,' while The Versatiles, The Tennors, and The Viceroys each appeared more than once. Vocalists such as Ernest Wilson, Rudy Mills, Rupie Edwards, Val Bennett, and Bruce Ruffin all found a home on the imprint, alongside groups like The Paragons, The Melodians, The Caribbeans, The Kingstonians, The Tender Tones, and Bim, Bam & Clover. The 7-inch single format dominated the catalogue, with many releases featuring a second artist on the B-side—Cannon King, GG Grossett, Matadors, Slim Smith & Uniques, and others all received exposure this way. A few white-label duplicate pressings also exist in the catalogue, adding a layer of collector interest. This breadth of voices made Crab a genuine cross-section of the Jamaican music scene as it reached British shores.

From Vinyl Shelves to Digital Streams

The story of Crab Records does not end with its final pressings in 1971. The imprint's catalogue has since passed into the hands of Phoenix Music International, which now oversees the digital distribution of both the Crab and Pama labels. This means that the 7-inch singles once pressed on vinyl—Derrick Morgan's love songs, The Ethiopians' anthems, The Tennors' harmonies—remain accessible to a new generation of listeners through digital platforms. For a label that operated during a brief but pivotal window in reggae history, the transition from physical vinyl to digital formats ensures that its musical legacy continues to circulate. Phoenix Music International's stewardship bridges the gap between the original late-1960s and early-1970s audience and today's global listeners, preserving what was once a small but significant corner of the UK reggae ecosystem for future generations to discover and enjoy.