The Wailing Wailers, was released the same year, a compilation of tracks recorded at different times. In 1966, they created a rocksteady record label Wail N Soul M. Constantine "Dream" Walker provided backing vocals from 1966-67. In May 1970, the band recorded with renowned reggae producer Leslie Kong; producing The Best of the Wailers, which they released later in 1971 as their fourth album. Over the rest of 1970 and 1971, the band worked with Lee 'Scratch' Perry, producing the bands second and third albums, Soul Rebels (1970) and Soul Revolution Part II (1971). During this time, the Upsetters members Aston "Family Man" Barrett (bass) and his brother Carlton Barrett (drums) were recruited as instrumental backing for The Wailers. Signing to Island Records In 1972, while in London, the Wailers asked their road manager Brent Clarke to introduce them to Chris Blackwell, who had licensed some of their Coxsone releases for his Island Records. The Wailers felt they were due royalties from these releases. Blackwell was not convinced, but he was impressed by their character. He thought they "exuded power and self-possession" despite being poor. Despite not having seen the band perform live, he advanced them £4,000 to record an album. He did not even require them to sign anything, feeling they deserved a break. Jimmy Cliff, Island's top reggae star, had recently left the label. His departure may have primed Blackwell to find a replacement. In Marley, Blackwell recognized the elements needed to snare the rock audience: "I was dealing with rock music, which was really rebel music. I felt that would really be the way to break Jamaican music. But you needed someone who could be that image. When Bob walked in, he really was that image." The Wailers returned to Jamaica to record at Harry J's in Kingston, which resulted in the foundational tracks what would make up the album Catch a Fire. Primarily recorded on an eight-track, Catch a Fire marked the first time a reggae band had access to a state-of-the-art studio and were accorded the same care as their rock 'n' roll peers. The tracks were taken to Island Studios in London and worked on by Blackwell, with Marley supervising. Blackwell desired the tracks to appeal to rock audiences in the United Kingdom and United States, to whom the band would be novel. To this end, he made the tracks sound "more of a