with Holness in tow as his business manager, to negotiate a record deal with Trojan Records, the first Brown album to be released as a result being Just Dennis, although the pair would be left out of pocket after Trojan's collapse and subsequent buyout by Saga Records. On their return to Jamaica, Brown and Holness resumed recording in earnest with tracks for a new album, including "So Long Rastafari", "Boasting", and "Open the Gate". During 1975, Brown also recorded one-off sessions for Sonia Pottinger ("If You leave Me") and Bunny Lee ("So Much Pain", a duet with Johnny Clarke), and the first recordings began to appear on Brown's new DEB Music label. In the wake of the Trojan collapse, Brown and Holness arranged a deal with local independent label owners Castro Brown (who ran Morpheus Records) and Larry Lawrence (Ethnic Fight) to distribute their releases in the UK. Brown saw the UK as the most important market to target and performed for five consecutive nights at the Georgian Club in Croydon to raise funds to start his new DEB Music label with Castro Brown. In early 1976, Castro secured a deal with Radio London disc jockey Charlie Gillett for Morpheus (and hence DEB) output to be issued through the latter's Oval Records, which had a distribution deal with Virgin Records, but after a dispute over Castro's separate supply of these records to London record shops, the deal was scrapped and the early DEB releases suffered from a lack of promotion. Later that year, Brown voiced two tracks at Lee "Scratch" Perry's Black Ark studio, "Take a Trip to Zion" and "Wolf and Leopard", the latter of which was a hit in Jamaica and would prove to be one of Brown's most popular songs, with a lyric criticizing those criminals who "rode the natty dread bandwagon". Brown confirmed in an interview in Black Echoes that he had parted company with Holness, stating: "I was going along with one man's ideas for too long. Niney was trying to find a new beat at all times, which was disconcerting, so I hadn't been working with my true abilities. Now I know that I can produce myself." Brown began working again with Joe Gibbs, with an agreement that in return for studio time for his own productions, Brown would allow Gibbs use of any rhythm recorded in the process. The first album from this