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THE HEPTONES
The vocal trio of
Leroy Sibbles, Earl Morgan and
Barry Llewellyn, better known as
the Heptones, were one of the
most popular and influential
groups of the rocksteady and
early reggae era. As the leading
vocal harmony group at producer
Clement “Coxsone” Dodd's
legendary Studio One, the
Heptones' many hits dominated
the dancehalls, inspired future
singers, and provided timeless
rhythms that have echoed through
the decades of Jamaican music
that have followed.
After struggling separately to
impress record producers at
auditions in the mid 60's,
Sibbles, Morgan and Llewellyn
joined together in 1965 and were
able to make an impact on
producer Ken “Calnek” Lack. Lack
recorded two singles from the
group, “Gunmen Coming From Town”
and “School Girls;” “Gunmen,”
which included elements of the
“William Tell Overture,”
received some radio play, but
never took off. The group's big
breakthrough would wait until
1966, when Coxsone welcomed the
trio into Studio One.
The year 1966 was a watershed
year not just for the Heptones,
but for Jamaican music as a
whole. It was during this period
that the pulsing horns and
hectic pace of ska slowed into
the rolling basslines, rhythmic
guitar, and smoother feel of
rocksteady. This new sound was
perfectly suited for backing
cool-voiced harmonies, and there
was an explosion of exquisitely
skilled vocal groups that
included the Techniques, the
Paragons, the Uniques, the
Melodians, and of course, the
Heptones.
The Heptones' first record for
Studio One, “Fattie Fattie,”
contained all of the Heptones'
defining elements: a love-themed
lyric, a sweet but never
saccharine vocal harmony, and a
round, rolling bassline that was
impossible to resist. It was a
deserved hit, despite wryly rude
lyrics that prevented radio
exposure. This approach fueled a
large succession of classic
tunes for Coxsone, including
“Pretty Looks,” “Baby,” “Party
Time,” “Sea Of Love,” “I Love
You,” “My Baby Is Gone,” “Ting A
Ling,” “Love Wont' Come Easy,”
“Why Must I,” and “Only
Sixteen.” Although achingly
effective when delivering
straightforward love songs, the
group's work could also display
a bitter edge, particularly in
Sibbles' sharply penned “Tripe
Girl” and “I Hold The Handle.”
The trio's voices were equally
effective while delivering
socially-themed work, notably
including “Heptones Gonna
Fight,” “Choice of Colour,”
“Equal Rights,” “Be A Man,” “I
Shall Be Released” and “Young,
Gifted And Black.”
The Heptone's oeuvre for Studio
One was so powerful that it
rapidly became part of the
bedrock of Jamaican music. The
songs themselves became
immediately recognizable
classics, and in future decades
the rhythms underlying them,
seemingly incapable of
staleness, would be appropriated
over and over again by other
artists. The group's second
album for Coxsone, 1968's “On
Top,” is widely considered to be
amongst the greatest Jamaican
LPs ever recorded.
Remarkably, on top of his vocal
talent and songwriting ability,
Leroy Sibbles was also an
excellent bass player. Under
Coxsone's employ, he devised
basslines not only for his own
hits, but also for numerous
other Studio One classics.
Perenniel re-versioning
favorites like “Full Up” (aka
“Pass The Kutchie”), “Real
Rock,” “Satta Amassagana,”
“Declaration of Rights,”
“Stars,” “Love Me Forever,”
“Freedom Blues,” “Ten to One,”
and “Queen of the Minstrels” all
bear Sibbles' imprint,
profoundly influencing the bass
patterns of the reggae decade
that would soon follow.
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As the rocksteady craze drew to a
close in 1968, and the rawer sound of reggae began to emerge,
many vocal harmony groups fractured, but the Heptones,
increasingly displaying conscious lyrics and an edgier sound,
smoothly transitioned into the new era. The new reggae sound was
ushered in by a wave of young producers that began to supplant
the influence of Coxsone and his chief rival Arthur “Duke” Reid;
for a time the Heptones remained at Studio One, but acrimony
over financial remuneration and perhaps the sight of greener
fields elsewhere led the group to depart in 1971.
The Heptones then began a period
of freelancing for many emerging producers, cutting records for
Lee “Scratch” Perry, Joe Gibbs, Harry Johnson, Augustus Clarke,
Lloyd Campbell, Phil Pratt, Harry Mudie, Clive Chin and others.
Alongside numerous singles, the group recorded the “Book of
Rules” LP for Harry J in 1973, the title track of which featured
prominently on the soundtrack of “The Harder They Come.”
Despite the Heptones' musical success, in 1973 Leroy Sibbles
moved to Canada, temporarily stalling the group's productivity.
The year 1976 saw a return to action with the “Night Food” and
“Cool Rasta” albums, cut for Harry J and Danny Holloway
respectively. By this time, Sibbles's songwriting was beginning
to openly reveal a Rastafarianism that had been bubbling
underneath the group's earlier conscious material; the group
also began to work closely with producer Lee “Scratch” Perry,
with whom they had cut “I Do Love You” earlier in the decade.
The Heptones perhaps came closest to scaling the impossible
heights of their Studio One output at Perry's Black Ark studio.
Supported by Scratch's potent rhythms and swirling dub mixes,
the group's roots capabilities found full voice on stunning
works like “Mystery Babylon,” “Storm Cloud” and “Mr. President.”
By this time, roots reggae had gone international, and in 1977
major label Island released a superb LP of Perry-produced
material, incongruously titled “Party Time.” However, this
collaboration would be all too brief.
During the 1970's Sibbles had begun to assert his creative
independence by recording more and more solo sides for Scratch,
Augustus Pablo, Lloyd “Bullwackie” Barnes and other producers.
In 1977, Sibbles left the group for good; Dolphin “Naggo” Morris
was recruited by Morgan and Llewellyn as a replacement lead
singer. This new incarnation of the Heptones continued recording
in the late 70's and early 80's, cutting albums for Winston
“Niney” Holness and the Hookim brothers as well as self-produced
LPs, but as reggae transitioned into dancehall the group was
eclipsed by new rising stars. Meanwhile, Leroy Sibbles recorded
strong solo albums, including “Now,” “Strictly Roots,” and “On
Top,” but despite his popularity in Canada, his relocation
impaired broader recognition of these works.
Unfortunately for the group's fans, the trio's personalities
have not blended as sublimely as their voices, and personal
tensions have largely kept the Heptones apart, excepting a
reunion in 1995 to record the “Pressure!” album for Tappa Zukie.
However, their voices are still brilliantly intact, as Sibbles
demonstrated to appreciative Sierra Nevada World Music Festival
concertgoers with a stellar performance in 2003. This year,
SNWMF is proud to present original members Leroy Sibbles and
Barry Llewellyn as the Heptones.
Sources:
Steve Barrow and Peter Dalton: /Rough Guide To Reggae/
David Katz: /People Funny Boy./
Carter Van Pelt: “Mr. Bassie Keep Playing.”
© Michael Villet, 2009
The
Heptones Links:
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