Representative Albums: "The Meaning of Life: The Best of the Heptones 1966-1976," "Sea of Love," "Pressure!"
Representative Songs: "Book of Rules," "Hypocrite," "Party Time"
Biography
One of the definitive rocksteady vocal groups, the Heptones were also one of the few to successfully make the transition to the reggae era. The group was fronted by Leroy Sibbles, who was not only an exquisite singer but also a talented songwriter, arranger, and session bassist at the legendary Studio One. Penning much of its own material, the group boasted one of the deepest catalogs of its time, full of high-quality numbers that were widely imitated for their close-harmony vocals, and widely recycled for their loose, liquid, melodic instrumental grooves. The Heptones were formed in Kingston in 1965, with a lineup of Sibbles, Barry Llewellyn, and Earl Morgan. At first they called themselves the Hep Ones, but a one-word name seemed to make more sense to fans, and the change was made accordingly. They made their first recording for Ken Lack's Caltone label that year, a strange ska adaptation of "The William Tell Overture" titled "Gun Men Coming to Town."
Things started to take off for the group in 1966 when they caught on at Clement "Coxsone" Dodd's Studio One, the pre-eminent hit factory of the rocksteady era. Dodd helped train the group in the art of harmony singing, and also guided budding songwriter Sibbles, who developed a sly, sarcastic sense of humor to underpin his tales of broken-hearted lovers. The Heptones had their first hit later that year with "Fattie Fattie," a ribald paean to large women that was banned from Jamaican radio but sold briskly nonetheless. They went on to record vast amounts of material for Dodd over the next five years, including their first-ever LP, On Top, in 1970. As the hits piled up, Sibbles became a staff songwriter and arranger, played bass with the Studio One house band on a multitude of recordings, and worked as an assistant producer and talent scout as well. However, by 1971, a Rastafarian social consciousness was emerging in his writing, and he had grown tired of the boundaries of working in Dodd's studio system; that sense of confinement led to an acrimonious split with Dodd.
Over the next few years, Sibbles took the Heptones on a virtual tour of Jamaica's top producers, cutting material for Joe Gibbs, Harry J, Augustus Pablo, Rupie Edwards, and many others. In 1973, they moved briefly to Canada, but soon returned to Jamaica. The Heptones signed a major-label deal with Island in 1975 and released their label debut, Night Food, the following year; it was produced by Lee "Scratch" Perry and featured mostly new versions of old Studio One material. The follow-up, 1977's Party Time, followed a similar blueprint, and also included an eye-opening cover of Bob Dylan's "I Shall Be Released." It proved to be the group's biggest-selling album in the international market, but the 1978 follow-up, Better Days, sold disappointingly by comparison, and Sibbles departed for a solo career not long after.
The remaining Heptones replaced him with Naggo Morris and soldiered on with 1979's Joseph Hoo Kim-produced Good Life. They continued to record and perform during the '80s, though without the success they had enjoyed with Sibbles out front; gradually, other members drifted through the ranks, including Glen Adams and Joseph Forester. The original trio of Sibbles, Llewellyn, and Morgan finally reunited in 1995 for the album Pressure!, produced by Tappa Zukie. ~ Steve Huey, All Music Guide
Leroy Sibbles, Earl Morgan and Barry Llewellyn first came together as "The Hep Ones" in 1965 in Kingston but they soon changed their name to "The Heptones". The name was chosen by Morgan after seeing a Heptones Tonic bottle lying in a pile of refuse.[1]
They recorded for the major Jamaican record producers at the time, beginning their career , after one unsuccessful single for Ken Lack's "K Calnek" label, under the watchful eye of Coxsone Dodd of Studio One. The Heptones had a number of Jamaican hits for Studio One, beginning with "Fattie Fattie", their first Studio One single in 1966. This began a long run of success for Coxsone, including "Pretty Looks Isn't All", "Get In The Groove", "Be a Man", "Sea of Love" (a cover of the Pat Phillips and the Twilights doo-wop classic), "Ting a Ling", "Party Time" and "I Hold the Handle." They were the chief rivals to The Techniques, who recorded for Arthur "Duke" Reid, as the top vocal act of the rocksteady era.
During their five years at Brentford Road, Leroy Sibbles also played bass on numerous sessions, auditioned acts, and along with Jackie Mittoo was the chief studio arranger. Amongst the rhythms featuring his bass playing are Alton Ellis' "I'm Still In Love" and The Abyssinians "Satta-a-Massagana". They remained at Studio One well into the reggae era, where they cut tunes such as "Message from a Black Man", "Love Won't Come Easy", "I Love You" and a very successful cover of "Suspicious Minds", then went on to record with Joe Gibbs, Harry J, for whom they cut the classics "Country Boy" and "Book of Rules" (itself based on an American poem called "A Bag of Tools" by R.L.Sharpe, written early in the 20th Century) in 1973, Rupie Edwards (re-recording "Give Me the Right") and former journalist Danny Holloway. Leroy Sibbles emigrated to Canada in 1973, and the group ceased recording, returning in 1976 with "Cool Rasta" and "Night Food", produced by Scott "Harry J" Johnston. These LPs featured a few new songs, interspersed with somewhat tame remakes of some of their past Studio One glories.
In 1977, they revived their career by returning to work with Lee "Scratch" Perry, having issued a number of singles (including a cover of Billy Stewart's "I Do Love You" on his Justice League imprint five years previously, and released the album, Party Time one of Perry's finest productions, which included a remakes of some tunes originally cut at Studio One, including Bob Dylan's "I Shall Be Released", along with newer compositions such as "Sufferers' Time". In the same era, they released a number of 12" singles with Lee Perry, such as "Mistry Babylon", "Mr. President" (featuring DJ Jah Lloyd) and "Babylon's Falling".
Sibbles left the group once more in 1977 to start a successful solo career, having already cut a solo version of "Love Won't Come Easy" for Augustus Pablo, and having cut his own solo singles for Lee Perry ("Rasta Fari" and "Garden of Life") and Dennis Brown's DEB Music ("New Song" and "Ain't No Love"). He was replaced by Dolphin "Naggo" Morris, who had recorded "Su Su Pon Rasta" for Joe Gibbs and "You Should Love Your Brother" for King Jammys, but the group's popularity waned. By the late 1970s, their slick stage suits and covers of pop tunes found little favour with audiences more used to more "militant" dreadlocked performers singing of Rastafari, and they began to be perceived as relics of an older era. Despite being produced by Joseph Hoo Kim at Channel One, "Good Life" in 1979 saw the group treading water, and the years that followed brought little success. The original trio reunited in 1995, and released Pressure!, produced by Tapper Zukie.
