Happy New Year from China, and what better way to celebrate than with some sunshine music from Jamaica, which, for all of you shivering in the cold, should bring some warmth to your heart while here in China we are basking in the sunshine. And my favourite sunshine tracks gets two plays.
The Heptones
Leroy Sibbles, Earl Morgan and Barry Llewelyn first came together as “The Hep Ones” in 1965 in Kingston, Jamaica but they soon changed their name to “The Heptones”.They recorded for the major Jamaican producers at the time, including Coxsone Dodd of Studio One fame. The Heptones had a number of Jamaican hits for Studio One, including “Pretty Looks Isn’t All”, “Fattie Fattie” and “I Hold the Handle.” They went on to record with Joe Gibbs, Harry J (Harry Johnson), and Rupie Edwards. In 1977, they recorded “Party Time” for Lee Perry, one of Perry’s finest productions, which included a version of Bob Dylan’s “I Shall Be Released.” included in the mix here.
The Mighty Diamonds
Mighty Diamonds are a Jamaican trio who had major success during the 70’s at the ‘Channel One’ studio and record label at Maxfield Avenue, Jamaica.Despite their heyday at Channel One, the trio continued to produce sublime work in later years, notably for ‘Gussie Clarke’ with the classic ‘Pass The Kouchie’ which rode an updated cut of an old Studio One instrumental called ‘Full Up’. The tune was also covered by the English group ‘Musical Youth’ but was known as ‘Pass The Dutchie’., the original is included in the mix here.
There are two bands by the name The Upsetters:1. “The Upsetters” is the name of the studio backing band of Jamaican Reggae producer Lee “Scratch” Perry, a.k.a. “The Upsetter”. The members most associated with that name included guitarist Alva Lewis, organist Glen Adams and brothers Aston Barrett and Carlton Barrett on bass and drums respectively, a.k.a.The Hippy Boys. As Lee Perry’s studio band, the Upsetters had three distinct line-ups, though, throughout the years 1968-1986.

1968-1969: Gladdy’s All Stars with Gladston Anderson and Winston Wright (keyboards), Jackie Jackson (bass), Hugh Malcom and Lloyd Adams (drums). They recorded the UK hits Man From M.I.5, Return of Django and Live Injection. According to Perry, “in a spectacular case of bad timing, the original Upsetters couldn’t make the trip” for a tour of Britain. He went with the Hippy Boys instead.

1969-1971: The Hippy Boys included Glen Adams (keyboards), Alva Lewis (guitar), Aston Barrett (bass) and Carlton Barrett (drums). They were collaborating with Bob Marley, Peter Tosh and Bunny Wailer a.k.aThe Wailers during that time. Even though Marley and Perry didn’t get along very well, musically wise, they laid the foundation of reggae music for years to come with classics like Small Axe, Duppy Conqueror or400 Years. In the rise to superstardom the bands began to go their separate ways early in 1972. The Barrett brothers, the most creative reggae rhythm section before Sly & Robbie, joined Marley to become known as the new Wailers which Peter Tosh and Bunny Wailer left later on for successful solo careers.
Garnett Silk
Famous for his silk like voice (hence Garnett Silk) Garnett was an overnight sensation on the early 1990s Jamaican Dancehall scene.

He started out in the mid-1980s deejaying on various sound systems and even recording the occasional track under the moniker “Little Bimbo”. By the first part of the 90s, his locks had grown out and he went from deejay to singer, changing his name to Garnett Silk.

Silk was born Garnett Daymon Smith (2 April, 1966) in the Brumalia district of Mandeville, Jamaica. He was taken under the wing of Rasta deejay Tony Rebel and introduced to Sugar Minott’s Youthman Promotion sound system, which had a hand in recruiting many young acts who later became international stars.

Along with Rebel, Silk reintroduced Rastafarianism into a dancehall scene which by 1992 had become nearly overwrought with X-rated and violent lyrics. He burst on the scene recording many hit tunes and albums, including “Nothing Can Divide Us”, “It’s Growing” and “100% Silk”.

Tragically a fire at his mother’s house on 9 December 1994 killed both Garnett and his mother (with Garnett first escaping then giving up his own life trying to save his mother’s). The Jamaican reggae scene was shocked by his death and it is a testament to his talent and his amazing voice that his music is still selling worldwide today, possibly stronger now than it did before his untimely demise.