The Heptones Albums (18)
What The Critics Say
Good Vibes is based around synthesized drums and instrumentation, which gives the album a somewhat disappointing processed feel, but thankfully the trademark harmonies that have made the Heptones one of the greatest Jamaican vocal trios in history are still largely intact, particularly on the remakes here of Paul Anka's "Diana" and Dobie Gray's "Drift Away." Truthfully, though, this isn't the place to start to get a real sense of this magnificent group, and casual listeners may want to pick up one of their classic early albums (like Night Food or Party Time) before checking out this one. ~ Steve Leggett, All Music Guide
What The Critics Say
The Heptones have been the standard for Jamaican harmony trios for some four decades now. The original lineup of Leroy Sibbles, Earl Morgan, and Barry Llewellyn represented the pinnacle of the genre, and when Sibbles left the group in the late '70s to be replaced by Naggo Morris, the fall off was slight. Unfortunately, the Heptones drifted into synthesized instrumentation in the mid-'80s, and their albums -- although they always featured wonderful harmony work -- became fairly spotty. Sibbles briefly reunited with Morgan and Llewellyn for 1995's Pressure!, but when the dust cleared, only Llewellyn remained to carry on the Heptones name. All of this might lead up to On the Road Again being a complete disaster, but it isn't. With rhythms from Sly & Robbie, keyboard touches from Gladstone Anderson, and arrangements and harmonies from Winston Jarrett, it is easily the best Heptones release in a decade. While it doesn't measure up to the classic '70s work with Sibbles and Morgan, On the Road Again features gorgeous harmonies on strong songs like "Foreign Policy," "Want Something," and "Rule Things," and suggests that listeners haven't heard the last of the Heptones yet. ~ Steve Leggett, All Music Guide
'Rainbow Valley'
Release Date 6/12/1996
Tracks 10
Label House Of Reggae
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What The Critics Say
This brief album by the Heptones has some delightful tracks ("Tougher Than the World," "Head on Straight," and a remake of Naggo Morris' "Susu Pan Rasta"), but it falls well short of their classic 1970s work. The decision to record a version of Tommy James' "Crystal Blue Persuasion" was certainly ill advised, since the sugary original is here rendered as flat confection. The trademark Heptones harmonies are still intact, though, and that should appease diehard fans. ~ Steve Leggett , All Music Guide
What The Critics Say
The original trio reunites and releases an album worthy of the Heptones' name, and in one fell swoop extinguishes the memory of the subpar sets they had saddled fans with in recent years. Boasting a pair of excellent covers, a great take on one of their old masterpieces, and a clutch of new numbers, Pressure! recaptures the group's old magic. The trio is assisted by Tapper Zukie's superb production and fabulous rhythms laid down by a kaleidoscope of island talent: Sly & Robbie, Mafia & Fluxy, Errol Flabba Holt, Earl "Chinna" Smith, Robbie Lyn, Frank "Bubbler" Waul, and more. Of course the covers -- Bob Marley's "Rastaman Live Up" and Burning Spear's "Marcus Garvey" -- are an immediate point of entry, with both boasting inspired arrangements and seething rhythms. Leroy Sibbles' powerful performance on the latter vies with Winston Rodney's own, with Barry Llewellyn and Earl Morgan's harmonies a reminder of why the trio garnered worldwide acclaim to begin with. Their dance-flavored re-cut of "Country Boy" is just as heartfelt, if not quite as clean. The new material is actually even stronger. On "World Crisis," the trio delivers up an impassioned dissertation on the state of the planet and its lack of leadership. The stellar title track, a Zukie composition, is a militant sufferer's song, a theme echoed in "Are You Coming With Me" as the trio despairs of better days and packs up to go to Zion, while "By the Sweat of Your Brow" looks to the Bible for comfort. Superb songs all, but the trio saves the best for last. "Old Time Gang Leader," co-written by Llewellyn and Zukie, boasts one of those mesmerizing, militant Sly & Robbie rhythms that seem to heave across the grooves and off into infinity, while Llewellyn offers up one of the strongest performances of his career, with a powerful warning to the rudeboys. With the album's arrangements running across the musical spectrum from lovers rock to militant roots, sizzling dancehall to deep dread, Pressure! is a sumptuous musical experience; while the trio's performances smolder with emotional depth, their harmonies are sublime. A much-welcome return, this album is destined to be a classic. ~ Jo-Ann Greene, All Music Guide
What The Critics Say
Mr. T was recorded in 1991 by the second incarnation of the Heptones (Barry Llewellyn, Earl Morgan, Naggo Morris), and while it has some bright and intriguing tracks, it fails to rise to the level set by the group's original lineup with Leroy Sibbles (keep in mind that Sibbles, aside from being a fine lead singer and writer, is also a dynamite bass player -- a mighty key instrument in Jamaican music). That said, this album fares better than many of the Heptones' post-Sibbles releases, with Morris stepping to the plate with two fine compositions, "Where Good Music Gone" and the soulful and passionate "In My House," while Llewellyn scores with the hopelessly infectious "Rasta Music." Unfortunately most of the album -- despite the presence of ace Jamaican session players like Sly & Robbie, Willie Lindo and Vin Gordon -- has a sort of slick, processed feel that became endemic to reggae in the 1990s. The songs mentioned above go a long way to redeeming things, however, and dedicated Heptones' fans shouldn't hesitate to check them out, although casual listeners will probably be better served by sampling the classic 1970s work done by the group's original lineup. ~ Steve Leggett, All Music Guide
What The Critics Say
The Heptones were one of Jamaica's premier vocal trios, but when lead singer, bassist and main songwriter Leroy Sibbles left the group in 1977, the Heptones (Barry Llewellyn, Earl Morgan and new member Naggo Morris) began to suffer from inconsistency, and their post-Sibbles work is equal parts marvelous and bland, depending on the song and/or the production approach. Which is why Swing Low, originally released in 1985, is such a delight, coming off as charming, confident and subtly innovative from start to finish. The opener, "Swing Low," blends the spiritual "Swing Low Sweet Chariot" with the traditional Jamaican "Key Man" melody and a don't-hurry nyahbinghi rhythm to produce an impressive synthesis. Llewellyn's original, "Down Comes the Rain," is simple and direct, sounding a little like a great lost Temptations single. Another highlight is the dub-sounding "So Long," which sets the stage for the final (and most striking) track on the album, an all-the-bells-and-whistles version of Curtis Mayfield's "I'm So Proud" that does a good job of approximating the watery, mysterious feel of a Lee "Scratch" Perry Black Ark production. Swing Low sounds relaxed and certain, and while it reaches a bit, it never over-reaches, making it easily one of the better Heptones albums -- with or without Sibbles. ~ Steve Leggett, All Music Guide
'In Love with You'
Release Date 1/1/1978
Tracks 10
Label United Artists
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What The Critics Say
With Bob Marley's success, in 1978 United Artists attempted to jump on the reggae bandwagon with Anthology of Reggae Collectors, a series of individual artist albums. In Love With You, the 14th volume of the series, features a clutch of classic cuts from the Heptones' Studio One days. It's not quite a best-of collection but comes close, and is filled with stellar numbers that criss-cross the five-year period (between 1967 and 1971) that the trio spent at the label. The point of entry for most fans will be "Fatty Fatty," the group's eloquent and inspired love song for large ladies. This was the Heptones' first major Jamaican hit, a delicate rocksteady number that announced their arrival on the charts with panache. Even more soulful was "Sweet Talking," a showcase for lead vocalist Leroy Sibbles, who takes a bouncy arrangement and turns it into an R&B masterpiece. Arguably even better was "Baby," the denouement of the Studio One sound, with its impassioned vocals, ethereal harmonies, and an arrangement that wraps the beats in gauze and the melody in a splendor of luxurious piano and guitar riffs. And the hits just kept coming, and "In a Groove" serenely celebrates the splendor of music in all its glory. These songs were all original compositions, but the trio was equally adept at cover versions, and one of its earliest cuts for Coxsone Dodd was "Only Sixteen," a fabulous take on the Sam Cooke classic. Equally memorable was the Heptones' version of Elvis Presley's "Suspicious Minds," a number they recut with Niney Holness in 1975. From affectionate love songs to party pieces, impassioned soul to the reverence of the spiritual "Oh Glory," In Love With You showcases the trio in all its moods, with "Talkative" even giving a glimpse at the group's more vindictive side. This album is the early Heptones at their most sublime. ~ Jo-Ann Greene, All Music Guide
What The Critics Say
Better Days' title track pretty much tells the whole story: its optimistic, better times have got to come theme, counterpointed by the melancholy melody, epitomizes the Heptones' own plight in the mid-'70s. Despite their phenomenal success in Jamaica, the trio were still desperately attempting to break onto the international stage, even after signing to the Island label. After two unsuccessful albums, the group were now gambling that the third time would be a charm. Producer Niney Holness provided the perfect rootsy sound to accompany the trio's own superlative vocals. Better Days has a denseness to it, without sounding cluttered, and the song arrangements are particularly masterful with an eye to detail -- the piano flourishes on "Oh Jah," the interplay between the organ and guitar on "Ready Baby" -- while Holness' own superb rhythms pack the record with even more power. The Heptones responded in kind, and filled the record with their own stellar performances in a variety of style and moods. The deep roots tracks are magnificent, delivered with passion and conviction. "Mr. Do Over Man Song," a Jamaican hit, boasts some of the greatest close harmonies the vocalists ever recorded, while Leroy Sibbles belts out the lead in best show-stopping, soulful fashion. The doo wopp-ish "Key to Her Heart" is an out and out charmer, just one of many. However, on an album stuffed with sublime vocals, "Jah Bless the Children" remains a stand-out, as the Heptones reach Maytalsesque heights of gospel exuberance. Even a cover of the saccharine "Crystal Blue Persuasion" has enough bounce to spare the band's blushes, while a new version of "Suspicious Minds" actually gives Presley's original a run for its money. Better Days should have been the band's break-out record, but it wasn't, and Sibbles departed soon after. However, with hindsight, the album eventually was recognized as the classic it always was. ~ Jo-Ann Greene, All Music Guide
