A. Mighty Diamond – Wise Son
B. Unknown – Version
Music Works – None

More info @ Discogs

Few vocal trios in reggae history have the kind of staying power the Mighty Diamonds built over their career. Donald “Tabby” Shaw, Fitzroy “Bunny” Simpson, and Lloyd “Judge” Ferguson came together in 1969, drawing inspiration from the Motown groups they grew up listening to, The Temptations, The Stylistics, The Impressions, and blending that with the rocksteady sound of artists like John Holt and Ken Boothe. That combination gave them something genuinely their own.

Their early sessions took them through the studios of Pat Francis, Derrick Harriott, Bunny Lee, Lee ‘Scratch’ Perry, and Rupie Edwards before things really started to click. A first hit came in 1973 with Shame and Pride, but the mid-70s were when they truly broke through. Working with producer Joseph Hoo Kim at Channel One, they delivered Country Living, Hey Girl, and roots anthems such as Jah Jah Bless The Dreadlocks, Have Mercy and Right Time. That last one anchored their acclaimed debut album, also called Right Time, released in 1976, and it put them on the map internationally.

The early 1980s brought a fruitful collaboration with producer Gussie Clarke. Working across classic Jamaican riddims, including material rooted in the Studio One catalogue, this period gave us one of their most iconic recordings, Pass the Kouchie, written by Ferguson and Simpson over the Studio One instrumental Full Up.

The 12-inch we’re playing today, Wise Son, characterized by roots-conscious lyrics, also comes from this Gussie Clarke era. It’s tied to the Changes album sessions from 1981, although the song appeared on the 1982 set Indestructible. The riddim traces back to Alton Ellis’s 1970 Studio One cut Live & Learn. Providing the backing for the trio is an all-star lineup featuring Sly and Robbie, Franklyn “Bubbler” Waul, and Robbie Lyn.

The Diamonds navigated the shift to digital without losing what made them special, keeping their harmonies intact and maintaining a strong presence through touring well into later years. But 2022 brought heavy news. Tabby was fatally shot, and just one day later, Bunny passed away in a Kingston hospital. Two-thirds of the trio, gone within 24 hours. A painful loss for anyone who loves reggae music.

A. Sammy Dread / Jah Red – Africa
B. The Proffesionals – Version
Love Lite – LJ001

More info @ Discogs

The second selection is the 12-inch single Africa, released on the UK-based Love Lite label, where Sammy Dread is joined by deejay Jah Red, whose real name is Carlus Benito. The format is a classic discomix setup, featuring Sammy’s vocal first before dropping straight into Jah Red’s deejay version. Instead of traditional black, this striking pressing features transparent vinyl. The instrumental is tucked away on the flip side. Lyrically, Sammy is deep in Rastafarian roots territory here, calling on the Ethiopian tri-colour and Africa as spiritual home. Fits right in with where his head was at across this whole period.

Born Stewart Farquharson, Sammy Dread came up during one of the most energetic periods Kingston’s dancehall scene ever produced. He got his start in 1978 with African Girl, produced by Don Mais, also known as Jah Bible, for the Roots Tradition label. Early connections to Earl “Chinna” Smith and Earl Zero helped put him on the right path, and from there he found his footing fast.

His output through the late 70s and early 80s sat right at the heart of the rub-a-dub era. Two tracks in particular became fixtures on the Kingston circuit, Roadblock and Bad Boy A Fire M16, both recorded for Channel One. Alongside those HitBound releases, he put in solid work with producer Linval Thompson and also cut sessions for Joe Gibbs, which yielded hits including Dreadlocks Girl and My Black Princess.

In 1982, Channel One’s HitBound imprint dropped his debut album, Roadblock, heavy on riddim and driven by the Roots Radics. That same year saw Think Constructively come out as well. A productive stretch, no question.

When digital production started taking over mid-decade, Sammy stepped back from the studio and shifted his focus to touring and live sound system performances where his voice was always in demand. The records he left behind, though, speak for themselves.