Double 12″ Spin #88 – Leroy Sibbles / Frankie Paul & Thriller –
Two sides of reggae history meet in this edition. On one hand stands Leroy Sibbles, a genuine Studio One architect whose influence runs through countless foundation recordings. On the other is Frankie Paul, one of dancehall’s most beloved voices. Linking them together is the mighty Heavenless riddim, a bassline that continues to prove that sometimes the simplest ideas leave the deepest mark.
Disc 1
A. Leroy Sibbles – Only With You
B. Leroy Sibbles – Dubbin’ With You
Label: Micron Music Limited – MIC CAN 0049
First up is Leroy Sibbles’ Only With You released in Canada on the Micron Music label in 1983 and backed by the excellent dub companion Dubbin’ With You. At the time, Sibbles had been living in Toronto for a decade, playing an instrumental role in building the Canadian reggae infrastructure while maintaining strong recording ties with Jamaica. Riding the immortal Heavenless riddim, the song blends lovers rock sweetness with roots reggae depth, showcasing the effortless vocal style that made Sibbles one of reggae’s most respected singers.
The tune also appeared on Sibbles’ 1983 album On Top, a set recorded with the assistance of some of reggae’s finest musicians. Members of the Roots Radics joined forces with Sly & Robbie, while Dean Fraser, David Madden and Chico Chin supplied the horn arrangements. The project was mixed by Hopeton “Scientist” Brown, whose unmistakable touch helped give the album its warm and polished sound.
Few artists can claim a legacy as significant as Leroy Sibbles. As lead singer and principal songwriter of The Heptones, alongside co-founders Earl Morgan and Barry Llewellyn, he helped create some of the defining recordings of the rocksteady era, including Fattie Fattie, Party Time, Ting A Ling and Equal Rights. Beyond his work as a vocalist, Sibbles served as Studio One’s chief bassist and arranger during the label’s golden years. His basslines became part of reggae’s foundation, with credits including Full Up and Real Rock as a member of the Sound Dimension session band, and Burning Spear’s groundbreaking Door Peep. After relocating to Canada in 1973, he expanded his solo catalogue with albums such as Now (1980), Strictly Roots (1980), On Top (1983) and The Best (1990), further strengthening his reputation on both sides of the border. In recognition of his immense contribution to Jamaican music, he received the Order of Distinction from the Jamaican government in 2002.
From roots elegance we move into the heart of mid-1980s dancehall. Released on the UK-based Ranking Joe Universal label in 1985, Sixteen Lover/Through Mi Young is a split twelve-inch that pairs two different vocal cuts rather than the usual vocal-and-dub format. The result is a highly enjoyable showcase of two singers riding classic Jamaican riddims.
Disc 2
A. Frankie Paul – Sixteen Lover
B. Thriller – Through Mi Young
Label: Ranking Joe Universal – RJ 008
On the A-side, Frankie Paul delivers Sixteen Lover, voiced over a reworked version of Heavenless. By the mid-1980s the riddim had become firmly established as a dancehall standard, and Frankie Paul’s expressive performance transformed the song into one of the era’s most memorable hits.
Born Paul Blake in Kingston in 1965, he overcame severe visual impairment to become one of dancehall’s brightest stars, earning the nickname “The Jamaican Stevie Wonder” while still a youth. Throughout the 1980s and 1990s he recorded prolifically for major producers such as Henry “Junjo” Lawes, King Jammy, Bertram Brown, George Phang and Winston Riley, delivering classics including Pass The Tu-Sheng-Peng, Worries In The Dance, Sara, I Know The Score and Cassanova. Renowned for his versatility, quick recording pace and remarkable vocal range, Frankie built one of the largest catalogues in reggae music. During the latter part of his life he relocated to Gambia before suffering severe health complications caused by diabetes and kidney failure. Following a leg amputation in 2016, he passed away the following year, leaving behind an extraordinary body of work.
Flipping the record over brings us to Through Mi Young by Thriller, riding a version of Derrick Harriott’s classic Solomon riddim. Born Devon Chambers, Thriller emerged during the early 1980s and made his name through sound system appearances and recordings linked to Sugar Minott’s influential Youth Promotion movement. Throughout the decade he appeared on a steady stream of split singles and combination records alongside artists such as Barrington Levy, Little John, Barry Brown and Buro Banton, while also cutting material for labels including Taxi and Ranking Joe Universal.
Although Thriller never released a solo album, he remained an active figure within reggae circles for many years. Across later decades, the singer put out relatively few recordings of his own, but he established the Thriller Music label and moved into production, working with artists including Nitty Gritty, Capleton, Richie Spice and Johnny Osbourne. As a result, his contribution to reggae extends well beyond the recordings that carry his own name.
The man overseeing this particular release was Ranking Joe, one of reggae’s most distinctive deejays and producers. Introduced to sound system culture from an early age through his father’s involvement in local dances, he made his recording debut at Studio One in the mid-1970s before developing the rapid-fire delivery style that would become his trademark. His talents soon brought success with producers such as Bunny Lee, Joe Gibbs and Sonia Pottinger.
After the death of his sound system partner Ray Symbolic, Ranking Joe relocated to New York, where he expanded his activities as both producer and label owner. Through his Jamaican Ranking Joe imprint and the UK-based Ranking Joe Universal label, he released recordings by artists including Dennis Brown, Black Uhuru, Frankie Paul, Shinehead and Glen Washington. More than five decades after his debut, he remains active, as demonstrated by the release of Top Ranking in 2024.
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