Aston “Familyman” Barrett

The Riddim King

Aston “Familyman” Barrett was a young 23-year-old musician with a growing, credible reputation in 1969’s Kingston music scene. He will tell you that he self-labeled himself Familyman. “We all have to work and live together, as a family,” he says. “There is one who’s in charge to keep that unity – that’s key to Familyman.” That name is now legend.

Fams, as he’s affectionately known, alongside his late brother, drummer Carlton “Carly” Barrett, first gained island-wide recognition with The Hippy Boys. This name came about when Fams, Carly, keyboardist Glen Adams, guitarist Alva “Reggie” Lewis, and singer Max Romeo were playing a hotel gig. The woman who owned the Flamingo hotel told Fams, “you dress like bad boys, but you’re not bad boys. You remind me of those guys in the States, those hippies.” And that’s how the name stuck. Throughout the late ‘60s, The Hippy Boys were a number one show/dance band, often performing inside Kingston’s Sheraton Hotel Junkanoo Lounge, the Sombrero Club, and the Jump In Line Festival at Half Way Tree Square. They also released local hits that included “Return of Django” for Upsetters, “Liquidator” for Harry J. Allstars, and their self-produced “Cobra Style and “Familyman in Dub.”

In the early days, while working with Scratch Perry, the famous “one drop” drumbeat got refined. As Fams say, “Scratch is a record producer, he works with sound.” Fams defines reggae as “the heartbeat of the people – the universal language that carries the message of roots, culture, and reality.”  As for his own style, he admits he loves to sing, “but I didn’t practice.” He loves melody, and says that he “sings on the strings.” He plays his lines, he says. He is a baritone with a bass.

Living up to his moniker, Fams has mentored several artists. Aswad’s Brinsley Forde, Sly & Robbie’s Robbie Shakespeare, and Bob’s son Julian Marley have all benefited from working with the maestro. “When I rode with the Wailers, I told Robbie I’m going to be on the road spreading the message. I told him I need him to dominate the place… and he did.” Robbie answers, “He is the man for me. I’ve had influences… but I have to give it to Familyman.”

Fams continues to mentor up-and-coming new talent. Most notable student and success is his son Aston Barrett Jr., the musical director and drummer for his father’s Wailers. Aston Jr. also plays bass, keys, guitar, writes, and produces. A student who has studied his uncle, Aston Jr. has the remarkable distinction of sounding just like Carly Barrett. “Only he can play his uncle,” Fams says, “he is the closest to his uncle.”

In the late ‘60s, Bob Marley met Fams and Carly at Scratch Perry’s studio. He asked them to join the Wailers. They recorded as The Hippy Boys with Bob, Peter, and Bunny until 1969; that’s when they were asked to join as a full band. When Peter and Bunny moved on to pursue solo careers in 1973, Fams became the Wailers’ musical director, captain of the ship, and has remained a Wailer ever since.

Fams was with Bob in London after the split. He, Bob, and Carly were all that was left of the original Wailers. When Bob expressed concern over what’s next, Familyman reassured him, “the three of us can do it. Remember the Power of the Trinity.” Soon, they see a young man walking in London’s Chelsea district. He was carrying a bass guitar in one hand and a six-pack in the other – this young man was Al Anderson. The young American was soon joined The Wailers. Earl “Wya” Lindo, who played keyboards with Fams and Carly in the early ‘70s Wailers, had left the band to do some session work. Afterwards, he returned to the family. Fams recalls, “we were all hooked up, we were a team.”  Their first gig as Bob Marley & The Wailers was in London’s the Lyceum Ballroom in 1975.

From Bob Marley & The Wailers’ 1974-debut album Natty Dread until Bob’s premature passing in 1981, Familyman was Bob’s partner and friend. Fams is also credited as co-writer, co-producer, and co-arranger. Fams inimitable heartbeat bass style is as much a part of the Bob Marley mystique as Bob himself. The Wailers band included Fams, Carly, Wya, Al, Tyrone Downie, Junior Marvin, Seeco Patterson and the I-Three. Bob Marley & The Wailers opened the door to what is recognized as the sound and message of international reggae.

Respected as a musical genius and one on the finest and most influential bass players of all times, Aston “Familyman” Barrett received the 2012 Lifetime Achievement Award from Bass Player magazine. He has contributed to Bob Marley & The Wailers being named Band of the Year by Rolling Stone Magazine in 1976, the Exodus album named Album of the Century by Time Magazine in 1999, and the song “One Love” named Song of the Millennium in 2000.

The legend continues.

 Aston Barrett Jr.

Drummer / Musical Director

Aston Jr. was born into musical greatness. His rhythm-based lineage begins with his maternal grandfather, Joe Higgs, “godfather” of the Trench Town sound, legendary singer, producer, and mentor. His famous father is Aston “Familyman” Barrett, co-founder of The Hippy Boys in the mid-60s and The Wailers band in the ‘70s, along with his iconic uncle, Carlton “Carly” Barrett, renowned drummer and driving force behind the vision and creativity of The Wailers sound.

Aston Jr. will tell you he was born to play music. The multi-talented young Barrett plays bass, drums, guitar, organ, and keyboards. Growing up watching his father create, record, and perform, it makes sense that Aston Jr.’s passion is the bass. He began at age three, and the first bass line he learned was “Positive Vibration,” played entirely on the E-string. Equally inspired by his uncle’s unique one-drop style, he invested time watching and studying Bob Marley & The Wailers videos. Aston Jr. has captured that complex feel, distinctive style, and clearly evolved into the singular next-generation Carly Barrett.

Aston Jr. has received rave reviews since he began playing drums with The Wailers in 2009. That praise comes after decades of playing and performing. An 8-years old Aston Jr. played bass for I-Three member Judy Mowatt at an all-girls high school. As a teen, he learned to play the Hammond B3 organ while in church. Because the B3 was a huge part of the Wailers sound, he appreciates the fact that this increased his Wailers skills. In 2004, he began playing bass in Julian Marley’s Uprising band. By 2006, Aston Jr. joined his father and Junior Marvin on stage for his very first Wailers show.

Aston Jr. gives credit to Aston Sr. for his talent and abilities. “I love playing with my father,” he says, “the best thing is we get to the true sound of the ‘roots’, which goes way beyond the depths of the bass.” He loves playing the drums because, as he claims, “it brings me closer to Uncle Carly, the best Reggae drummer ever.” Along with his brothers Kevin Barrett and John aka Floyd Barrett, Aston Jr. knows that they are here to keep their father’s history-making career moving forward.

The rhythm force duo created alongside the highly praised Familyman Barrett brings a mix of Roots-Rasta-Reggae and modern technology; the result is a new-generation Barrett sound. This is evidenced in the musical soundtrack they created for the documentary Bob Marley: The Making of a Legend, an early look at Marley’s life through the lens of Jamaican photographer and Marley paramour Esther Anderson.

As part owner of Bad Lions Studio located in South Florida, Aston Jr. produces, writes, creates, and records for himself and others. A student of jazz, funk, and freeform music, he fully appreciates The Wailers sound of the ‘60s and ‘70s, and he brings that old-school style to his creative projects. Whether it’s playing bass, drums, guitar, or organ, Aston Jr. has increased his visibility and reputation by recording or touring with such popular artists as Lauryn Hill, Stephen Marley, and Julian Marley. While touring with Ms. Hill in 2013, he recalls the excitement of sharing the stage with Lauryn Hill and NAS.

Aston Jr. will proudly tell you that the music The Wailers created then, and the music they are creating today “has no category…there is no old sound – there is no new – it’s just there.”  The Wailers sound is the Barrett sound. The legacy continues.