HIDDEN GEMS - a Fire On The Wire special

15 February 2002

The history of Jamaican music is peppered with a wealth of unknown and under recorded artists worthy of wider exposure. Vocal groups like the Itals, Cultural Roots and the African Brothers are held in high regard among followers of roots music but hardly known outside a tight (albeit expanding) circle of admirers. The woeful absence of recognition applies all the more to the Jewels. Indeed although the name may be known to many reggae followers few would have heard more than one or two of their recordings.

Most of the information about this roots trio comes from a fascinating article penned by Penny Reel in 1985 where he charted their vinyl releases. This article has become a road map for anyone wanting to explore the musical delights created by the Jewells. In a career spanning the late seventies and early eighties, these guys recorded a handful of tunes that have achieved near mythical status among reggae fans.

Under Niney the Observer's guidance they emerged with a brace of hard edged reality tunes like Jah-I. Some never saw release in Jamaica and only limited release through specialist outlets in London. However on the strength of these releases, the Jewells soon acquired a reputation as a group with a serious message, perfectly suited to the tough and militant rhythms Niney was coaxing from his studio musicians at the time.

On the controversial Black is the Highest Culture, Glassford Manning reflects on the origins of humankind and argues the prevalence of cannibalism among the Whiteman until the Blackman instructed otherwise. These lyrics are not for the faint hearted and it seems likely that lead singer Manning was influenced by his namesakes (and probably kinsmen) Carlton (Carlton and the Shoes) and Bernard (the Abyssinians) Manning.

The Jewells parted company with Niney after four tunes to record exclusively for Trevor 'Leggo' Douglas. While continuing to recordserious message music such as Love and Livity, Poor People are Crying and the chilling Slave Trade, another more gentle side emerged with tunes like I Believe in Love, Dream Lover Babe and Staring at Me Girl. These songs reflected music more in step with the early dancehall runnings of the time.

Nothing has been heard from the Jewells or Glassford Manning since. The release of a various artists Niney the Observer set on Heartbeat in the early 90s created further interest in the group and Prophecy Call emerged as a revive single in 1997. But aside from only an occasional original tune appearing briefly to be bought by collectors at inflated prices, these gems largely remain hidden.