Aston Barrett, the Jamaican bassist known as the “Family Man” who served as the rhythmic architect for reggae legends such as Bob Marley and the Wailers, Burning Spear and Augustus Pablo, has died aged 77.
Barrett’s death was announced Saturday by his son Aston Barrett Jr. on social media: “It is with heavy hearts that we share the news of the passing of our beloved Aston ‘Familyman’ Barrett after a long medical battle,” wrote Barrett Jr. “This morning the The world has lost not only an iconic musician and the backbone of The Wailers, but also a remarkable human being whose legacy is as great as his talent. Our family requests privacy during this difficult time as words cannot express our deep loss.”
Kingston-born Barrett was one of Jamaica’s most renowned, prolific and influential studio musicians. Along with his younger brother and drummer Carlton, he formed the rhythm section for almost the entire period that Marley fronted the Wailers and played bass on a number of classic albums ranging from 1970’s Soul Rebels to the posthumous LP Confrontation “ from 1983 were enough.
“The drum is the heartbeat, and the bass is the backbone,” Barrett once said. “If the bass isn’t right, the music has a bad backbone, so it would be crippled.”
Barrett’s bass work could be heard in almost every one of Marley and the Wailers’ now-iconic songs: “I Shot the Sheriff,” “Get Up, Stand Up,” “Stir It Up,” “Jamming,” “No Woman, No Cry.” , “Three Little Birds,” “Could You Be Love,” “Is This Love,” and dozens more.
Barrett — nicknamed “Family Man” for his patriarchal role as bandleader and musical director of the Wailers — “played a major role in introducing reggae’s one-drop rhythm to international audiences,” Rolling Stone wrote in our list of the 50 Greatest Bassists of All times. “But the self-proclaimed ‘Architect of Reggae”s influence reached far beyond the genre, extending into pop, R&B and funk: his proud bass line on the Harry J. All Stars’ 1969 instrumental ‘The Liquidator’ served for three years later as a direct template for the Staples Singers’ hit ‘I’ll Take You There’.”
“He should be number one [auf der Liste] be. He’s the one who started it all,” Shakespeare told Rolling Stone in 2020. “People think he’s on [Bob Marleys] ‘Concrete Jungle’, but I played ‘Concrete Jungle’, I just played a style that was similar [wie Barrett, der mit den Wailers auf dem Rest von ‚Catch a Fire‘ spielte]. But Family Man is the one that kicked my ass; He’s the one who told me to get up and do this.”
“It is with tears in our hearts and eyes that we share the news of Aston Barrett Jr. that his father, our beloved friend, musical partner, Bredrin Aston ‘Family Man’ Barrett, has made the transition from the physical world,” Bob wrote Marley’s official social media on Saturday. “Every time we hear the music we pay attention to Fams’ genius on bass. A pioneer, unique, trendsetter, revolutionary in the musical field and above all, as his name suggests, a real family man. Our condolences to his family.”
Bob’s son Ziggy Marley wrote: “My teacher has passed away. Aston Family Man Barrett, his sentiment and style have inspired me and so many others. We will study his genius for generations and miss his physical presence, but his spiritual energy and teachings remain. Love to the Barrett family.”
Ali Campbell of UB40 added: “His legacy will forever resonate through the timeless music he contributed to. May he rest in eternal peace, and may his family find comfort in the lasting impact he left behind.”
In addition to his decades-long stint with the Wailers, Barrett also played with Lee “Scratch” Perry’s the Upsetters, the Aggrovators and King Tubby’s house band, and appeared on acclaimed reggae albums by Peter Tosh (Equal Rights), Max Romeo (Revelation Time), Keith Hudson ( Pick a Dub) and I-Roy (Truth and Rights), to name just a few.
Barrett – who would later give the term “family man” a double meaning by fathering at least 50 children – sued Island Records in 2006, demanding £60 million in unpaid royalties for his work with the Wailers.
“Aston Barrett and his brother literally created the Wailers’ sound, but that is not in the least intended to diminish the extraordinary songwriting abilities of Mr. Marley,” Barrett’s attorney, Stephen Bate, said in court as the lawsuit was heard. “It was the Barretts’ unique sound that brought the Wailers international success.” Ultimately, however, Barrett lost the legal battle.
Although he did not receive the financial recognition he deserved, Barrett was regularly honored by his fellow bassists, including a Lifetime Achievement Award from Bass Player magazine. In 2021, Jamaica awarded Barrett the Order of Distinction for his role as the musical “backbone” of the country’s most enduring music.
“Aston’s music has brought joy to millions of people and his influence on reggae is immeasurable,” said Barrett Jr. about his father. “He was a man of few words, but his words contained wisdom, kindness and love. His bass lines were not only the foundation of The Wailers’ music, but the heartbeat of a genre that has touched hearts around the globe.”