Artist

The Congos

Jamaican reggae vocal group

Jamaica • Formed 1977

The Congos is a music group from Jamaica, active since 1977. Their discography on Gatefold includes 9 records.

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Albums tracked

In collections

1977

Since

Biography

The Congos are a reggae vocal group from Jamaica which formed as a duo with Ashanti Roy (tenor) (b. Roydel Johnson, 1947, Hanover, Jamaica) and Cedric Myton (falsetto) (b. 1947, Saint Catherine Parish, Jamaica), later becoming a trio with the addition of Watty Burnett (baritone) (b. early 1950s, Port Antonio, Jamaica). and have been active on and off from the mid-1970s until the present day. They recorded the classic Heart of The Congos in 1977, with producer Lee "Scratch" Perry at the Black Ark Studio.

The Arc of The Congos

The pivots — what forced The Congos to reinvent.

The Black Ark Revelation
In 1977, Cedric Myton and Roydel Johnson teamed up with baritone Watty Burnett to record at Lee Perry's backyard studio in Kingston. Perry treated the vocal trio as a single instrument, run through heavy phase shifters and doused in tape delay over standard drum-and-bass riddims. The resulting album, Heart of the Congos, defined the wet, dense, claustrophobic sound of peak roots reggae. You can hear the physical limits of the four-track tape machine on every track, pushing the vocals into a warm, natural tape saturation that digital gear can never emulate.
The Post-Scratch Splinter
After falling out with Perry over the distribution of their debut, the group self-produced Congo Ashanti in 1979 before fracturing. Without Perry's wild tape manipulation and unstable mixing desk, the follow-up records like Face the Music took on a cleaner, far more conventional reggae format. The tracks lost that muddy, underwater mystery in favor of a dry, commercial studio sound that lacked the grit of their early singles. It was the sound of a band trying to survive in a rapidly modernizing Jamaican music industry without their chief sonic architect.
The Back to the Ark Revival
After decades of solo projects and sporadic reunions, the group returned to their roots by working with British dub producer Mad Professor and eventually rebuilding ties with Perry. The 2010 release Back in the Black Ark was an explicit attempt to summon the old ghosts using analog outboard gear and vintage delay units. While Myton’s falsetto had aged, the grit of their older voices matched the crackle of the tape reels. This late-career run proved they didn't need the actual physical Black Ark studio to summon that specific, dark roots energy.

Influences

The Abyssinians — The Abyssinians set the template for roots reggae vocal harmony with their 1969 landmark track Satta Massagana. Cedric Myton openly studied their three-part rastafarian devotional harmonies. You can hear this influence in the chant-heavy, biblically focused structure of Row Fisherman Row.
The Melodians — This rocksteady vocal group toured Jamaica throughout the late 1960s and early 1970s, showcasing how to blend sweet soul harmonies with heavy roots rhythms. The Congos took the Melodians' smooth, secular vocal blend and ran it through Lee Perry's mixing board. The falsetto-led arrangements on Congomango are a direct echo of the Melodians' classic style.
Ras Michael & The Sons of Negus — Ras Michael brought traditional Nyabinghi drumming and churchical chanting into the reggae mainstream. Cedric Myton spent time in these drumming circles before forming the Congos. The heavy, hand-played funde and repetitive repeater drum patterns on Ark of the Covenant come straight out of this traditional drumming heritage.
The Wailers — Before going international, the trio of Marley, Tosh, and Bunny Wailer cut legendary, stripped-down roots singles with Lee Perry at the controls. Those early Black Ark sessions laid the blueprint for how Perry would later produce the Congos. The dry, syncopated vocal hand-offs on Solid Foundation are directly modeled on the Wailers' early 1970s dynamic.
The Heptones — As Studio One's premier rocksteady vocal trio, their lead singer Leroy Sibbles defined how a sweet lead voice could anchor a heavy bassline. Watty Burnett has cited their clean vocal arrangements as a major influence on his baritone anchoring role. You hear this structural balance on Open up the Gate, where Burnett's low end keeps Myton's soaring falsetto from drifting into the clouds.