If there was a Grammy handed out for “Best Reggae Album Covers”, then Neville Garrick would have the most awards in that category. In addition to Bob Marley, Peter Tosh and Bunny Wailer, he also designed Ziggy Marley’s – albums that have been nominated for 15 Grammy awards, winning a total of 8.
Ziggy posted on Instgagram “Thank you Neville” in the comment section of a post made by Bob Marley’s account, underscoring the importance of the 73 year old who passed away on Wednesday.
Photographer William Richards who took the image for Sean Paul’s triple Platinum “Dutty Rock” album, remembers Garrick as one of the most important figures in designing reggae and Rastafarian imagery which helped to give the culture and music acceptance in the world.
“I think what was really important about Neville Garrick was Rasta being able to describe and depict itself, as opposed to the world putting Rasta on a postcard,” William said. “Aside from the fact he was a tertiary trained graphic artist, he was a Rasta man. Neville was designing himself and his brother (Bob Marley).”
Garrick has credits on over 100 reggae albums as Art Director throughout his illustrious 50 year career and this made him reggae’s most consistent story teller using images.
“As opposed to the white man putting the Rasta man on an album cover it’s a black man (Garrick) telling a black man story,” William said.
Garrick’s works of art are the first point of contact for consumers of platinum and multi-platinum reggae albums some stand out titles being, “Natural Mystic”, “Exodus”, “Rastaman Vibration.”
According to William, Garrick’s images played a pivotal role in selling records with a catalog that surpassed 25 million albums by concervative counts, citing iconic covers like “RastaMan Vibration” (1976) and “Babylon by Bus” (1978).
“His images did help to sell the records. Absolutely. “RastaMan Vibration”, “Babylon by Bus” are iconic. He did inspire me 100%, he was a photographer, he wasn’t just a graphic artist, he definitely inspired me especially as a young rasta and he was a friend. In a weird way it’s a little bit of a competition too, because we vied for the same job at Tuff Gong and other labels.”
Among the other Island Records/Tuff Gong Marley titles for which Neville served as Art Director include : “Exodus” (1977), “Kaya” (1978), “Survival” (1979), “Uprising” (1980), “Confrontation” (1983), Marley best selling compilation “Legend (The Best Of Bob Marley And The Wailers)” (1984), “Live At The Roxy” (2003) “Bob Marley & The Wailers – One Love: The Very Best Of” (2001) “Songs Of Freedom – The Island Years” (2021), “Bob Marley & The Wailers – Easy Skanking In Boston ’78” (2015) among others.
William also shared personal memories of visiting Garrick’s store, the ‘Wanderer,’ where African clothing, jewelry, and beads were crafted. Additionally, he recalled Garrick’s beautiful daughter Naomi and their shared interest in African artifacts.
“He and his wife used to have a store called the ‘Wanderer’, they used to cut these African clothing and jewelry and beads and young rasta would always go there and he had his beautiful daughter Naomi Garrick, we went there to see his African artifacts,” he said.
“We have met several times professionally, we discussed different times for his projects, I have a portrait of him with his work which I gotta find. I was very sad. I didn’t know he was sick and didn’t know he was trying to get better and when I heard the news this morning it was quite a shock, he will be missed,” William said.
Ras Michael & The Sons Of Negus “Rastafari” and Judy Mowatt’s “Mellow Mood” in 1975 were Garrick’s first two covers.
In 1976 he then designed his first Wailers cover for his namesake Neville Livingston aka Bunny Wailer‘s debut solo album ‘Blackheart Man,’ released on Solomonic records locally and Island Records internationally in September. Garrick, a multi-disciplinary artist, also toured with Bunny for the album as the MC that introduced Bunny on stage.
In 2019 the renowned graphic artist shared insights into his creative journey with Bunny Wailer’s album “Blackheart Man” which was his first collaboration with a member of The Wailers. Garrick vividly remembered the time spent working on “Blackheart Man” and the considerable time at Bunny Wailer’s home on the beach at Bull Bay, where Bunny lived with his sister Jean Watt and daughter Iyata.
During the album’s recording at Aquarius studio in Halfway Tree, Garrick would drive Bunny since he didn’t have a car. “I spent a lot of time with Bunny at his home on the beach at Bull Bay. His queen sister Jean Watt who created most of his stage outfits and his daughter Iyata lived there with Jah B. Bunny didn’t have a car so I took him to Aquarius studio in Half way Tree daily while recording the album. Bunny played almost every instrument on the album and sang all the background vocals. He gave me credit for percussions on This Train which was only handclaps.”
This collaboration marked the beginning of a series of album covers Garrick would go on to create for Bunny Wailer.
The multi-faceted measure of Neville can be further summed up when he was tasked as organizer of Bunny Wailer’s 1982 concert at Jamaica’s National Stadium titled “Youth Consciousness Reggae Festival Part 1”. The event was Bunny’s first live performance in Jamaica in about seven years according to Garrick and was scheduled for Christmas Day at the National Stadium with a star-studded lineup, including Judy Mowatt, Marcia Griffiths, Jimmy Cliff, Peter Tosh, and Bunny Wailer himself.
Garrick faced numerous challenges in organizing the concert within a tight timeframe. To address ticket security, he claimed he flew to Toronto to have tickets printed with an embedded security chip, given the prevalence of fraudulent ticket duplication in Jamaica. Utilizing various media platforms, including print, posters, billboards, TV, and radio, Garrick promoted the event.
Local providers were engaged for stage production, and special lights were ordered from Miami for enhanced effects. The preparations, including rehearsals and logistical arrangements, intensified as the concert approached. A full dress rehearsal took place on Friday night at the National Stadium, involving sound checks, light and sound testing, and meticulous planning.
The concert, delayed by intermittent showers, finally commenced at 8:00 pm instead of the scheduled 6:00 pm. Opening acts teen star Nadine Sutherland and Dub-Poet Oku Onuora, Judy Mowatt and Marcia Griffiths captivated the audience with their performances, while Peter Tosh focused on lyrics advocating for the legalization of Ganja and African redemption. Jimmy Cliff, another crowd favorite, dropped the hits.
Neville recalled when Bunny Wailer’s grand entrance occurred early the Sunday morning, his setlist featured around 20 songs, concluding with “Keep on Moving” and “Get Up Stand Up,” where he was joined by Peter Tosh and Jimmy Cliff. The concert was recorded, resulting in the album “Bunny Wailer Live,” another cover he designed.
His ideas of the Rasta Man’s image and experience can be seen on album covers from Burning Spear’s “Man In The Hills” (1976), “Hail H.I.M.” (1980), Farover (1982), Peter Tosh – Wanted Dread & Alive (1981) on EMI America, Rolling Stones Records and Junior Reid’s 1989 album “One Blood”.
Rita Marley’s “Who Feels It Knows It” (1980) and “Harambé” (1982) as well as the reggae group Foundation albums “Flames” (1988 Mango) and “Heart Feel It” 1989.
Outside of music and album covers, Garrick represented the Marley family and the government of Jamaica in designing the Bank Of Jamaica’s Bob Marley 50th birthday commemorative coins which were produced by the British Royal Mint. One thousand coins were made available and they were totally sold out. He expressed disappointment how there was not a reissue for Bob’s 75th anniversary.
