Although just 21 years old, Bernard “Touter” Harvey was an established session musician in 1976. That year, the talented keyboardist played on three albums that are now seminal.

From Whitfield Town in the Corporate Area, Harvey’s touches can be heard on Bob Marley and The Wailers’ Rastaman Vibration, Blackheart Man by Bunny Wailer, and Man In The Hills by Burning Spear.

It was his second major project with Marley and Burning Spear. In 1974, Harvey played on the former’s Natty Dread album, while the previous year he was a member of The Black Disciples band that backed Bunny Spear on the majestic Marcus Garvey.

In a recent interview with the Jamaica Observer, Harvey spoke about the different approach to the three albums 50 years ago.

“At that period in time I believe we were very creative in our approach. Most of the time, the limits were put in place by the artiste or whoever was doing the production. For example, Bob was not a fan of the synthesiser and discouraged us from using it, yet [producer] Lee Perry introduced his Elka piano/string machine which was used extensively on Rastaman Vibration and beyond,” he recalled.

“With Burning Spear, [producer] Jack Ruby gave us carte blanche to do our thing. Also, we would occasionally get together and get an idea of what we’re about to record before going to the studio,” the veteran musician added. “Bunny Wailer usually have an idea of what he wants, so he would be prepared with his ideas on a cassette. He would also listen to what you have and compromise between ideas.”

Rastaman Vibration, Blackheart Man, and Man In The Hills were distributed by Island Records, the London-based independent company started by Chris Blackwell in Kingston 17 years earlier.

The Marley album, which had radio-friendly songs such as the title track, Roots, Rock, Reggae; Crazy Baldhead; and Who The Cap Fit, was the most commercially successful.

Harvey has been a member of the Grammy-winning Inner Circle Band since 1974. He has played on their biggest hit songs including the global anthems Bad Boys and Sweat.

He looks back fondly at playing on three classic albums at such a young age.

“I do listen to some of those recordings occasionally and I’m quite surprised by my performances. One always hears fresh ideas that could improve on what’s already recorded… I’ve learned a lot since, but why would I want to mess with what the fans have already approved,” he said. “It does give me a sense of accomplishment when I hear other musicians replicate some of what I did.”

.

.

.