Justin Hinds (1942–2005) and his backing vocal trio The Dominoes recorded myriad single tracks and less than a handful of record albums in the late seventies and eighties. Years before, Hinds had scored the monster hit that would remain his biggest claim to fame: “Carry Go Bring Come”, recorded in 1963 and released by Treasure Isle Records.

On both Jezebel (1976) and Just in Time (1978), either band or someone at Island Records decided to spell the singer’s last name as “Hines” instead of “Hinds”. Both albums featured artwork and design by London based design studio Bloomfield/Travis, pairing a portrait with contoured capitals of Quaint Roman.

Bloomfield/Travis designed the covers for many big names in reggae (like Burning Spear and Steel Pulse) but also worked for numerous post punk bands (like The Slits, for example). I have not been able to find information about how big the studio was, or who had what role, but a blog post on the Kamikazi Dub website reports that the studio worked with Jamaican designer Trevor Campbell, among others.

[More info on Discogs]

On the US/Canadian market, the album was released in a variant with a black background.

UK Edition (1975), with the addition of a portrait of Marcus Garvey.

Marcus Garvey is the third studio album released by Burning Spear. One could also claim it is Burning Spear’s first album, as a solo artist. Until shortly before the recording of this album, Burning Spear was the name of the band, lead by Winston Rodney (Jamaica, 1945), with Rupert Willington and Delroy Hines/Hinds as band members. The three of them are portrayed by Dennis Morris on the back cover of this album and its dub version Garvey’s Ghost, released 1976.

The album cover shows a dramatic illustration of two warriors with earrings and spears. At the bottom of the design, a sturdy chain is interrupted by the album title, set in bold capitals of Roslyn Gothic. Roslyn is the single known typeface by lettering artist and friendly-looking gentleman Harry Winters. This typeface was released by VGC in 1972. The Bold style used on the cover was also available from Letraset. The back cover shows both the Bold and the Medium weight.

The same typeface and design concept are re-used by “Bloomfield / Travis” on Garvey’s Ghost. This time, the portrait of Jamaican political activist Marcus Garvey is the main image, reversed as if evoking his unearthly appearance.

See a post about another album named Marcus Garvey produced by Sonia Pottinger for more information on Marcus Garvey.

More info:
[Marcus Garvey on Discogs]
[Garvey’s Ghost on Discogs]