Chosen Few

One of the most resilient and widely embraced reggae ensembles to emerge in the 1970s, the Chosen Few amassed a remarkable run of chart successes throughout that decade while also performing across the United States, Canada, and England. Their trajectory helped ignite a prominent solo path for founding member Scotty and introduced co-founder Franklin Spence, also known as A.J. Franklin, to global audiences. The ensemble took shape in Kingston, Jamaica, during 1969 in the wake of the Federals’ dissolution, when former Federals Spence and Scotty joined forces with Noel “Bunny” Brown and Richard MacDonald. Promoter and producer Derrick Harriott, who had earlier worked with the Federals both in the studio and on the road, promptly signed the new group.

Harriott soon removed Scotty to spotlight him as a DJ on multiple sides cut alongside acts such as the Crystalites. Busty Brown, formerly of the Messengers, stepped in to complete the lineup, and the quartet’s stature rose on the strength of its meticulously polished harmonies and electrifying live presentations. Richard MacDonald’s departure opened the door for Errol Brown, whose immersion in American soul traditions prompted occasional billing as Errol Brown & the Chosen Few. Early recordings by the original configuration reworked material from Blue Mink and additional rock sources into reggae arrangements, yet the collective soon gravitated toward interpretations of songs associated with the Stylistics and the Main Ingredient. “You’re a Big Girl Now” and “Everybody Plays the Fool” became significant successes, while the 1973 debut album Hit After Hit showcased a reggae treatment of “Stranger on the Shore” alongside further distinctive covers. Franklin Spence assumed an expanding role behind the boards on subsequent sessions in addition to his vocal contributions.

The group ventured into unadorned soul territory, most prominently through its collaboration with ska artist King Sporty on the album Night and Day, issued in some markets as The Chosen Few in Miami. Franklin Spence remained the sole constant presence as the act extended its activities into the 1980s alongside Errol Brown and Michael Deslandes.