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Bob Marley Jammin Instrumental Original \/\/TOP\\\\



The loss of Bob Marley and John Lennon within 6 months of each otherin the early '80s stained the decade, leaving a hard to overestimate musicalvacuum. On December 8th, 1980 when word arrived that Lennon had been shotmany of Marley's biggest Bay Area fans were on their way to a Stevie Wonderconcert which had been originally scheduled to feature Bob Marley and theWailers until it was postponed after Bob collapsed while jogging in NewYork's Central Park earlier that Fall.All too true rumors had circulating since October of 1980 that Marley hadbeen diagnosed as having cancer and less than a few months to live. Nobodywanted to believe it, least of all Bob. Stevie Wonder's reggae masterpieceand tribute to Bob Marley, "Masterblaster (Jammin')" came outin September stormin' the charts, looking tailor made for Marley's proposedtour with Wonder where, hope of hopes, Stevie and Bob could sing Marley's "Jammin" and "Masterblaster" together. Finally,it was also hoped, Marley would gain the exposure to reach the successeshe'd just enjoyed world-wide that year breaking attendance records set byThe Beatles, Led Zeppelin, Abba and others with crowds of over 100,000 inplaces like Italy and Germany. Now with Marley in death (May 11, 1981)even better known and appreciated in the states, with his son Ziggy gettingso much attention that it seems almost in reparation for the neglect accordedhis father, Island Records has quietly, and assuredly assembled their entireBob Marley solo career catalog from the crucial 1974-1980 period onto elevenglorious cd's including two compilations.The timing couldn't be better. To discover this visionary country rastaturned natural mystic and Reggae King can be enough of a pick-up, but whenRobert Nesta Marley's musical legacy, the eleven scrolls if you will, arerevealed in all Jah glory through the digital dread process of laser hi-tech,pity the weak heart.After two LP's with the Wailers, Peter Tosh and Bunny Wailer, CATCH A FIRE and BURNIN, which internationalized real roots reggae once and for all,Bob Marley released an album a year from 1974 through 1980. Then 3 posthumouscompilations were issued including CONFRONTATION which was made up of newand previously unreleased on Island tracks. While Lennon watched the wheelsfor 5 years of domestic bliss, Marley was hard at work, constantly on touror preparing albums that were the perfect antidote to a decade where rockand roll began to more resemble Big Time Wrestling than thethunder rebel reality that Bob projected. Now with both artists' oeuvregaining renewed interest in the new compacted format perhaps another generationwill get inspired as much as say U2's Bono who recently called Bob Marleyhis biggest influence, the artist who made him determined to create newand socially aware music. Even Island Records head Chris Blackwell duringthe label's 25th Anniversary Special hailed Bob as the company's finest achievement,which when you look at Island's roster ranks Bob among some impressive company.Like some I was a bit skeptical about how reggae would sound on cd, butwhen I heard the clarity and feeling of Bob's "Redemption Song"off the LEGEND compilation where he accompanies himself only with acousticguitar I was so bowled over I couldn't wait to hear the rest of his works.If a simple folk song sounded so different, so great, just imagine whatthe fullness must reveal. There were no disappointments.Though drum and bass form the foundation of reggae with thunderous bassperhaps its most recognized element all of Bob's US albums were re-EQedwith some of the bass rolled off to supposedly become more accessible toAmerican ears. So it was with some trepidation that I compared the basson Marley's UK box set with his US LPs and cds. While the old phono needleseem to roll out more bass on the UK albums, it tends to muddy up the restof the mix. Not so with cds. The bass is still tough but tighter, leavingroom for delightful subtle ambiances and beginning with Bob's 1976 RASTAMANVIBRATION its prominence and amplitude seems about right Anotherremarkable discovery I made while going through the Marley cds was howmuch subtlety can be discerned even at low volume. After years of turningit up straining to hear all the intricacies masking each other on vinyl, what a pleasure to actually turn it down and here more is quite a surprise.Then when under 'Dreadphones', one can become like a fly on thewall during the studio sessions with Marley's magic holding one spell-bound.Marley's first solo album NATTY DREAD was released in 1974 when Bobwas in the midst of reinventing his sound after ten years of work with PeterTosh and Bunny Wailer. With all 3 Wailers beginning solo careers Bob enlistedthe crucial background vocals of Jamaica's 3 finest female singers, hiswife Rita joined by Judy Mowatt & Marcia Griffiths and dubbed the I-Threes,while retaining the killer rhythm section with the Barrett Brothers, Carltonand Aston 'Family Man' on the drums and bass respectively. NATTYDREAD broke new ground while proving Marley's pre-eminence in Reggae. Filledwith tunes like "Lively Up Yourself", "No Woman No Cry",and "Rebel Music" NATTY DREAD garnered significant air-playduring FM's waning halcyon days and even made the wearing of the naturalblack hairstyle, dreadlocks, fashionable in Jamaica and abroad. On cd thetasteful guitar picking of Al Anderson almost sounds acoustic while theharmonica riffs bounce and slice through the mix. You can even hear Bobdrawing on his spliff from time to time and on "Rebel Music "one can nearly make out additional lyrics and vocals that were wiped offthe mix to make room for instrumental passages.By the time Bob sings "Never make a politician grant you a favor,they will always want to control you forever" on the closing track"Revolution" there is no doubt that you're witnessing the birthof a new stage in the 20th century's evolution of popular music. The spiritof Jamaica's Maroons, unconquered slaves who fled to the island's Blue Mountainson arrival, lives through Marley's seductive heartbeat paced songs thatdraw from Biblical/African sources and axioms that stretch forward for over4,000 years of human experience. Hence Marley and other Rastafarians' beliefin Ethiopia's Emperor Haille Selassie, who when crowned King of Kings in1930 became a symbol to all displaced Africans of the eventual restorationand unification of Africa. And with the Selassie's lineage directly linkedto King David, Reggae's world-wide spread, thanks to Marley, became a vehicleof expression for oppressed peoples everywhere. From Native Americans likethe Havasupi in the bottom of the Grand Canyon to remote Saharan outpostsBob Marley and his message are more known than any other music figure. Thehistoric significance and moral authority of Marley's Reggae tends to makemost rock and pop appear frivolous. After all, how are we gonna have "fun,fun, fun" now that Big Daddy took the ozone away?By 1975 Bob Marley & the revamped Wailers' stock had risen quickly duein part to the success of NATTY DREAD and a strong touring presentationthat created the first and greatest sensation abroad when Bob played London'sLyceum to turn away crowds and overwhelming media excitement in July. Toride that momentum and to capture the buzz Island rushed BOB MARLEY ANDTHE WAILERS LIVE (from the Lyceum's July 17th show) to retailers. Withthe opening "Trenchtown Rock" ("One good thing about music,when it hit's you feel no pain") taken from Bob's earlier years whenthe three Wailers worked with Lee Perry, Marley had to pull from more thanjust his one solo LP to fill up a concert so this cd includes crucial liveversions of original Wailers' classics from BURNIN "Burnin' and Lootin'","I Shot the Sheriff", and Bob's signature tune thathe co-wrote with Peter Tosh, "Get Up Stand Up" with Marley doinghis "Woy, Yoys" for the first time ever at the Lyceum. On thecd the electricity in the air is visceral.RASTAMAN VIBRATION, released in 1976 and Bob's second solo effort, becameMarley's biggest selling US LP ever, making Billboards Top Ten Album listthat summer after a publicity blitz. Marley made the cover of Rolling Stoneas the "Rasta Man with a Bullet" ironically foreshadowing theattempt on his life at his home in Kingston that December which was alsopresaged on the liner notes for RASTAMAN VIBRATION under the heading "The Blessing of Joseph" quoting Genesis where "the archers havesorely grieved him, and shot at him".From "Positive Vibration" until the final "Rat Race"the RASTAMAN VIBRATION cd sparkles with better studio techniques and importantnew members of the band like Tyron Downie on keyboards, Seeco Pattersonon percussion, Earl "Chinna" Smith and Donald Kinsey on rhythmand lead guitars. Bob uncorks two rippin' reworks of Wailers' standards"Cry To Me" and "Who The Cap Fit", designs"Roots, Rock, Reggae" for some radio play, follows up "No Woman,No Cry" with "Johnny Was", and creates 4 new standardsthat immediately became part of his touring repertoire including "Crazy Bald Head" and the massive show stopping anthem "War"with the lyrics all from Haille Sellassie's UN speech, that in part condemnedapartheid with impossible to forget lines like, "until the color ofa man's skin is of no more significance than the color of his eyes... there'llbe war." Wow.By that time Bob was so big in Jamaica that rival politicians were tryingto grant him favors and gain his support. '76 was an election year on theisland so Marley put out a local single, "Smile Jamaica" tohelp cool out the expected violence and before it was over both partiestried to co-op Bob which led to the attempt on his life December 3rd at hisnew 'uptown dread' home at 56 Hope Road.A few days later, after heroically performing at the uneasy Smile Jamaicaconcert in bandages Marley fled to England where he remained for the nextyear and a half.This is where he met Junior Marvin and recorded two LPs that sound absolutelygorgeous on cd, EXODUS and KAYA. though both were recorded at the same time.EXODUS was issued in '77, about a year before KAYA . EXODUS' movement of JahPeople, as the title intimates, marked another turning point in Marley'scareer. Obviously his escape from death and Jamaica had deeply affectedhim. Now he was the Proverbial Bob Marley, the Joseph here to shepherd theflock, the Moses to lead the chosen out of Babylon, so on EXODUSthe first five tracks all relate to those themes and the assassinationattempt. On cd the 30 second opening fade-in on the albums' opener"Natural Mystic " is even more ominous as it emerges clean from totalsilence with Marley singing "things are not the way they used to be". "So Much Things to Say" refers to the ridiculous rumorsviciously spread about motives behind the shooting. "Guiltiness"lets Marley point the finger . "The Heathen" gets the rod of correctionand "Exodus", which got some decent air-play in '77's disco era,finds Marley warning that Jah (God) is coming to "break down downpression,rule equality, wipe away transgression, and set the captives free."The five final cuts include four all-time classics, "Jammin'","One Love","Three Little Birds " and one of the greatestlove songs ever written, "Waiting In Vain". The sweetness ofthese shimmer bright from the UK studio on cd and set the stage for KAYA'smellower tone.KAYA is the biggest surprise of the cd digital dread Marley. Widely underratedin 1978, on compact disc KAYA packs a wallop. The richness of tunes like"Is This Love" (the most widely covered Marley song ever), "Sun is Shining", which along with KAYA and "SatisfyMy Soul" are old Wailers' gems redreaded. "Misty Morning","She's Gone", "Running Away" and others cannot be deniedin the big broad reproduction stylee.Marley returned to Kingston in April '78 to headline the One Love PeaceConcert where he joined together the rival politicians on stage with theghetto ganglords in a show of unity for which Bob was eventually awardeda UN Peace Medal. He also began to attract stadiums size crowds and an amazingdouble record set of live shows taped in Paris, Copenhagen and London BABYLONBY BUS sent Rolling Stone into a frenzy calling the LPs the "greatestlive rock and roll album ever made" and the "ultimate party record." Island has squeezed the 70 minutes plus Marley live onto one monstercd that plays straight through so you are really at an actual concert. Jahsome!Back at 56 Hope Road. Marley's Tuff Gong studios were upgraded where Bobcooked up his finest and last two albums as the 70's drew to a close. '79'sSURVIVAL and the '80's UPRISING are full strength Bob, recordedat the highest quality at his peak even at a time when he was painfullyaware of his own mortality. Comfortable with a world class studio in thevery house where he'd been shot and still slept, Marley set about to create, first SURVIVAL, a ten chapter scroll pleading for a United Africa. Oncd "Ambush In the Night", a stark reference to guess what, leadsdirectly into "So Much Trouble In the World" literally keepingthe record on track unlike the vinyl version. The opening "Wake Upand Live" keeps up the long time upfull themes of "Lively UpYourself", "Get Up Stand Up", "Stir It Up"and "Mix Up" - always UP! Were talking SURVIVAL! Hear "Zimbabwe". It so inspired the Freedom Fighters there that when Rhodesia becameZimbabwe in 1980 they invited Bob to play at the ceremony where Prince Charlestook down the Union Jack. Check "Babylon System", a subtleballad that stems with indignation and brutal truth. On cd, it nearly implodeswith impugned integrity.When I first heard Bob was terminally ill I immediately listened to UPRISINGon headphones. It had been out for a couple months. By the closing notesI was in tears. The rumors were true. Nearly every track alluded to it.Listening to the cds is a bit like having on headphones in the open air.UPRISING's sessions must have been phenomenal. Many great(and uncredited) reggae artists came in and sang along. Bob at leastsuspected this may be his final work. The sense of urgency and yet easinesspresent here is unique for Marley. UPRISING begins with "Coming InFrom The Cold" and ends in the mind blowing, only Marley folk tune"Redemption Song" with Bob on the cover being reborn from theearth, dreads firmly rooting about to break free for the ultimate liberation.LEGEND is the primer as far as the Marley cd compilations. REBEL MUSIC is the first testament with a couple remixes of Bob's consciouscatalog including the rare, killer "Roots". CONFRONTATION ismore of a reconstituted Marley album taken from an amazingly large collectionof unreleased tapes and Jamaican singles. A couple of all dub cd's couldbe winners too. Imagine. SUNS ARE SHINING - To The Rescue - DJ DOUG WENDT - Bob Marley, The Wailers, Dubologists Galore by Doug Wendt on Mixcloud




Bob Marley Jammin Instrumental Original

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