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Songs of Freedom [Box] by Bob Marley & the Wailers (CD - 11/16/1999)
 

Songs of Freedom [Box] by Bob Marley &am...

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Songs of Freedom [Box] by Bob Marley & the Wailers (CD - 11/16/1999)
"Songs of Freedom [Box]" (11/16/1999) Reggae Marley, Bob, Island Records (USA)Personnel includes: Bob Marley (vocals, guitar); Aston Barrett (guitar, bass); Earl "Chinna" Smith (guitar); Dean Fraser, Tommy McCook (saxophone); Rita Marley, Peter Tosh, Judy Mowatt, Marcia Griffiths (background vocals). Producers include: Leslie Kong, Clement Dodd, The Wailers, Johnny Nash, Lee "Scratch" Perry. Engineers include: Lee Perry, Carlton Lee, Alex Sadkin. Includes liner notes by Rob Partridge, Rita Marley, Derrick Morgan, John "Rabbit" Bundrick and Timothy White. During his all-too brief life, Bob Marley established himself as one of the giants of modern music; he stands on par with the likes of Miles Davis and Bob Dylan, performers who took established musical forms and revolutionized them, who continually evolved their vision throughout their careers. From his first single, the bouncy "Judge Not," through a loose, live rendition of the haunting "Redemption Song" performed at his last stage appearance, SONGS OF FREEDOM documents Bob Marley's musical legacy better than any previous compilation, and probably, better than any likely to come. Marley was at his peak at the time of his death in 1981, meaning there is no filler or weak material here, only four solid discs of great songs. His philosophical evolution is easily seen: listen to a rude-boy anthem, like the early hit "Simmer Down," next to a later exploration of Rastafarianism, such as "Crazy Baldheads," and eventual statements of pan-Africanism in songs like "Zimbabwe" and "Africa Unite." Musically, Marley's music expanded just as far. He utilizes Stylistics-like harmonies on "High Tide Or Low Tide," incorporates early-80's R&B into the sound of "Could You Be Loved," and even throws a basic blues shuffle into the alternate mix of "Three Little Birds." SONGS OF FREEDOM is exhaustive and beautifully packaged. It is loaded with previously unreleased material, songs from the Ska years, the late-60's Lee Perry productions, and all of the highlights of the Island years. There are extended versions of famous singles like "Exodus" and "Jammin'" so that we can hear dub aspects of the music that only Jamaicans and hardcore fans were previously aware of. Outside Jamaica, reggae begins and ends with Bob Marley. SONGS OF FREEDOM goes a long way to explain why.

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Uprising [Bonus Tracks] [Remaster] by Bob Marley & the Wailers (CD - 07/31/2001)
 

Uprising [Bonus Tracks] [Remaster] by Bo...

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Uprising [Bonus Tracks] [Remaster] by Bob Marley & the Wailers (CD - 07/31/2001)
"Uprising [Bonus Tracks] [Remaster]" (07/31/2001) Reggae Marley, Bob, Tuff GongBob Marley & The Wailers: Bob Marley (vocals, acoustic & electric guitars); Aston "Family Man" Barrett (guitar, piano, bass, percussion); Junior Marvin (guitar, background vocals); Tyrone Downie (keyboards, background vocals); Carlton Barrett (drums, percussion). The I Threes: Rita Marley, Marcia Griffiths, Judy Mowatt (background vocals). Producer: Bob Marley & The Wailers. Reissue producers: Bill Levenson, Maxine Stowe. Recorded at Tuff Gong Studio, Kingston, Jamaica. Originally released on Island (9596). Digitally remastered by Ted Jensen (2001, Sterling Sound, New York, New York). Personnel: Bob Marley (vocals, acoustic guitar); I-Threes (vocals); Aston Barrett (guitar, piano, percussion); Julian Marvin, Junior Marvin (guitar, background vocals); Tyrone Downie (keyboards, background vocals); Earl Lindo (keyboards); Carlton "Carlie" Barrett (drums, percussion); Alvin Patterson (percussion); Judy Mowatt, Marcia Griffiths, Rita Marley (background vocals). Audio Mixers: Chris Blackwell; Errol Brown . Recording information: Tuff Gong Studios, Kinston, Jamaica. Photographer: Adrian Boot. Bob Marley generated a staggering number of great records during his brief time in the world's spotlight. Although he cut his first recordings in the early 1960s, it was not until the 1973 release of CATCH A FIRE that Marley and the Wailers became international stars. Eight years later Marley was dead, a victim of cancer. In between, he recorded eight studio albums and several live albums, all of excellent quality. UPRISING is Marley's final album, and it's also one of his best. As on all his recordings, Marley's writing displays the gift for melody that helped non-Jamaican audiences gain access to his music even when he was singing about the details of island life and the doctrine of Rastafarianism. The most popular tracks here, "Could You Be Loved" and "Redemption Song," are pop masterpieces, but so too are lesser known tracks "Coming In From The Cold," "Pimper's Paradise," and "Bad Card." And except for "Redemption Song," a stunningly poignant protest song that features only Marley on vocal and acoustic guitar, you can dance to it. What more could you ask for? Uprising would be the final studio album featuring Bob Marley & the Wailers to be released during Marley's lifetime. Prophetically, it also contains some of the band's finest crafted material, as if they were cogent that this would be their final outing. The album's blend of religious and secular themes likewise creates a very powerful and singular quest for spirituality in a material world. Although it is argued that an album's graphic design rarely captures the essence of the work inside, the powerful rebirthing image of a rock-solid Marley emerging with his arms raised in triumph could not be a more accurate visual description of the musical jubilation within. Musically, the somewhat staid rhythms often synonymous with reggae have been completely turned around to include slinky and liquid syncopation. "Work," "Pimper's Paradise," and the leadoff track, "Coming in From the Cold," are all significant variations on the lolloping Rasta beat. The major differences are the sonic textures that manipulate and fill those patterns. The inventive and unique guitar work of Al Anderson -- the only American member of the original Wailers -- once again redefines the role of the lead electric guitar outside of its standard rock & roll setting. "Zion Train" is awash in wah-wah-driven patterns, creating an eerie, almost ethereal backdrop against Marley's lyrics, which recollect images from Peter Tosh's "Stop That Train" all the way back on Marley & the Wailers' international debut, Catch a Fire. The final track on the original pressing of Uprising is "Redemption Song." Never has an artist unknowingly written such a beautiful and apropos living epitaph. The stark contrast from the decidedly electric and group-oriented album to this hauntingly beautiful solo acoustic composition is as dramatic as it is visionary. Less than a year after the release of Uprising, Marley would succumb to cancer. The 2

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Dancehall Classics II [5/2]
 

Dancehall Classics II [5/2]

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Dancehall Classics II [5/2]
"Dancehall Classics, Vol. 2 [Sequence] [PA]" (05/02/2006) Reggae Various Artists, SequencePhotographer: Chad Hogan.

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Dancehall Hits
 

Dancehall Hits

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Dancehall Hits
"Dancehall Hits [Rhythm Club]" (02/08/2005) Reggae Various Artists, Rhythm Club RecordsPerformers include Sean Paul, Elephant Man, Beenie Man, Lady Saw, Sizzla. Audio Mixer: Phillip Smart. Photographer: Frank Otten.

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J.M.T. [11/15] *
 

J.M.T. [11/15] *

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J.M.T. [11/15] *
"J.M.T. [PA]" (02/28/2006) Reggae Vybz Kartel, Greensleeves RecordsThe preeminent Jamaican DJ, Vybz Kartel rocks 20 more rhythms on his third album covering dancehall's holy trinity of guns, girls, and ganja. To the initiated, these clich?s may sound tired but Vybz Kartel bring the same intensity to J.M.T. that he brought to Timeless and Up 2 Di Time, and creates another set of raw dancehall tunes. The leadoff track "U Nuh Have a Phone (Hello Moto)" is a quirky dis about mobile communications and has that wonderful Jamaican sense of humor that is often so foreign to the American listener. Vybz Kartel runs through some of the bigger rhythms of 2005 with funny and intelligent musings on all too common themes. He continues to murder rhythms without a thought about crossing over, but when you rule the Jamaican dancehall why would you bother? He brings his usual gang to guest on the album with Bounty Killer, Wayne Marshall, Don Corleon, Baby G, Delicious and Barrington Levy on five of the 20 tracks. Vybz Kartel continues to churn out huge singles in Jamaica and its good to see some of them collected in one place. ~ Matt Whalley

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Reggae Lasting Love Songs, Vol. 5 by Various Artists (CD - 04/04/2006)
 

Reggae Lasting Love Songs, Vol. 5 by Var...

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Reggae Lasting Love Songs, Vol. 5 by Various Artists (CD - 04/04/2006)
"Reggae Lasting Love Songs, Vol. 5" (04/04/2006) Reggae Various Artists, VP Records

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Catch A Fire [Remaster]
 

Catch A Fire [Remaster]

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Catch A Fire [Remaster]
"Catch a Fire [Bonus Tracks] [Remaster]" (06/12/2001) Reggae Marley, Bob, Island Records (USA)Bob Marley/Bob Marley & the Wailers: Bob Marley; Aston Barrett (bass instrument); Peter McIntosh, Bunny Livingston (background vocals); Carlton "Carlie" Barrett. Personnel: Bob Marley (vocals, acoustic guitar); Peter McIntosh (vocals, guitar, piano, organ); Bunny Livingston (vocals, congas, bongos); Wayne Perkins (guitar); John "Rabbit" Bundrick (Clavinet, organ, synthesizer); Tyrone Downie (organ); Aston Barrett (bass guitar); Carlton "Carlie" Barrett (drums); Winston Wright, Chris Karan (percussion); Marcia Griffiths, Rita Marley (background vocals). Additional personnel: Robbie Shakespeare (bass instrument); Francisco Willie Pep (percussion); John "Rabbit" Bundrick, Marcia Griffiths, Rita Marley, Tyrone Downie, Wayne Perkins, Winston Wright, Chris Karan. Recording information: Dynamic Sound Studios, Kingston, Kingston, Jamaica; Harry Jay's Recording Studio, Kingston, Jamaica; Island Studios, London, England; Randy's Studio 17, Kingston, Jamacia; Randy's Studio 17, Kingston, Jamaica. Photographers: Adrian Boot; Arthur Gorson. Arranger: Bob Marley. It is nearly impossible to imagine a time when reggae was not part of the cultural currency. Though Bob Marley and the Wailers cannot be said to have invented the style, they certainly brought it to the world stage, and this album was the torch that lit the way. CATCH A FIRE hit with the force of a revelation when it was released in 1973, and though Chris Blackwell tailored its sound with a rock audience in mind, the album was still unlike anything that had ever come down the pike. Ironically, even given its relatively full production and electric guitar solos, CATCH A FIRE sounds more organic and rootsy than any of the Wailers' subsequent releases. While the percolating rhythms and burbling bass lines of the Barrett brothers, and the sweet, impeccable harmonies of Peter Tosh and Bunny Wailer soothe and move, CATCH A FIRE also introduces the conscious, politically minded themes that would remain at the center of Marley's songwriting for the rest of his career. "Concrete Jungle," one of the towering standout tracks, addresses the trap of inner cities, while "Slave Driver" and "400 Years" take on racial/historical issues. Yet Marley's penchant for gorgeous love songs is evident here too on his all-time classic "Stir It Up." Even after everything that followed, and the cult of idolatry that formed around Marley, this remains soulful, message-driven music that goes straight to the blood. Utterly essential. For a majority of the world, Catch a Fire was not only the introduction to Bob Marley & the Wailers, but to reggae as well. The intimate and organic nature of the band's compositions coupled with its trademark mantra-like rhythms attracted the attention of producer and musical entrepreneur Chris Blackwell. So smitten was Blackwell that he commissioned the band to record for his primarily rock-oriented Island Records label. Although greatly encouraged by the Wailers' efforts, Blackwell was likewise cognizant of creating a fuller and more polished effort aimed specifically for the ears of the burgeoning "album rock" consumer. His idea was to "flesh out" the sonic atmosphere that supported and drove Marley and company's otherwise stark and unadorned folk songs. With the blessings of Marley and under the direction of Blackwell, sporadic instrumental augmentations were made, featuring Wayne Perkins (guitar), John "Rabbit" Bundrick (keyboards), Robbie Shakespeare (bass), and Tyrone Downie (organ). Although Catch a Fire was their international debut, Marley and fellow Wailer Peter Tosh used the medium to conjure and translate universal themes of love ("High Tide or Low Tide") and hope ("Stir It Up"), as well as the pain ("400 Years") and fear ("Slave Driver") of not only Jamaicans, but all humanity. Like Bob Dylan and John Lennon before him, Marley could project not only for his people and time, but also for those who would come before and after. The 2001 remastered version also comes with two bonus tracks that were not issued on the original LP, "High Tide or Low Tide" and "All Day A

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Welcome to Jamrock [PA] by Damian "Junior Gong" Marley (CD - 09/13/2005)
 

Welcome to Jamrock [PA] by Damian "...

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Welcome to Jamrock [PA] by Damian "Junior Gong" Marley (CD - 09/13/2005)
"Welcome to Jamrock [PA]" (09/13/2005) Reggae Marley, Damian, Tuff GongPersonnel: Damian "Junior Gong" Marley (programming); Dan Warner (guitar); Stephen Marley (keyboards); Shiah Coore, Paul Fakhourie (bass guitar); Jazzwad, Craig "Niteman" Taylor, Willburn "Squidley" Cole (drums); Eek-A-Mouse, Nas, Black Thought, Bobby Brown , Rovleta Fraser, Sean Diedrick, Owen "Dready" Reid, Noel Davey, Bounty Killer. The huge success of "Welcome to Jamrock," released as a single early in the summer of 2005, raised expectations for Damien Marley's same-titled full-length. Fortunately, everything--from the progressive blend of reggae, hip-hop, trip-hop, pop, and roots within, to the crisp production from brother Stephen Marley--lives up to the hype. While it would be an easy commercial move for Damien to replicate the positive roots vibe of his father's reggae, he instead builds on the consciousness of that music and updates the sound for the 21st century. Tinged with overtones of dancehall ("Khaki Suit") and urban contemporary R&B (the silky smooth "Beautiful," which features a cameo from Bobby Brown), WELCOME TO JAMROCK is a melting pot of an album, one as well suited to the streets of Brooklyn as the neighborhoods of Kingston. The cover image--which depicts Marley in militaristic garb surrounded by corrugated metal fences--indicates that Marley means business, a fact confirmed by this fresh, edgy music.

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Ultimate Collection by Madness (CD - 11/14/2000)
 

Ultimate Collection by Madness (CD - 11/...

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Ultimate Collection by Madness (CD - 11/14/2000)
"Ultimate Collection" (11/14/2000) Reggae Madness, Hip-O RecordsMadness: Graham McPherson (vocals); Chris Foreman (guitar); Lee Thompson (tenor & baritone saxophones, background vocals); Cathal Smyth (horns, background vocals); Mike Barson (keyboards); Mark Bedford (bass); Dan Woodgate (drums, percussion). Additional personnel: Creighton Steel Sounds, The Pentecostal First Born Church Of The Living God. Compilation producer: Dana G. Smart. Recorded between 1979 and 1985. Includes liner notes by Sara Cody. Digitally remastered by Jim Phillips (Universal Mastering). Inevitably, if one calls one's compilation Ultimate Collection, you're going to have some smug journalist replying, "Ultimate collection? I think not." Then again, Madness chalked up quite an impressive list of hits, and even at a generous 19 tracks, this album couldn't fit them all. So then it's down to choices. Chart placement obviously wasn't a factor, or "Driving in My Car," a British Top Five, would be here and "Yesterday's Men," a lowly number 18, wouldn't, while A- sides would not have been supplanted by their flips. Sometimes listeners get both, as with "Tomorrow's (Just Another Day)" and its B-side "Madness (Is All in the Mind)." But best of all, we're offered the original 45 take, not the album versions later most fans are now familiar with. Thus their debut single "The Prince" comes in its singular robes, not its album garb, as does its flip "Madness." August 1985's "Yesterday's Men" is the latest release of the lot, although the group knocked out three more singles before splitting. Inevitably, though, the tracks are not in chronological order, but since the earliest songs are wisely placed at the beginning, this doesn't particularly irritate. Helpfully, the track listing provides both release dates and UK chart placements, part of a copious booklet which includes a well-researched biography and photographs that complete the sumptuous packaging. The true ultimate collection is the box set that gathers up all the group's A- and B-sides, plus a bumper crop of rarities, but if that's just too much Madness, this will probably suit better. ~ Jo-Ann Greene

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Putumayo Presents: World Reggae [Digipak] by Various Artists (CD - 02/24/2004)
 

Putumayo Presents: World Reggae [Digipak...

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Putumayo Presents: World Reggae [Digipak] by Various Artists (CD - 02/24/2004)
"Putumayo Presents: World Reggae [Digipak]" (02/24/2004) Reggae Various Artists, PutumayoLiner Note Author: Jacob Edgar. Illustrator: Nicola Heindl. Photographers: Susan Bulkin; Bob Gruen; Eric Aubry; Bobby Holland. Reggae's infectious and adaptable one-drop shuffle rhythm, coupled with the music's tendency to deal with social and political issues, has made it a popular genre for musicians worldwide, and when combined with pop and hip-hop elements, has made for some fascinating hybrids. This Putumayo collection reflects both the diversity and the unified cohesiveness of these reggae-based forms, and makes a fascinating introduction to reggae in the 21st century. The disc opens with the bright-sounding "Pas de Problemes" by the French group Kana, which features some solid and efficient Jamaican-inspired horn work. Nigeria's Majek Fashek drops bits of highlife into the reggae stew with the Bob Marley-like "African Unity," while the French group Gnawa Diffusion fuses rap, rai, reggae, jazz, and funk into a patchwork quilt version of "Ya Laymi." The Welsh/Spanish conglomeration known as Mas y Mas adds a dose of Celtic fiddles to the mix on "Agua." French Guiana's Chris Combette (who sings "it's a rastaphobe world" in his selection, "Babylone Buildings") draws on East Indian elements, including an impressive sitar break, played here by Mungel Patasar. Perhaps the biggest name on this compilation, the Ivory Coast's Alpha Blondy, sings "Lalogo" in the Bambara language, a track that was recorded at the legendary Tuff Gong studio in Jamaica. As a sampler of the ever evolving international reggae community, World Reggae opens a wide window into some fascinating new music. ~ Steve Leggett

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Live: The Ultimate Vintage Jamaican Party Mix, Pt. 1 by Fab Five (CD - 05/23/2005)
 

Live: The Ultimate Vintage Jamaican Part...

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Live: The Ultimate Vintage Jamaican Party Mix, Pt. 1 by Fab Five (CD - 05/23/2005)
"Live: The Ultimate Vintage Jamaican Party Mix, Pt. 1" (05/23/2005) Reggae Fab Five, VP RecordsIncludes liner notes by A. Charles. The Live Party Mix series features VP recording group the Fab 5 performing a variety of songs in a live setting for an audience. Many of the songs performed are popular covers, which makes the albums great party music. Even casual reggae listeners will recognize some of the performed music. ~ Jason Birchmeier

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Dancehall Classics [1/25]
 

Dancehall Classics [1/25]

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Dancehall Classics [1/25]
"Dancehall Classics [Sequence]" (01/25/2005) Reggae Various Artists, SequenceThis is a continuous in-the-mix CD compiled and mixed by Max Glazer. Recording information: Mixing Lab, Kingston, Jamaica.

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2 the Max by Maxi Priest (CD - 04/26/2005)
 

2 the Max by Maxi Priest (CD - 04/26/200...

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2 the Max by Maxi Priest (CD - 04/26/2005)
"2 the Max" (04/26/2005) Reggae Priest, Maxi, EMI Music Distribution

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Trojan Ganja [Box]
 

Trojan Ganja [Box]

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Trojan Ganja [Box]
"Trojan Box Set: Ganja Reggae [Box]" (08/19/2003) Reggae Various Artists, Sanctuary (USA)Includes liner notes by Stephen Nye. Liner Note Author: Michael DeKoningh. Jamaica has been called the loudest island in the world, and given its size (some 4,000 square miles), it undoubtedly releases more records per square foot than any other place on the planet, and with the possible exception of Trinidad, no country has a more political pop music. While railing against Babylon remains a continued concern, Jamaican musicians have also turned their dizzying array of styles, versions, toasts, and dubs to more secular subjects, including hundreds of paeans to ganja. British label Trojan Records licensed Jamaican records for distribution during the 1970s and 1980s, and has raided the vaults for numerous reissues over the years, leading to this three-disc box set of hymns to herbal conditioning. Spanning late ska, classic roots reggae, DJ toasts, and early dancehall, Ganja Reggae boasts 50 tracks of smokin' classics. Included are Glen Browne's recipe for disaster "Collie and Wine," Clancy Eccles' hopeful "Ganja Free," and Neville Brown's defiant "Babylon Don't Touch My Sensi." Lee "Scratch" Perry's production of "Kaya" by Bob Marley & the Wailers is here, along with the dub version, and a credible cover of the song by Ronnie Davis. Another Perry production, Bunny and Ricky's spooky "Bush Weed Corntrash," is an obvious highlight. The various Trojan box sets always yield treasures, and this one is no exception. Pound for pound, it is the best ganja set out there. ~ Steve Leggett

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Dub Side of the Moon by Easy Star All-Stars (CD - 05/24/2005)
 

Dub Side of the Moon by Easy Star All-St...

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Dub Side of the Moon by Easy Star All-Stars (CD - 05/24/2005)
"Dub Side of the Moon" (05/24/2005) Reggae Easy Star All-Stars, Easy Star RecordsEasy Star All Stars: Corey Harris, Frankie Paul, Gary "Nesta" Pine, Dr. Israel, Ranking Joe (vocals); Michael Goldwasser (guitar); Victor Axelrod (melodica, piano, electric piano, Clavinet, synthesizer, percussion); Victor Rice (electric bass, upright bass); Patrick Dougher (drums). Additional personnel: Jenny Hill (saxophone); Michael Wagner (trombone); Wayne Wiggum (electric bass); Eddie Ocampo, Larry McDonald (percussion); Tamar-Kali (background vocals). Recorded at Noise NY, Mount Vernon, New York; Mike Stand Killer Studios, Funky Slip Studios and Zion Studios Brooklyn, New York; 401 Studios and Hot Sound, New York, New York. Includes liner notes by Lem Oppenheimer. The pun in the title gives the album's conceit away: This is, in fact, a dub-influenced take on Pink Floyd's classic DARK SIDE OF THE MOON. But while the idea may be groan-inducing, the results are actually quite appealing. All-Star founders Michael G. and Ticklah recruit a handful of guests, including Corey Harris, the Meditations, and Frankie Paul, among others, to turn Floyd's spacey, art-rock epic into a heavy-lidded roots excursion, incorporating rap, dancehall, IDM, and jungle rhythms. The deeply ingrained familiarity of the original creates a fine palette for the All-Stars' Jamaican coloring, resulting in a surprisingly successful synthesis.

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Riddim Driven: R&B Hits Reggae Style Vol. 2
 

Riddim Driven: R&B Hits Reggae Style...

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Riddim Driven: R&B Hits Reggae Style Vol. 2
"R&B Hits Reggae Style, Vol. 2" (05/23/2005) Reggae Various Artists, VP RecordsPhotographer: Paul Neil. This collection features several Jamaican vocalists taking a shot at redefining American R&B in an island context. Sanchez leads things off with an easy, bubbling version of Luther Vandross' "Superstar" that is easily the most interesting track here, although Glen Washington's take on Luther Ingram's "(If Loving You Is Wrong) I Don't Want to Be Right" and J.D. Smooth's bright run-through of Al Green's "Let's Stay Together" are also both memorable. The rhythms are on the safe side, and nothing here is too jarring, making for a pleasant listen, but one wishes for a little bit of that intangible edginess that characterizes the best Jamaican music. ~ Steve Leggett

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Kaya [Bonus Tracks] [Remaster] by Bob Marley/Bob Marley & the Wailers (CD - 07/31/2001)
 

Kaya [Bonus Tracks] [Remaster] by Bob Ma...

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Kaya [Bonus Tracks] [Remaster] by Bob Marley/Bob Marley & the Wailers (CD - 07/31/2001)
"Kaya [Bonus Tracks] [Remaster]" (07/31/2001) Reggae Marley, Bob, Tuff GongBob Marley & The Wailers: Bob Marley (vocals, acoustic & electric guitars, percussion); Julian "Junior" Marvin (guitar); Tyrone Downie (keyboards, percussion); Aston "Family Man" Barrett (bass, percussion); Carlton Barrett (drums, percussion); Alvin "Seeco" Patterson (percussion). The I Threes: Rita Marley, Marcia Griffiths, Judy Mowatt (background vocals). Additional personnel: Vin Gordon (saxophone); Glen Da Costa, David Madden (trumpet). Producer: Bob Marley & The Wailers. Reissue producers: Bill Levenson, Maxine Stowe. Originally released on Island (9517). Digitally remastered by Ted Jensen (2001, Sterling Sound, New York, New York) Personnel: Bob Marley (vocals, percussion); Vin Gordon (saxophone); David Madden, Glen DaCosta (trumpet); Tyrone Downie (keyboards, percussion); Aston Barrett (bass guitar, percussion); Carlton "Carlie" Barrett (drums, percussion); Alvin "Seeco" Patterson (percussion); Judy Mowatt, Marcia Griffiths, Rita Marley (background vocals). Audio Mixer: Robert Ash. Photographer: Dennis Morris. Marley is in a mellow and happy mood as the album opens with "excuse me while I light my spliff" on "Easy Skanking" and maintains the feeling throughout. "Kaya" has one of the best bass riffs of any Marley song (played by the wonderful Aston "Family Man" Barrett). The hit single "Is This Love" is included and he sounds upbeat singing "She's Gone," although the subject is that his lover has just left him. Nothing fazed him; he was able to address political and emotional subjects with the same degree of feeling and his manner was truly saintly. KAYA is one of his finest moments. Kaya continues what has become an unspoken tradition in the evolution of Bob Marley & the Wailers' discography -- blending Western sounds and motifs with the icons and traditions from the very core of Jamaican society. In fact, the very word "kaya" is synonymous with marijuana in Rastafarian culture. Likewise, the album Kaya could be easily construed as an open love letter or musical paean to the lifestyle that Marley so eagerly embraced and promoted. Themes of commonality and unity pervade this release more so than previous albums. Likewise, the overt political stances that had become somewhat of a moniker for Marley & the Wailers are temporarily replaced by timeless compositions, such as the eternally optimistic "Easy Skanking" and "Is This Love." Marley had not -- as some proclaimed -- gone soft, however. The light -- at times practically giddy -- rhythms on "Satisfy My Soul" contrast the darker, brooding sonic and lyrical images on "Running Away." The most pressing issues Marley deals with involve ever-increasing spiritual consciousness. Throughout Kaya, humble thanks is offered to, as well as guidance sought from, Jah -- evidence that the spirituality that permeates the Wailers' music is real and not lip service. Kaya could be considered the oasis before the political and personal eruptions that would inform and influence Marley & the Wailers' next studio releases, Survival and Uprising. The 2001 Definitive Remasters edition of Kaya also includes the non-LP "Smile Jamaica." Although initially issued as the flip side of "Satisfy My Soul," the song was recorded more than a year prior to this album, resulting in a somewhat odd juxtaposition. ~ Lindsay Planer

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Have a Nice Week End by Beres Hammond (CD - 05/23/2005)
 

Have a Nice Week End by Beres Hammond (C...

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Have a Nice Week End by Beres Hammond (CD - 05/23/2005)
"Have a Nice Week End" (05/23/2005) Reggae Hammond, Beres, VP RecordsPersonnel: Beres Hammond (vocals). Recording information: HC&F Recording Studio, NY; Hollywood SYNC Recording Studio, Miami, FL.

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Reggae Music calling your name? Find all of the top Music gear that you want at BizRate. Compare prices from top brands like as well as . Browse ratings from merchants that sell Reggae Music and other Music. Narrow your choices down by price range, brand, merchant, and more. Find the product that's right for you: Songs of Freedom [Box] by Bob Marley & the Wailers (CD - 11/16/1999) - Uprising [Bonus Tracks] [Remaster] by Bob Marley & the Wailers (CD - 07/31/2001).