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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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Rastaman Vibration [Bonus Track] [Remaster] by Bob Marley & the Wailers (CD - 06/12/2001)
 

Rastaman Vibration [Bonus Track] [Remast...

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Rastaman Vibration [Bonus Track] [Remaster] by Bob Marley & the Wailers (CD - 06/12/2001)
"Rastaman Vibration [Bonus Track] [Remaster]" (06/12/2001) Reggae Marley, Bob, IslandBob Marley & The Wailers: Bob Marley (vocals, acoustic & electric guitars, percussion); Aston "Family Man" Barrett (guitar, bass, percussion); Earl "Chinna" Smith (guitar, percussion); Al Anderson, Donald Kinsey (guitar); Tyrone Downie (keyboards, bass, percussion, background vocals); Carlton Barrett (drums, percussion); Alvin "Seeco" Patterson (percussion). Additional personnel: The I Threes (background vocals). Reissue producers: Bill Levenson, Maxine Stone. Recorded at Harry J Studios and Joe Gibbs Studio, Kingston, Jamaica. Originally released on Island (59383). All tracks have been digitally remastered. Personnel: Bob Marley (vocals, acoustic guitar, percussion); Aston Barrett (guitar, electric bass, percussion); Earl "Chinna" Smith (guitar, percussion); Donald Kinsey, Al Yasha Anderson (guitar); Tyrone Downie (keyboards, percussion, background vocals); Carlton "Carlie" Barrett (drums, percussion); Alvin "Seeco" Patterson (percussion); I-Threes (background vocals). Audio Mixer: Aston Barrett. Recording information: Harry J Studios (1975-1976); Harry J. Studios (1975-1976); Joe Gibbs Studio, Kingston, Jamaica (1975-1976); Joe Gibbs Studios, Kingston, Jamaica (1975-1976). Photographer: Neville Garrick. RASTAMAN VIBRATION's burlap-esque jacket design couldn't be more appropriate packaging-this is a load of Natty knowledge delivered in simple, raw fashion. And there's a real beauty in the weave. This 1976 release finds Bob dropping ever more lyrics on human entanglements both local and global, his transcendent voice threading wisdom through it all. "Positive Vibration" and "Roots, Rock, Reggae" are anthemic in character, inviting all listeners to quit their negativity and start a-dancin'. "Want More" is a promise of bad karma for back-biters everywhere, leadened fearfully by solemn bass lines and seamless production. Perhaps most compelling here is "War," a musical setting of a 1968 speech on global justice by the Emperor Haile Selassie I of Ethiopia. Bob's echoing fade with the words, "Good Over Evil" is positively haunting. While Peter Tosh's voice is absent, the classic exchange between Marley and the I-Threes (backing vocal divas, for those not in the know) shines all the more brightly in the spotlight. Funky organs are everywhere. Every track on RASTAMAN VIBRATION is an excellent piece of vintage roots reggae, proving just how powerful and tight Bob's studio sessions could be. For Bob Marley, 1975 was a triumphant year. The singer's Natty Dread album featured one of his strongest batches of original material (the first compiled after the departure of Peter Tosh and Bunny Wailer) and delivered Top 40 hit "No Woman No Cry." The follow-up Live set, a document of Marley's appearance at London's Lyceum, found the singer conquering England as well. Upon completing the tour, Marley and his band returned to Jamaica, laying down the tracks for Rastaman Vibration (1976) at legendary studios run by Harry Johnson and Joe Gibbs. At the mixing board for the sessions were Sylvan Morris and Errol Thompson, Jamaican engineers of the highest caliber. Though none of these cuts would show up on Legend, Marley's massively popular, posthumous best-of, some of the finest reality numbers would surface on the compilation's more militant equivalent, 1986's Rebel Music set. "War," for one, remains one of the most stunning statements of the singer's career. Though it is essentially a straight reading of one of Haile Selassie's speeches, Marley phrases the text exquisitely to fit a musical setting, a quiet intensity lying just below the surface. Equally strong are the likes of "Rat Race," "Crazy Baldhead," and "Want More." These songs are tempered by buoyant, lighthearted material like "Cry to Me," "Night Shift," and "Positive Vibration." Not quite as strong as some of the love songs Marley would score hits with on subsequent albums, "Cry to Me" still seems like an obvious choice for a single and remains underrated. Though record buyers may not have found any single song to be as strong on those terms as "No Woman No Cry," Rastaman Vibration s

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Muzik City: The Story of Trojan [Box] by Various Artists (CD - 11/04/2003)
 

Muzik City: The Story of Trojan [Box] by...

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Muzik City: The Story of Trojan [Box] by Various Artists (CD - 11/04/2003)
"Muzik City: The Story of Trojan [Box]" (11/04/2003) Reggae Various Artists, Trojan (Cityhall)More of a history lesson than a good listen in total, Muzik City is the story of Trojan, warts and all. Those looking for a good selection of the reggae label's best moments have plenty of other choices and might want to start with the great Tighten Up collections or wait for the 50th release in Trojan's three-CD series (a greatest-hits box to be compiled by votes from fans and due in 2004). Anyone who is a die-hard Trojan enthusiast will find plenty of surprises, secrets, and a really well done booklet to paw through. The first two discs of Muzik City are truly some of the greatest moments in rocksteady and roots reggae. But just like a two-CD Motown collection, this is really just the tip of the iceberg and John Holt, Lee "Scratch" Perry, Big Youth, and others have many more great moments to investigate. If all four CDs had focused on the hits and highlights this would truly be the box to own, but the third CD is hardly meant for repeat listening. Many of the disc's "Rarities & Oddities" are downright embarrassing (which the always honest liner notes are happy to point out). Trojan's forays into the worlds of calypso, novelty, and pop music were horribly misguided, and disc three is full of them (including a horrific reggae and yodeling matchup). Hard to imagine laughing at the stately Trojan label, but once that's over it's on to disc four's treasure chest of rarities. The hardcore should rightfully drool over the Jah Woosh and Keith Hudson team-up, a dank dub from Thunder, and an I-Roy/John Holt dubplate that includes a bit of studio banter. Great stuff for the serious fan, who probably own most of disc one and two ten times over. So who is this set made for? If your wallet is fat enough to forgive disc three, Muzik City is a fair introduction to the label that, along with Island, dominated reggae's early years. ~ David Jeffries

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Reggae's Best [Box]
 

Reggae's Best [Box]

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Reggae's Best [Box]
"Reggae's Best [Box]" (10/13/1998) Reggae Various Artists, M.I.L. MultimediaPerformers include: Bob Marley & The Wailers, Sly & Robbie, Dennis Brown, Gregory Isaacs, Sugar Minot, Freddie McGregor, Prince Lincoln Thompson, John Holt, The Heptones, Earl Cunningham, Don Carlos, Leroy Smart, Roots Radix, Barrington, Clint Eastwood, Dillinger, Owen Gray, Count Prince Miller, Hortense Ellis, George Faith, Cornell Campbell, Jackie Edwards, Johnny Clarke, Delroy Wilson, Derrick Morgan. Contains 60 tracks.

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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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Natty Dread [Bonus Track] [Remaster] by Bob Marley & the Wailers (CD - 06/12/2001)
 

Natty Dread [Bonus Track] [Remaster] by ...

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Natty Dread [Bonus Track] [Remaster] by Bob Marley & the Wailers (CD - 06/12/2001)
"Natty Dread [Bonus Track] [Remaster]" (06/12/2001) Reggae Marley, Bob, Island Records (USA)Bob Marley & The Wailers: Bob Marley (vocals, guitar); Al Anderson (guitar); Touter (piano, organ); Aston "Family Man" Barrett (bass); Carlton "Carly" Barrett (drums, percussion). Additional personnel includes: Rita Marley, Marcia Griffiths, Judy Mowatt (background vocals). Reissue producers: Bill Levenson, Maxine Stowe. Recorded at Harry J Studios, Kingston, Jamaica and Island Studios, Hammersmith, England. All tracks have been digitally remastered. Personnel: Bob Marley (vocals); Al Yasha Anderson (guitar); Touter (piano, organ); Aston Barrett (bass guitar); Carlton "Carlie" Barrett (drums, percussion); I-Threes (background vocals). Audio Mixer: Sidney Bucknor. Recording information: Harry J. Studios, Kingston, Jamaica; Harry Jay's Recording Studio, Kingston, Jamaica; Island Studios, Hammersmith, England. Photographers: Adrian Boot; Dennis Morris. Out on his own following the defection of Bunny Wailer and Peter Tosh, this album saw Marley utilizing the talents of the I-Threes for the first time. There was still a nod to his past in the inclusion of a cover version of a Wailers tune, "Lively Up Yourself," but elsewhere he revelled in his new found freedom, on "Revolution" and most particularly, "No Woman, No Cry," which has practically become a Jamaican national anthem since its release. If that song had an instantly universal appeal, Rasta themes were also brilliantly conveyed via "Them Belly Full (But We Hungry)" and "Rebel Music (Three O'Clock Roadblock)." Marley had announced himself as one of the greats of modern music. Natty Dread is Bob Marley's finest album, the ultimate reggae recording of all time. This was Marley's first album without former bandmates Peter Tosh and Bunny Livingston, and the first released as Bob Marley & the Wailers. The Wailers' rhythm section of bassist Aston "Family Man" Barrett and drummer Carlton "Carlie" Barrett remained in place and even contributed to the songwriting, while Marley added a female vocal trio, the I-Threes (which included his wife Rita Marley), and additional instrumentation to flesh out the sound. The material presented here defines what reggae was originally all about, with political and social commentary mixed with religious paeans to Jah. The celebratory "Lively Up Yourself" falls in the same vein as "Get Up, Stand Up" from Burnin'. "No Woman, No Cry" is one of the band's best-known ballads. "Them Belly Full (But We Hungry)" is a powerful warning that "a hungry mob is an angry mob." "Rebel Music (3 O'Clock Road Block)" and "Revolution" continue in that spirit, as Marley assumes the mantle of prophet abandoned by '60s forebears like Bob Dylan. In addition to the lyrical strengths, the music itself is full of emotion and playfulness, with the players locked into a solid groove on each number. Considering that popular rock music was entering the somnambulant disco era as Natty Dread was released, the lyrical and musical potency is especially striking. Marley was taking on discrimination, greed, poverty, and hopelessness while simultaneously rallying the troops as no other musical performer was attempting to do in the mid-'70s. [The 2001 Definitive Remasters edition also includes the track "Am-A-Do," which was recorded during the Natty Dread sessions but shelved until the 1991 compilation, Talkin' Blues. It is restored here to its proper chronological context.] ~ Jim Newsom

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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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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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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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Roots of a Legend [CD & DVD] [Slipcase] by Bob Marley (CD - 09/14/2004)
 

Roots of a Legend [CD & DVD] [Slipca...

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Roots of a Legend [CD & DVD] [Slipcase] by Bob Marley (CD - 09/14/2004)
"Roots of a Legend [CD & DVD] [Slipcase]" (09/14/2004) Reggae Marley, Bob, Trojan (Cityhall)This release includes a bonus DVD. Bob Marley: Bob Marley (vocals, guitar); Aston Barrett (bass instrument); Carlton "Carlie" Barrett (drums). Bob Marley is best known for his classic Island Records catalog, and while that material is undeniably great, there are many Marley fans and historians who feel that his finest recordings actually came earlier, when he and the Wailers were still largely a Jamaican phenomenon. Wherever one stands on that issue, the fact remains that Marley's early work, particularly the sessions with producer Lee "Scratch" Perry in 1970 and 1971, are of an uncommonly high quality. This collection combines several of the Perry tracks ("The Sun Is Shining," "Duppy Conqueror," "African Herbsman," "Mr. Brown") with those produced by Leslie Kong ("Soul Shakedown Party") and by the Wailers themselves ("Trench Town Rock," "Lively Up Yourself," both of which were originally released on the group's own Tuff Gong label), and the selections are enough to provide a brief but decent introduction to this Jamaican phase of Marley's career. There are literally hundreds of editions of this material on the market -- some legally licensed, some not -- but Roots of a Legend is at least honestly rendered, with decent packaging and sound. A bonus DVD featuring footage from Marley's 1980 tour (undertaken just 17 months before his death) in support of the Survival album is also included. ~ Steve Leggett

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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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Soul Taker by Lucky Dube (CD - 06/11/2002)
 

Soul Taker by Lucky Dube (CD - 06/11/200...

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Soul Taker by Lucky Dube (CD - 06/11/2002)
"Soul Taker" (06/11/2002) Reggae Dube, Lucky, Shanachie RecordsPersonnel includes: Lucky Dube, Khanyo Maphumulo (vocals); Isaac Toto (bass); Isaac Mnca Mtshali (drums). Personnel: Lucky Dube (keyboards); Skipper Shabalala (guitar); McCoy Mrubata (woodwinds, saxophone); Andile Nqubezelo (percussion). Recording information: Downtown Studios. Editor: Peter Pearlson. Photographer: Ignus Gerber. Arranger: Lucky Dube. To say that South African reggae superstar Lucky Dube has a distinctive sound is to put it rather kindly. To put it less kindly, he has one melody -- a big, unabashedly cathartic one -- and he's been singing it for over 15 years. Luckily, it's a very good melody, and he makes it work again and again on his tenth album, in particular on heart-tugging anthems like "Romeo," "Money Money Money," and "Good Girl." He mixes things up stylistically a bit more at the opening and close of the album, with the aggressive rock-flavored "Put a Little Love" and "Sins of the Flesh," which uses mbaqanga-derived harmonies and a funk groove to create a sound that has little, if anything, to do with reggae, but everything to do with Dube's homeland. In between are those big, cathartic pop-reggae gems and a few other noteworthy tracks, including the bluesy two-chord vamp of "Sleeping Dogs" and a snarling political putdown titled "Teach the World," whose message may be aimed at the U.S. or South Africa or maybe Colombia -- it's not really clear which. Fans know what to expect; as for those looking for an introduction to Dube's distinctive brand of Afro-reggae, this is as good a place to start as any. ~ Rick Anderson

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$11
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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$8
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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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$8
Roots Reggae (The Early Jamaican Album) [Box] by Toots & the Maytals (CD - 10/25/2005)
 

Roots Reggae (The Early Jamaican Album) ...

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Roots Reggae (The Early Jamaican Album) [Box] by Toots & the Maytals (CD - 10/25/2005)
"Roots Reggae (The Early Jamaican Album) [Box]" (10/25/2005) Reggae Toots & the Maytals, Trojan (Cityhall)Includes the complete albums THE SENSATIONAL MAYTALLS (1965), SWEET & DANDY (1969), MONKEY MAN (1970), THE MAYTALS GREATEST HITS (1971), STOOT SLATYAM (1972), ROOTS REGGAE (1974). This superb six-disc box set is the quintessential collection of early recordings by Toots & the Maytals. One of reggae's defining acts (reputedly the first to use the word, in a song entitled "Do the Reggay"), the Maytals blended rocksteady, soul, ska, and gospel into harmony-heavy, groove-saturated perfection, with a great deal of help from the killer pipes of lead vocalist Toots Hibbert. The Maytals continued to perform throughout the 1980s, 1990s, and 2000s, yet the group's most definitive music was recorded in the '60s and '70s. ROOTS REGGAE covers that material (including work recorded for legendary producer Leslie Kong), and includes classics like "54-46 That's My Number," the driving "Funky Kingston," and two gems from the film THE HARDER THEY COME: "Pressure Drop" and the percolating "Sweet and Dandy." Brilliant, buoyant, and full of life, ROOTS REGGAE is a sublime slice of classic reggae, and a sure-fire bet for any fan of the genre.

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$24
Dancehall Classics [1/25]
 

Dancehall Classics [1/25]

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$11
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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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$11
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