Reggae Music

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"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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"Reggae Christmas: 21 Christmas Classics" (09/01/2003) Reggae Various Artists, Sanctuary (USA)Performers include: Desmond Dekker, John Holt, Alton Ellis, Rupie Edwards, The Ethiopians, Johnny Clarke. Contains 21 tracks. A surprisingly successful -- and fun -- collection, Reggae Christmas: 21 Christmas Classics presents traditional holiday favorites and original Christmas songs performed in rocksteady and other old-school reggae styles. The bouncy melodies of "Drummer Boy," "Jingle Bells," "I Saw Mommy Kissing Santa Claus," and "Santa Claus Is Ska-ing to Town" make them fit naturally into a reggae rhythm, but "White Christmas"' transformation from a poignant holiday standard into a reggae-pop confection is just as entertaining, and arguably more impressive. The Aggrovators' "Santa Claus Dub," the Gaylads' "We Three Kings," and the Ethiopians' "Ding Dong Bell" are some of the album's other highlights; tracks from the Kingstonians, Desmond Dekker & the Aces, and the Sonny Bradshaw Seven round out this charming combination of winter traditions and summery sounds. ~ Heather Phares

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"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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"The Best of Buju Banton" (06/04/2002) Reggae Banton, Buju, Hip-O RecordsPersonnel includes: Buju Banton, Beres Hammond, Maxi Priest, Los Pericos, Ras Shiloh. Producers: Donavan Germain, Robert Livingston, Bobby "Digital" Dixon. Compilation producer: Dana G. Smart. Recorded between 1993 & 1997. Includes liner notes by Karyl Walker. Personnel: Buju Banton (vocals); Bahiano (vocals); 2 Friends Crew, Marcia Griffiths, Tony Gold, Brian Gold (background vocals). Audio Remixers: Charles "Prince Charles" Alexander ; Rob "Fonksta" Bacon. Liner Note Author: Karyl Walker. Photographers: David Katz; Adrian Boot; Al Pereira; Tim Barrow. Arranger: Los Pericos. The Best of Buju Banton provides a concise look at his dancehall and reggae work, collecting definitive tracks, duets, and remixes. Songs like "Deportees (Things Change)," "Circumstances," and "Murderer" capture the harder-hitting side of his raspy singing style, while "Destiny" reflects the lighter, romantic aspects of his music. The album features no less than three collaborations -- "Wanna Be Loved" with Los Pericos, "Heartbreak Lover" with Maxi Priest and Beres Hammond, and "Give I Strength" with Ras Shiloh -- which could be a lot for an 11-track collection, but since these songs blend in so well with the rest, it's not really noticeable. A remix of "Champion" rounds out this compilation, which isn't as in-depth as either Best of the Early Years 1990-1995 or The Ultimate Collection, but does offer a decent sampling of Banton's different styles. ~ Heather Phares

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"The Best of Studio One Collection [Box Set] [Box]" (07/18/2006) Reggae Various Artists, Rounder SelectFrom the 1950s to the '80s, Clement "Coxsone" Dodd's Studio One was the most renowned recording facility in Kingston, Jamaica, and its label issued many of the most important singles in the history of reggae and its stylistic precursors, ska and rocksteady. This excellent four-disc box set provides an impressive overview of Studio One's output, presenting a generous sampling of highly melodic and infectiously rhythmic songs by the company's stars (John Holt, Ken Boothe, the Heptones, Burning Spear, etc.), and, even more importantly, its lesser-known artists. Among the latter featured here are the Cables (the buoyant "Baby Why"), Carlton & the Shoes (the breezy "Love Me Forever"), and Sound Dimension (the horn-laden instrumental "Heavy Rock"). For those wanting to delve into reggae's past, this is an excellent point of departure.

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"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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"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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"Reggae Christmas from Studio One" (11/03/1992) Reggae Various Artists, HeartbeatPerformers include: Bob Marley & The Wailers, Alton Ellis, Heptones, Freddie McGregor. Reggae Christmas from Studio One is a rousing collection of traditional and contemporary Christmas songs done reggae-style. Tracks include "Christmas Time Is Here" by the Heptones, "Sound the Trumpet" by Bob Marley and the Wailers, "Christmas in Jamaica" by Brent Dowe, "White Christmas" by Dobby Dobson, and "Christmas Stylee" by Johnny Osbourne and the Family Group. Tennessee Brown and the Silvertones offer three cuts: "Little Drummer Boy," "Real Christmas Rock," and "Jingle Bells." A cheerful, entertaining holiday album. ~ Gina Boldman The name Reggae Christmas may sound like an oxymoron to some listeners, for quite a few reggae singers embrace the Rastafarian faith, which differs from mainstream Christianity in many respects. You won't find too many people at the Southern Baptist Convention (or a Catholic mass) claiming that Ethiopian Emperor Haile Selassie was God incarnate or that smoking marijuana is a holy sacrament. But while many reggae artists are Rastafarians, reggae is hardly off limits to orthodox Christians, Jews and Muslims. And whatever faith the artists heard on Reggae Christmas may embrace, the fact is that this is a likable Christmas album. Released in late 1991, the CD ranges from hard-edged dancehall tunes like Tiger's "Tiger Claus," Charmaine's "Christmas a Pass" and Red Fox's "Christmas Fever" to the smooth, melodic, soul-minded singing of Frankie Paul ("Gee Whiz It's Christmas"), Trevor Sparks ("Christmas Time") and Anthony Malvo ("Reggae Christmas"). The album's most humorous track is Mikey Jarrett & Mikey General's amusing "Santa Claus Is Black," which insists that St. Nick grew up in the ghetto. Not an essential release, but generally enjoyable and fun. ~ Alex Henderson

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"Live! [Bonus Track] [Remaster]" (06/12/2001) Reggae Marley, Bob, Island Records (USA)Bob Marley & The Wailers: Bob Marley (vocals, guitar); Al Anderson (guitar); Tyrone Downie (keyboards); Aston "Familyman" Barrett (bass); Crlton "Carly" Barrett (drums); Alvin "Seeco" Patterson (percussion). Additional personnel includes: Rita Marley, Judy Mowatt, Marcia Griffiths (background vocals). Reissue producer: Bill Levenson, Maxine Stowe. Recorded at The Lyceum, London, England on July 19, 1975. Originally released on Island (90032). All tracks have been digitally remastered. Personnel: Bob Marley (vocals, guitar); Al Yasha Anderson (guitar); Tyrone Downie (keyboards); Carlton "Carlie" Barrett (drums). Audio Mixer: David Harper. Recording information: Lyceum, London, England (07/19/1975). Photographers: Adrian Boot; Bob Ellis; Dennis Morris. Nobody who likes music could fail to be emotionally moved by this album, and not just because Marley is no longer with us. It was a special live treat before he died. The great thing about this record is the feeling that this is what it was like every night, unlike other live recordings which capture one or two gigs of a tour. Marley was extra special and a giant of popular music. Wallow in this vital record and listen to a man who had something to say and yet had fun while he said it. Most of the tracks you would want to be on the record are here, including the definitive version of 'No Woman No Cry' and a funky 'Lively Up Yourself'. As the title implies, this is indeed Bob Marley & the Wailers captured in performance at the Lyceum Ballroom in London during the final U.K. leg of the Natty Dread tour. Passionate and symbiotic energies constantly cycle between the band and audience, the net result of which is one of the most memorable concert recordings of the pop music era. With the addition of lead guitarist Al Anderson during the recording sessions for their previous long-player, Natty Dread, the Wailers took increasing strides toward a seamless transition into the consciousness of the rock music audience. Anderson's bluesy guitar runs liberate "Burnin' and Lootin'" as well as "Trenchtown Rock," the only new composition on Live!. Anderson bobs and weaves his supple-toned fretwork among the somewhat staid rhythms common to reggae. The mutual affinity that binds Marley with his audience is evident in the roars of approval that greet the opening notes of "Them Belly Full (But We Hungry)," "I Shot the Sheriff," and "Kinky Reggae." Likewise, "No Woman, No Cry" elicits a group singalong as the sheer volume of the audience challenges that of the amplified musicians. With this evidence, there is no denying that Bob Marley & the Wailers were becoming the unlikeliest of pop music icons. Additionally, Live! underscores the underrated talents of the Wailers as musicians. Older works such as "Burnin' and Lootin'" and "I Shot the Sheriff" benefit greatly from Tyrone Downie's keyboard punctuation and the soulful backing vocals of the I-Threes. The 2001 Definitive Remasters issue of Live! is appended with "Kinky Reggae," which was originally released as the B-side to "No Woman, No Cry." The track was taken from the same Lyceum performance in July of 1975. Likewise, Live! is the title that seems to have sonically benefited the most from the remastering work done by Ted Jensen. ~ Lindsay Planer

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"Greensleeves Rhythm Album #34: Masterpiece" (12/10/2002) Reggae Various Artists, Greensleeves RecordsAudio Mixers: Claude "Weakhand" Reynolds; Steven "Lenky" Marsden. Recording information: Area 39, Kingston, Jamaica. Dancehall producers find inspiration in just about anything. Every kind of gimmicky sound is copped and used to develop a new rhythm for Jamaica's wealth of dancehall singers to cut tracks with. As soon as these tracks are cut, Greensleeves manages to have them collected on one album for mass consumption. Often these collections hit the shelves before the singles even hit heavy rotation. With the Masterpiece riddim the producers seem to be opting for a swing motif. This motif gives the singers endless possibilities for borrowing melodies for their tracks. The most distinct tracks don't shy away from a little borrowing. Beenie Man, Wayne Marshall, and Danny English & Egg Nog all lead off with familiar melodies that fit very well with the sound that the producers are trying to create. Spragga Benz takes the borrowing of melody and lyrics into the realm of comedy when he sings, "What a girl wants." The high-pitched guitar picking makes his track a highlight despite the lyrics. The Masterpiece rhythm's drumbeat is even more house influenced than Diwali, but it is the accompanying percussion that really accents the drums and gives it the swing sound. Without a close listening, the rhythm could be easily brushed off, but after letting a few tracks click off, the strengths of the rhythm are made clear. The driving drumbeat and percussion make the Masterpiece rhythm very successful. It is only the gimmicky nature of the rhythm that takes away from the tracks. Almost all rhythms depend on some kind of gimmick to define their rhythm, but Masterpiece takes it in a direction that doesn't pay off enough. The beat is strong but the overall sound drags the songs toward a genre of novelty tracks. ~ Matt Whalley

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"Confrontation [Bonus Track] [Remaster]" (07/31/2001) Reggae Marley, Bob, IslandBob Marley & The Wailers: Bob Marley (vocals, guitar); Junior Marvin (guitar, background vocals); Tyrone Downie (keyboards, background vocals); Earl Lindo (keyboards); Aston Barrett (guitar, bass, percussion); Carlton Barrett (drums); Alvin Patterson (percussion). I Threes: Rita Marley, Marcia Griffiths, Judy Mowatt (background vocals). Additional personnel includes: Glen DaCosta (tenor saxophone); David Madden (trumpet); Nambo (trombone); Devon Evans (percussion). Producer: Bob Marley & The Wailers, Errol Brown. Reissue producers: Bill Levenson, Maxine Stowe. Recorded at Tuff Gong Studio, Kingston, Jamaica. Digitally remastered by Ted Jensen (2001, Sterling Sound, New York, New York) Personnel: Bob Marley (vocals, background vocals); Aston Barrett (guitar, percussion); Julian Marvin, Junior Marvin (guitar, background vocals); Glen DaCosta (tenor saxophone); David Madden (trumpet); Nambo (trombone); Tyrone Downie (keyboards, background vocals); Earl Lindo (keyboards); Carlton "Carlie" Barrett (drums); Devon Evans, Alvin Patterson (percussion); Judy Mowatt, Marcia Griffiths, Rita Marley, I-Threes (background vocals). Audio Mixers: Errol Brown ; Chris Blackwell; Aston Barrett. Recording information: Tuff Gong Studio, Kingston, Jamaica; Tuff Gong Studios, Kingston, Jamaica. Photographers: Lynn Goldsmith; Neville Garrick; Dennis Morris. An interesting collection of singles and posthumously archived material created in the same way as Hendrix's CRASH LANDING and The Beatles "Free as a Bird," (albeit with most of the original musicians), CONFRONTATION is more consistent than one would expect and includes at least one certified classic in "Buffalo Soldier." The record features some very tasty guitar, good vocal performances and the always rock-steady rhythm section of the Barrett brothers. While not absolutely essential, it should certainly be the next purchase for anyone who already owns all of the official Marley albums. While the disc is perhaps a little light on variety, it's still a Bob Marley album and thus as good as the best work of many other artists. Overall, CONFRONTATION is great mellow summertime listening and a worthy addition to any reggae collection. A posthumous collection produced by Rita Marley, based on work left behind by Bob upon his death. Some of his best post-Wailers work is here, with songs like "Buffalo Soldier," "Chant Down Babylon," and "Blackman Redemption." Given that he wasn't alive to do the production that he usually helped in, this album seems remarkably true to the general vision of Bob Marley's albums. Other somewhat lesser-known tracks also help to fill in all of the cracks with some remarkable material. Case in point: "Jump Nyabinghi," a nice danceable groove with perhaps less of the usual politics mixed in, but with just as much musicality. Overall, any Bob Marley fan ought to own this album. For the uninitiated, Legend is always the starting point, but, after that, this may not be such a bad choice for additions to the collection. [The 2001 reissue offers a remix of "Buffalo Soldier"] ~ Adam Greenberg

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"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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"Beat This! The Best of the Beat" (09/11/2001) Reggae The English Beat, London/SireThis is a Hyper CD, which contains regular audio tracks and also provides a link to the artist's website with the help of a web browser. English Beat: Dave Wakeling (vocals, guitar); Rankin' Roger (vocals); Andy Cox (guitar); Saxa (saxophone); Dave Steele (bass); Everett Morton (drums). Includes liner notes by Malu Halasa. All tracks have been digitally remastered. A key element of the late-1970s/early-'80s UK ska revival, the English Beat nevertheless always had more pop smarts and a wider stylistic palette than compatriots like the Specials and the Selecter. As BEAT THIS! THE BEST OF THE ENGLISH BEAT makes clear, ska wound up being just one color in the band's musical paint box. Early on, the Beat showed a knack for re-imagining '60s pop tunes in patented two-tone style (Smokey Robinson's "Tears of a Clown," Andy Williams's "Can't Get Used to Losing You"). "Click Click" reveals the influence of punk, while "Doors of Your Heart" shows the group's skill with a straight reggae groove. The Motown-flavored chug of "Sole Salvation" and the jangly pop of "Save It for Later" show how the band was maturing towards the end of their tether, Dave Wakeling's lyrics growing ever more literate and Elvis Costello-esque as the music expanded. Unfortunately, though, the Beat eventually had to die so that offshoots General Public and Fine Young Cannibals might live. Lucky for us, we have BEAT THIS! as a memento of the English Beat's glory days.

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"Very Best of Toots & the Maytals [Polygram]" (04/25/2000) Reggae Toots & the Maytals, IslandToots & The Maytals: Frederick "Toots" Hibbert (vocals); Raleigh Gordon, Jerry Mathias (background vocals). Additional personnel includes: Ernest Ranglin, Jerome "Jah Jerry" Hinds (guitar); Lester Sterling (alto saxophone); Roland Alphonso (tenor saxophone); Baba Brooks (trumpet); Don Drummond (trombone); Jackie Mittoo, Harold Butler (piano); Steve Winwood (organ); Wally Badarou (keyboards); Lloyd Brevett, Lloyd Mason, Robbie Shakespeare (bass); Lloyd Nibbs, Paul Douglas, Sly Dunbar (drums); Densil Laing (percussion). Producers include: Warrick Lynn, Chris Blackwell, Byron Lee, Prince Buster, Leslie Kong. Compilation producer: Dana G. Smart. Includes liner notes by Dana G. Smart. Recording information: Ardent Studios, Memphis, TN; Dynamic SOunds Studio, Kingston, Jamaica; Federal Studios, Kingston, Jamaica; Harry J Studio. For those who don't want or can't afford to plonk out for the Toots & the Maytals' Time Tough: The Anthology, The Very Best Of provides the perfect solution, distilling down that two-CD, 41-track set to a single 19-song disc. There are a few subtle differences, however; for starters this set boasts two different versions of the band's reggae smash "54-46, That's My Number," as well as the original ska version of their Jamaican Song Festival winner "Bam Bam," unlike the anthology, which included only a later remodel. However, the "Never You Change" found on this set is not the trio's original ska hit, but a reggae-fied remake. The rest of the album pulls directly from the anthology, with the disc divided almost evenly between the trio and a solo Hibbert's pre- and post-Island career. Thus, for those who prefer the Maytals' ska and/or reggae hits, this is not the collection for you, as there are much better compilations of those periods. But for fans looking for a larger overview of both the band and Hibbert himself, this is an excellent place to start. ~ Jo-Ann Greene

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"Trojan Box Set: The Beatles [Box]" (04/05/2005) Reggae Various Artists, Trojan (Cityhall)Hardly the most crucial entry in Trojan's ever-growing Box Set series, but Trojan Beatles Tribute contains just enough sweet soul to make it worthwhile for fanatics and more than enough kitsch and camp for the curious. Pat Kelly wrings every last bit of emotion out of "A Hard Day's Night," as does Marcia Griffiths' take on "Don't Let Me Down," but truly dedicated moments like these are few and far between. Plenty of the Fab Four's numbers get rattled off without much effort or insight, but the people at Trojan have done a good job of mixing the track list, dropping the drab numbers between the more interesting ones. The collection goes outside the proper Beatles songbook by including some solo numbers, best of which has to be Byron Lee's suitably over the top "Live and Let Die." Some thin and synthetic ragga numbers spoil the fun, save Dawn Penn's relaxed "Here Comes the Sun" and Desmond Dekker's effervescent "Blackbird." The reggae hardcore are going to cobble together a more purposeful single CD from this all, but Beatles fans with pools, hot tubs, or sunny vacation plans can let the whole breezy set play with little harshing of their mellow. ~ David Jeffries The Beatles wrote songs that were not only seemingly instant classics blessed with sturdy and often breathtakingly beautiful melodies, but that were also remarkably flexible vehicles for musical exploration, and have been covered in all manner of styles. Since the musicians of Jamaica have never met a tune that they couldn't tip over into one reggae phase or another, it's not really a surprise that there are enough Beatles covers from the island to easily fill this three-disc, 50-track collection. It's a fun listen, with lots of surprising little versions, including Willie Lindo's jazzy lounge take on "Norwegian Wood," Ernest Ranglin's graceful and spirited guitar instrumental version of "You Won't See Me," the Paragons' vocal harmony-drenched "Blackbird," Toots Hibbert of the Maytals turning "Give Peace a Chance" into a full-tilt island revival meeting and a delightfully casual dub instrumental rendering of "In My Life" by the Pioneer All-Stars which manages to somehow convert the reflective resignation of John Lennon's original into a thing of joyous hope. In the end, what impresses with this set are the gazillion different ways one can approach a song by the Beatles, and also the manner in which reggae works like a giant rhythmic sponge to bring everything under its umbrella, even the Fab Four. ~ Steve Leggett

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"Burnin' [Bonus Tracks] [Remaster]" (06/12/2001) Reggae Marley, Bob, Island Records (USA)Bob Marley & the Wailers: Bob Marley; Aston Barrett (bass instrument); Alvin "Seeco" Patterson (percussion); Peter Tosh, Bunny Wailer (background vocals); Earl Lindo, Carlton "Carlie" Barrett. Personnel: Bob Marley (vocals, guitar, background vocals); Peter Tosh (vocals, guitar, piano, organ); Bunny Wailer (vocals, congas, bongos); Aston Barrett (guitar, bass guitar); Earl Lindo (keyboards); Carlton "Carlie" Barrett (drums); Alvin Patterson (percussion). Audio Mixers: Phill Brown; Tony Platt. Recording information: Harry J. Studios, Kingston, Jamaica. Photographer: Eddie "Rochester" Anderson. Unknown Contributor Role: Bunny Livingston. Arranger: Bob Marley. Released just six months after CATCH A FIRE, BURNIN' is the equal of its predecessor in its musical focus and passion, yet it contains--arguably--an even better batch of songs. Leaner, tighter, and simultaneously more hard-hitting and more hook-oriented than the songs on CATCH A FIRE, the set list here dazzles. Two tracks in particular, the inspirational civil rights anthem "Get Up, Stand Up" and the story-song "I Shot the Sheriff," are among the best songs Bob Marley ever wrote. The uncompromising tone of the former reveals the band's militant streak and their allegiance to human freedoms, while the latter, on a languid, mid-tempo groove, is an allegory that shows Marley's growing versatility as a first-rate songwriter (the song later became a number one hit for Eric Clapton). BURNIN' features a number of tunes from the early Wailers' catalogue re-recorded for these sessions, including "Put It On," "Small Axe," and "Duppy Conqueror." This material holds up remarkably well, and fits into the context of the album without a hitch. "Burnin' and Lootin'," one of the band's spookier songs, is another highlight, and adds to the tense, revolutionary feel of the set. The musicianship here is superior--with contributions from Peter Tosh and Bunny Wailer standing out--but this was to be the last album with the original line-up before Tosh and Wailer left for solo careers. The Wailers' fourth album overall, Burnin', was their second for Island Records, released only six months after its predecessor, Catch a Fire. Given that speed, it's not surprising that several tracks -- "Put It On," "Small Axe," and "Duppy Conqueror" -- are re-recordings of songs dating back a few years. But they fit in seamlessly with the newer material, matching its religious militancy and anthemic style. The confrontational nature of the group's message is apparent immediately in the opening track, "Get Up, Stand Up," as stirring a song as any that emerged from the American Civil Rights movement a decade before. The Wailers are explicit in their call to violence, a complete reversal from their own 1960s "Simmer Down" philosophy. Here, on "Burnin' and Lootin'," they take issue with fellow Jamaican Jimmy Cliff's song of the previous year, "Many Rivers to Cross," asking impatiently, "How many rivers do we have to cross/Before we can talk to the boss?" "I Shot the Sheriff," the album's most celebrated song, which became a number one hit in the hands of Eric Clapton in 1974, claims self-defense, admits consequences ("If I am guilty I will pay"), and emphasizes the isolated nature of the killing ("I didn't shoot no deputy"), but its central image is violent. Such songs illuminated the desperation of poor Jamaican life, but they also looked forward to religious salvation, their themes accentuated by the compelling rhythms and the alternating vocals of the three singers. Bob Marley was a first among equals, of course, and after this album his partners, Peter Tosh and Bunny Wailer, quit the group, which thereafter was renamed Bob Marley and the Wailers. The three bonus tracks on the 2001 reissue are all by Tosh and Wailer, though recorded at the album's sessions, suggesting the source of their frustration. ~ William Ruhlmann

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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) - Reggae Christmas: 21 Christmas Classics by Various Artists (CD - 09/01/2003).