Bob marley wailers in Reggae Music

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"Survival [Remaster]" (07/31/2001) Reggae Marley, Bob, Island Records (USA)Bob Marley & The Wailers: Bob Marley (vocals, acoustic & electric guitars, percussion); Aston "Familyman" Barrett (guitar, bass, keyboards, percussion); Junior Marvin (guitar, background vocals); Al Anderson (guitar); Tyrone Downie, Earl "Wya" Lindo (keyboards, percussion, background vocals); Carlton Barrett (drums, percussion); Alvin Patterson (percussion). The I Threes: Rita Marley, Judy Mowatt, Marcia Griffiths (background vocals). Producers: Bob Marley & The Wailers, Alex Sadkin. Reissue producers: Bill Levenson, Maxine Stowe. Recorded at Tuff Gong Recording Studio, Kingston, Jamaica. Originally released on Island (9542). Digitally remastered by Ted Jensen (2001, Sterling Sound, New York, New York) Bob Marley And The Wailers' seventh studio album finds the masterful Jamaican singer turning his attentions away from purely domestic Caribbean matters to the African continent. His songs had previously often cited Africa as both an influence and a final spiritual destination for Rastafarians; RASTAMAN VIBRATION's "War" had even named a laundry list of aggrieved nations struggling for freedom. But with SURVIVAL's "Africa Unite," and "Zimbabwe" in particular, Marley focuses for the first time both on solutions to the struggle, and on a specific nation and its fight against oppression--all to the Wailers' characteristically irrepressible skank. "So Much Trouble in the World" is an apt scene setter for an overtly political album worldwide in its aspirations, while "Babylon System" ("is the vampire...") expertly skewers the West and its centuries-old involvement in Africa. Marley's strength as a songwriter, and the Wailers' strength as a band, is that they can perform an operation like this and still leave the victim smiling and happily tapping his feet as they stick the knife in. The album's highlight is unquestionably the inimitable "One Drop," an irresistibly danceable paean to the Rastafarian religion and the glory of the almighty beat.

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"Kaya [Remaster]" (07/31/2001) Reggae Marley, Bob, Island Records (USA)Bob 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) 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.

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"Natty Dread [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. 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.

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"Uprising [Remaster]" (07/31/2001) Reggae Marley, Bob, Island Records (USA)Bob 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). 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?

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"Rastaman Vibration [Remaster]" (06/12/2001) Reggae Marley, Bob, Island Records (USA)Bob 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. 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.

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"Live!: Live at the Lyceum [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. 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'.

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"Babylon by Bus [Remaster]" (07/31/2001) Reggae Marley, Bob, Island Records (USA)Bob Marley & The Wailers: Bob Marley (vocals, guitar); Junior Marvin, Al Anderson (guitar); Tyrone Downie (keyboards); Wire Lindo (organ, Clavinet); Aston "Familyman" Barrett (bass); Carlton Barrett (drums); Alvin "Seeco" Patterson (percussion). I Threes: Rita Marley, Judy Mowatt, Marcia Griffiths (background vocals). Producer: Chris Blackwell, Jack Nuber. Reissue producers: Bill Levenson, Maxine Stowe. Recorded live in Paris, France; Copenhagen, Denmark; London, England & Amsterdam, The Netherlands. Originally released on Island (11). Remastered by Ted Jensen (2001, Sterling Sound, New York, New York). Capturing Bob Marley and the Wailers at their creative peak, BABYLON BY BUS is a righteously grooving collection of recordings from the group's 1978 European tour. An excellent companion to 1975's JAH LIVE, BABYLON BY BUS includes energetic versions of several tracks from the classic 1977 album EXODUS as well as a sprinkling of earlier material. The album is a textbook study in reggae's sultry rhythmic power, and the Barrett Brothers (Aston "Family Man" Barrett on bass and Carlton on drums) demonstrate throughout why they are regarded as one of the most influential rhythm sections of all time. Although the majority of Marley's material is intensely political, the music is so full of light, space and subtle dynamics that the worries of the world seem to be instantly replaced by an overwhelming urge to dance. Often audibly whipping the crowd into a joyful frenzy, Marley and company present a fine example of live music- making at it's purest and most soulful.

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"Legend: Deluxe Edition" (02/12/2002) Reggae Marley, Bob, Island Records (USA)Disc One of LEGEND: DELUXE EDITION contains a remastered version of LEGEND with two bonus tracks. Disc Two contains 1980's remixes of songs from LEGEND. Bob Marley & The Wailers: Bob Marley (vocals, acoustic & electric guitar, percussion); Peter McIntosh (vocals, guitar, piano, organ); Bunny Livingston (vocals, bongos, congas); Earl "Chinna" Smith (guitar, percussion); Julian "Junior" Marvin (guitar, background vocals); Donald Kinsey, Al Anderson (guitar); Bernard "Touter" Harvey (piano, organ); Tyrone Downie, Earl "Way" Lindo (keyboards, percussion, background vocals); Aston "Family Man" Barrett (bass, percussion); Carlton Barrett (drums, percussion); Alvin "Seeco" Patterson (percussion). I Threes: Rita Marley, Marcia Griffiths, Judy Mowatt (background vocals). Producers: Bob Marley & The Wailers, Errol Brown, Chris Blackwell. Compilation producer: Bill Levenson. Includes a 28-page book with lyrics and photos. Digitally remastered by Ted Jensen (2001, Sterling Sound, New York, New York). There are few musicians whose music has indisputably advanced humanity. Reggae figurehead Bob Marley--a songwriter, poet, activist, and visionary--is one of them. The idea that a single-disc collection could represent the depth, breadth, and power of Marley's achievement is far-fetched, but LEGEND makes an excellent attempt. Every single one of its tracks is outstanding, and the artist's different faces--revolutionary ("Get Up Stand Up"), romantic ("Is This Love"), devout Rastafarian ("Buffalo Soldier"), and prophet ("One Love/People Get Ready") are equally represented. In addition to his moving message of love and unity, Marley is a master songwriter, as the timelessness of songs like "Stir It Up," "I Shot the Sheriff," and the gorgeous, poignant "Redemption Song" proves. Of course, a true sampling of Marley's output would require some early ska material, the Wailer's debut (CATCH A FIRE), the definitive NATTY DREAD, and his later-period opus EXODUS, but LEGEND provides a highly satisfying, if brief, overview of Marley's genius. A record well suited to any location, season, or time of day, it has proven--literally--universal in its appeal. The music here is essential as air. (Note: The Deluxe Edition includes two bonus tracks and an additional disc of remixes.)

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"Roots of a Legend [Slipcase]" (09/14/2004) Reggae Marley, Bob, TrojanThis release includes a bonus DVD. Bob Marley & The Wailers: Bob Marley (vocals, guitar); Aston Barrett (bass instrument); Carlton Barrett (drums). Recording information: 1970 - 1976.

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"Live at the Roxy" (06/24/2003) Reggae Marley, Bob, Island Records (USA)Bob Marley & The Wailers: Bob Marley (vocals, guitar); Earl "Chinna" Smith, Donald Kinsey (guitar); Tyrone Downie (keyboards); Aston "Family Man" Barrett (bass); Carlton Barrett (drums, percussion); Alvin "Seeco" Patterson (percussion); Rita Marley, Marcia Griffiths, Judy Mowatt (background vocals). Recorded live at The Roxy, Hollywood, California on May 26, 1976.

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"Catch A Fire: Deluxe Edition" (03/27/2001) Reggae Marley, Bob, Tuff GongIt 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.

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"Rebel Music [Remaster]" (05/21/2002) Reggae Marley, Bob, Island Records (USA)Producers include: Bob Marley & The Wailers, Chris Blackwell, Steve Smith, Alex Sadkin. Reissue producer: Bill Levenson. Includes liner notes by Neil Spencer. All tracks have been digitally remastered. When Bob Marley brought the sounds of reggae to a worldwide stage, he did so on a platform of Rastafarian beliefs with songs that addressed social injustice. REBEL MUSIC is a collection of Marley's songs that simultaneously speaks of the oppressed masses and calls for justice. Examples of Marley's more overtly religious material include "War/No More Trouble" (inspired by a speech made by the Emperor Haille Selassie, Rastafarian spiritual leader) and "Crazy Baldhead" (the term used for non-believers). Marley also turns to the past, whether it is the injustices of slavery over hundreds of years ("Slave Driver") or witnessing firsthand the abject poverty around him during a childhood spent in the impoverished Trenchtown section of Kingston ("Them Belly Full (But We Hungry)." All this was accomplished with the help of a select group of crack musicians including the I-Threes (whose harmonies are prominent in the title track) and the Barrett Brothers rhythm section, who soldiered on after the departures of Peter Tosh and Bunny Wailer. Along with the surprisingly upbeat title track, REBEL MUSIC is made complete with a live version of "Get Up, Stand Up," the quintessential protest song.

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"Exodus [Remaster]" (11/13/2001) Reggae Marley, Bob, Island Records (USA)Marley's consistent (certainly by reggae standards) album career has proffered many great songbooks, of which EXODUS is just one good example. The singles "One Love" and "Jamming" will be familiar to anyone with even a passing acquaintance with Jamaican music, but just as vital are the touchingly vulnerable love song "Waiting In Vain," the title track, and the splendid "Guiltiness." This was the first album to feature Junior Murvin on guitar, while the expressive use of horns adds new texture to the established quality of the Wailers' backing. Like most of his work, vital for a comprehensive collection.

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"Soul Rebels [Remaster]" (11/19/2002) Reggae Marley, Bob, TrojanBob Marley & The Wailers: Peter Tosh, Bob Marley, Bunny Livingstone. Liner Note Author: David Katz. Licensed from its original label (Trojan Recordings), this release on Receiver is a reissue of the original 1970 Bob Marley and the Wailers album produced by Lee "Scratch" Perry. The disc is the same, from the track list right down to the sexist commando cover art, and these imminently groovy, R&B-flavored pop gems show no signs of wear. Marley's compositions from this period, though often overlooked, are excellent. Such tracks as "Try Me," "It's Alright," "Soul Almighty," and "No Water" give off such a unique stylistic charge that they seem particularly fresh in the light of the overkill in Marley's later catalog. Close, sweet backup vocals by the Wailers, tight, propulsive playing from the Upsetters, and Perry's inventive, psychedelic production make this one of the truly great "lost" albums. A must for collectors and a superb introduction to Marley's early, mature work, SOUL REBELS is a keeper.

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"Climb the Ladder" (08/08/2000) Reggae Marley, Bob, HeartbeatBob Marley & The Wailers: Bob Marley, Peter Tosh, Bunny Wailer, Junior Braithwaite, Beverly Kelso, Constantine "Dream" Walker, Rita Marley, Marlene Gifford (vocals). Additional personnel: Jerome "Jah Jerry" Haines, Lyn Taitt, Wally Cameron (guitar); Lester Sterling, "Deadly" Headley Bennett (alto saxophone); Roland Alphonso, Tommy McCook (tenor saxophone); Dennis "Ska" Campbell, Carlton Samuels (baritone saxophone); "Dizzy" Johnny Moore (trumpet); Don Drummond (trombone); Jackie Mittoo (keyboards); Lloyd Brevette, Bryan "Bassie" Atkinson (bass); Lloyd Knibb, Hector "Bunny" Williams (drums). Producer: Clement S. Dodd. Compilation producers: Clement Dodd, Chris Wilson. Recorded at the Jamaica Recording & Publishing Studio, Kingston, Jamaica. Includes liner notes by Leroy Jodie Pierson. Digitally remastered by Toby Mountain (Northeastern Digital Recording, Southborough, Massachusetts). This welcome reissue of Bob Marley And The Wailers' early Studio One recordings compiles a wealth of early '60s recordings from the embryo group. Under the watchful eye of Clement "Sir Coxsone" Dodd, the band recorded a series of pop ska tunes that, while they lack the heavyweight subject matter of later years, are nonetheless charming in their own right. "Dancing Shoes" is perhaps the most immediately attractive of these sides, featuring Bunny Livingstone's pleading vocal, the Wailers' soaring harmonies, and an infectious, lilting saxophone figure, but Livingstone's mellifluous "Dreamland" runs it a close second. Marley isn't prominent on these tunes; in fact, both Peter Tosh and Livingstone's vocals impress more than do those of their future leader. The venerable Christian song "Sinner Man" included here was later reworked by Tosh as "Downpressor Man" for his EQUAL RIGHTS album. The backing (vintage stuff from both the Skatalites and Roland Alphonso's Soul Brothers) owes as much to American R&B as to Jamaican music. Ultimately CLIMB THE LADDER features the Wailers sounding less like a future major force in popular music than a bunch of kids having a ball.

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"Confrontation [Remaster]" (07/31/2001) Reggae Marley, Bob, Island Records (USA)Bob 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) 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.

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"African Herbsman (Trojan) [Remaster]" (05/20/2003) Reggae Marley, Bob, TrojanPersonnel: Bob Marley, Peter Tosh, Bunny Wailer, Tommy McCook, The Upsetters. Producers: Lee "Scratch" Perry, Bob Marley. Compilation producer: David Katz. Includes liner notes by Dave Katz. One of Bob Marley & the Wailers' finest collections, AFRICAN HERBSMAN belongs alongside CATCH A FIRE and NATTY DREAD as an essential Marley recording. There are three reasons why AFRICAN HERBSMAN is significant. For starters, it is a treasure trove of some of Marley's best songs. Though these tunes were written and recorded in the early 1970s, Marley would revisit them--in concert and in re-recordings--throughout his career. The celebratory "Lively Up Yourself," the winsome and wise "Small Axe," the swaying "Don't Rock the Boat," and the escapist dream "Kaya," are only a few of the gleaming gems here. More importantly, perhaps, AFRICAN HERBSMAN captures the Wailers at their peak as a band. With Bunny Livingston and Peter Tosh's high, sweet harmonies prominent throughout, and the Barrett brothers' impeccable rhythms, the Wailers are an unstoppable unit (and provide a focus lost on some of Marley's solo albums). But the most distinguishing quality of these sessions is Lee "Scratch" Perry's remarkable, unique production. Unlike the rock-oriented sound of the Chris Blackwell-produced CATCH A FIRE (released the same year), HERBSMAN has pure Jamaican roots--on top of the fine material and performances--making it one of the defining documents of reggae.

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"Rastaman Vibration: Deluxe Edition" (11/26/2002) Reggae Marley, Bob, Island Records (USA)Bob 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. 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.

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"Destiny: Rare Ska Sides From Studio One" (06/08/1999) Reggae Marley, Bob, Rounder RecordsBob Marley & The Wailers includes: Bob Marley (vocals, guitar); Peter Tosh, Bunny Livingstone (vocals). Additional personnel: Jerome "Jah Jerry" Haines, Huks Brown, ERnest Ranglin, Bob Marley, Harry Sweeting (guitar); Lester Sterling, "Deadly" Headley Bennett (alto saxophone); Tommy McCook, Roland Alphonso (tenor saxophone); Carlton Samuels (baritone saxophone); "Dizzy" Johnny Moore (trumpet); Don Drummond (trombone); Jackie Mittoo, Richard Ace (keyboards); Lloyd Brevett, LLoyd Spence, Bryan "Bassie" Atkinson (bass); Lloyd Knibbs, Carl McCloud, Bunny Williams (drums); Junior Braithwaite, Constantine "Vision" Walker, Beverley Kelso, Cherry Green, Rita Marley, Joe Higgs, Blossom Johnson (background vocals). Recorded in Kingston, Jamaica between 1963 & 1966. Includes liner notes by Roger Steffens and Leroy Jodi Pierson. This set collects 19 tracks from the early days of Bob Marley & The Wailers, all recorded for Clement Dodd's Studio One label. Bob Marley, Bunny Livingston, and Peter Tosh were backed by some of the architects of the early ska and reggae sound: keyboardist Jackie Mittoo, guitarist Ernest Ranglin (listen to both takes of "Don't Ever Leave Me" to hear two completely different and stunning solos), and members of The Skatalites. DESTINY includes such great originals as "Do You Feel the Same Way Too" and, with their ear tuned to the American radio dial, covers of "What's New Pussycat" and "White Christmas." The music is flush with the excitement of something new unfolding. The detailed and extensive liner notes give full song-by-song descriptions and histories. This collection is a fine companion to the SIMMER DOWN AT STUDIO ONE and WAILING WAILERS sets.

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"20th Century Masters: The Millennium Collection: The Best of Bob Marley & The Wailers" (04/20/2004) Reggae Marley, Bob, Hip-O RecordsBob Marley & The Wailers: Peter Tosh (vocals, guitar, keyboards); Bob Marley, Bunny Wailer (vocals, guitar). Additional personnel include: Tommy McCook (tenor saxophone); Aston Barrett (bass guitar); Carlton Barrett (drums). Liner Note Author: David Katz. Recording information: Randy's Studio 17, Kingston, Jamaica (1967 - 1972); Dynamic Sound Studio, Kingston, Jamaica (1967 - 1972). This compilation offers a brief glimpse into the Wailers' early-to-middle years (they only became Bob Marley & the Wailers after signing to Island Records; Bunny Livingston and Peter Tosh quit soon thereafter). It combines a few of the late-1960s sides the group recorded for Texas singer Johnny Nash (whose ska-inflected "Hold Me Tight" had been a big international hit in 1967) with material recorded for the band's own Wail'n Soul'm and Tuff Gong labels, and for the visionary producer Lee "Scratch" Perry. Songs such as "Small Axe," "Kaya," and "Lively Up Yourself" are all familiar from their later incarnations, and to hear them in their unadorned earlier versions, particularly the primitive recordings of "Stir It Up" and "Soul Rebel," is to experience both their simple power and Bob Marley's faith in their ultimate mass acceptance. THE BEST OF BOB MARLEY & THE WAILERS makes clear that the band's raw talent was present from the outset, while hinting at the time and sweat involved in bringing that talent to full fruition.

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