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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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Dancehall Hits
 

Dancehall Hits

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

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Riddim Driven: Blazing and Chiney Gal by Various Artists (CD - 05/23/2005)
 

Riddim Driven: Blazing and Chiney Gal by...

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Riddim Driven: Blazing and Chiney Gal by Various Artists (CD - 05/23/2005)
"Riddim Driven: Blazing and Chiney Gal" (05/23/2005) Reggae Various Artists, VP RecordsRIDDIM DRIVEN VOL. 1 features different vocal versions recorded by various artists over the Chiney Gal and Blazing riddims. Performers include: Elephant Man, Beenie Man, Capleton, Sizzla. Compilation producers: Norman "Bul Pus" Bryan, Cecile Charlton. Engineers include: Cordell "Skatta" Burell, Shane Brown. Audio Mixer: Shane Brown. Recording information: Tuff Gong Recording; Xclaim Studio. Like the myriad other Riddim Driven albums released by VP, the Blazing and Chiney Gal volume features an ensemble of reggae vocalists singing over a given producer's riddim, in this case producer Cecile Charlton. Though the production is generally top-notch, it lumbers on for the entire CD, often getting monotonous toward the conclusion. Thus, the vocalists are left to engage you, and since they come and go swiftly, your patience is often tested throughout the listening experience. Regardless, the series has proven successful for VP because many listeners enjoy the seamless beats and the variety of vocalists. ~ Jason Birchmeier

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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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Reggae Pulse: The Heartbeat of Jamaica by Various Artists (CD - 08/20/2002)
 

Reggae Pulse: The Heartbeat of Jamaica b...

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Reggae Pulse: The Heartbeat of Jamaica by Various Artists (CD - 08/20/2002)
"Reggae Pulse: The Heartbeat of Jamaica" (08/20/2002) Reggae Various Artists, Sanctuary (USA)Arrangers: Roger Lewis; Touter Harvey; Johnny Nash. The alternately dark, happy, loving, and rebellious music from Jamaica known throughout the world as Reggae is well represented here. This disc features hit songs by legendary reggae performers like Bob Marley, Desmond Dekker, The Maytals, The Upsetters, Dennis Brown, and Third World. REGGAE PULSE is a compilation presenting an amazing cross-section of the music's history from the pop-ska "My Boy Lollipop" to the galvanizing "Lively Up Yourself." This DVD-A includes liner notes and artists photos.

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Shams Presents: Real Sex 2000 by Various Artists (CD - 05/23/2005)
 

Shams Presents: Real Sex 2000 by Various...

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Shams Presents: Real Sex 2000 by Various Artists (CD - 05/23/2005)
"Shams Presents: Real Sex 2000" (05/23/2005) Reggae Various Artists, VP RecordsThis is a continuous in-the-mix CD compiled and mixed by DJ Richard "Shams" Browne. Real Sex 2000 is a showcase for hot producer Richard "Shams" Browne and the dancehall hits he's produced with his "orgasm" and "intercourse" riddims. Typically, compilations like these get tiresome toward the end, since it's the same two riddims that run through 14 tracks. But the pounding, explosive beat of these particular riddims proves to be addictive and the high-quality performances by talented DJs such as Lexxus, Beenie Man, Sean Paul, and Vegas save the album from this fate. It's a worthwhile listen, from "Tigerbone" with Sean Paul and Vegas, which incorporates a sample of Enrique Iglesias' "Bailamos," to the scorching social commentary on Gabriel's "Sick." ~ Rosalind Cummings-Yeates

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Egyptian
 

Egyptian

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Egyptian
"Greensleeves Rhythm Album #40: Egyptian [PA]" (05/27/2003) Reggae Various Artists, Greensleeves RecordsPerformers include: Sean Paul, Bounty Killer, Elephant Man. Recording information: Vendetta Studios, Kingston, Jamaica. Jamaican riddim albums line up the talent side by side and let them compete on a level playing field. The rhythm is essentially the same throughout the album with only a few minor additions and adjustments. Each dancehall singer has to bring his own style to the rhythm and see what he can do. Sean Paul, Wayne Marshall, Bounty Killer, Vybz Kartel, and Elephant Man use the Egyptian riddim to separate themselves from the rest. When the rhythm is the same through 20 tracks, only the songs that have real style are memorable. Wayne Marshall's "I Will Love the Girls" takes the biggest risk with the rhythm and is by far the one that sticks out from the rest. He has a more soulful approach that begins to outshine the rhythm's hypnotic pulse. Simple bass is matched with a snake-charmer rhythm to give a kind of Middle Eastern sound. After the success of the Diwali riddim, the Egyptian one just takes it a step further. Assassin's "It's a Girl Thing" almost sounds like a vexed breed of Turkish dance music. The tabla and speed of his rhymes make the Egyptian riddim really seem like it had its origins outside of Jamaica. The weakest tracks are easily recognized because the singers use the snake-charmer melody as their chorus. Perhaps on 45 they wouldn't sound nearly as weak, but matched up side by side with the very best, they become easy to ignore. The last track is the instrumental version of the Egyptian riddim, which on its own is interesting because it gives you an idea of what these guys had to work with. Young Jamaica producer Donovan "Vendetta" Bennett has created a solid instrumental that has spawned at least eight heavy hitters. Having these tracks all collected in one album saves time digging through 45s and really shows which singers can really destroy a rhythm. ~ Matt Whalley

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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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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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Reggae Lasting Love Songs Vol. 4
 

Reggae Lasting Love Songs Vol. 4

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Reggae Lasting Love Songs Vol. 4
"Reggae Lasting Love Songs, Vol. 4" (05/23/2005) Reggae Various Artists, VP RecordsEditor: Paul Shields. Photographer: Marlon "Ajamu" Myrie. In this fourth installment of the Reggae Lasting Love Songs series, the 17-song selections come together to form a truly stellar collection that outdistances all of the previous offerings. The art of lovers rock reggae is showcased here with masterful performances. From Richie Stephens' inspired cover of Luther Vandross' "I'd Rather," to the ragga romance of Junior Kelly's "Baby Can We Meet," this CD covers every angle of the genre and it does it well. There's not a weak track here, but standouts include Nana McLean's supple singing on "Promised Land," Fiona's sweet remake of Selena's "I Could Fall in Love," Mikey Spice's soul-drenched "When You Are Lonely," and Ambelique's passionate "I Loved and I Lost." ~ Rosalind Cummings-Yeates

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Trojan Beatles Tribute Box Set [Box] [3/22]
 

Trojan Beatles Tribute Box Set [Box] [3/...

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Trojan Beatles Tribute Box Set [Box] [3/22]
"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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Can't Stop A Man: The Best Of Beres Hammond *
 

Can't Stop A Man: The Best Of Beres Hamm...

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Can't Stop A Man: The Best Of Beres Hammond *
"Can't Stop a Man: The Ultimate Collection" (05/23/2005) Reggae Hammond, Beres, VP RecordsPersonnel: Beres Hammond, U-Roy, Zap Pow, Buju Banton, Marcia Griffiths, Big Youth. Producers include: Willie Lindo, Joe Gibbs, Zap Pow, Beres Hammond, Donovan Germain. Recorded between 1976 & 2002. Includes liner notes by Rob Kenner. Liner Note Author: Robby Kenner. Recording information: Hammerstein Ballroom. Photographers: Marlon "Ajamu" Myrie; William Richards; Anders Jones; David Corio. Can't Stop a Man collects some of Beres Hammond's biggest Jamaican hits, beginning with his first, "One Step Ahead" from 1976, a song produced by Willie Lindo. Moving chronologically through to 2003's sweet and infectious "Dancehall Vibes," which features Big Youth and is one of the highlights here, this two-disc set is a wonderful introduction to this woefully underappreciated singer and writer. With a voice that combines Marvin Gaye's subtle phrasing, Sam Cooke's easy charm, and the soulful power of a David Ruffin, Hammond has a talent for graceful, easy-flowing lovers rock, but he has also effortlessly managed to work light dancehall and hip-hop elements into his work, giving him an uncommon longevity in the ever-shifting sea of styles that is the trademark of Jamaican music. Key tracks here include "Last War," "Who Say" (with Buju Banton),"Sugar You Want," and "Rockaway," a fond reminiscence of the island's roots era. Lovingly packaged, Can't Stop a Man includes track-by-track annotation and discussion. ~ Steve Leggett

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Music of the Sun by Rihanna (CD - 08/30/2005)
 

Music of the Sun by Rihanna (CD - 08/30/...

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Music of the Sun by Rihanna (CD - 08/30/2005)
"Music of the Sun" (08/30/2005) Reggae Rihanna, Def Jam (USA)Personnel: Rihanna (vocals); Elephant Man, Kardinal Offishall (vocals); Vybz Kartel, J-Status (rap vocals); Mikkel SE (various instruments); Carl Sturken (guitar, piano, keyboards, programming); Richard Locker (cello); Larry Glazener (bass instrument); Full Force, Sharina Sharpe (background vocals). Taking its cue from the rhythms of dancehall and reggaeton, Rihanna's MUSIC OF THE SUN is a dance-pop record with enough distinctive accents and flavors to make it stand out from the crowd. Rihanna's debut takes island-influenced beats and Jamaican-inflected accents and superimposes them on straight-up contemporary R&B. The combination works nicely, as evidenced by "Pon de Replay," the album's incredibly infectious lead-off track and single. Rihanna effectively synthesizes reggae's cadences into her singsong melodies, bringing some of that genre's sunny beauty to the urban pulses of modern dance-pop, making MUSIC OF THE SUN a perfect soundtrack for the club dancefloor and outdoor summer parties alike.

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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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The Best of Studio One Collection [Box Set] [Box] by Various Artists (CD - 07/18/2006)
 

The Best of Studio One Collection [Box S...

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The Best of Studio One Collection [Box Set] [Box] by Various Artists (CD - 07/18/2006)
"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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Confrontation [Bonus Track] [Remaster] by Bob Marley & the Wailers (CD - 07/31/2001)
 

Confrontation [Bonus Track] [Remaster] b...

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Confrontation [Bonus Track] [Remaster] by Bob Marley & the Wailers (CD - 07/31/2001)
"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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Brighter Day [PA] by Sizzla (CD - 03/08/2005)
 

Brighter Day [PA] by Sizzla (CD - 03/08/...

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Brighter Day [PA] by Sizzla (CD - 03/08/2005)
"Brighter Day [PA]" (03/08/2005) Reggae Sizzla, Kingston WorldPersonnel: Sizzla (vocals); Carlinton Morrison, Kadian Dixon (vocals). Additional personnel: Kadia Gritton, SKI, Turbulence, Vybz Kartel. Audio Mixers: Kemar McGregor; Samuel Jonathan Johnson.

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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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