Bob Marley

The Roots Reggae Library brings to you Reggae music in unique collections. This edition features Bob Marley as a solo artist. The collection is unique because each album contains songs that are rare and originally not found on these albums. This edition covers the period after 1973. The period 1963 - 1972 can be found in the collection of The Wailers on this website.

 

For those with more interest in Bob Marley's personal live, I can highly recommend the book 'No Woman No Cry' by Rita Marley, Bob's wife. For those with further interest in how the conventional image of Reggae Music is not what it should be, I redirect you to my article "Lifting The Reggae Blindfold" which was originally written on Intellect Collected. In case you want to obtain all the music presented to you on this page, please visit this page.

This edition features Marley's solo studio career. The start of the musical career of Robert Nesta Marley has been documented as The Wailers on the Roots Reggae Library. Bob started recording in 1963 together with Peter Tosh (Winston Hubert McIntosh) and Bunny Wailer (Neville O'Rilley Livingston), among others, as The Wailing Wailers. 

This text might interest readers who intend to learn more about Bob Marley and his music. If you are already familiar with all of Bob Marley's music, this is simply a nice library for all that is around, edited and neatly polished to fit a musical library. You will not find any duplicates. You will have complete albums, which means completed with bonus tracks on Island Records / Tuff Gong studio albums recorded in the due period. Contact me to obtain the music.

Bob Marley - Catch A Fire

01. Concrete Jungle
02. Slave Driver
03. 400 Years
04. Stop That Train
05. Rock It Baby
06. Stir It Up
07. Kinky Reggae
08. No More Trouble
09. Midnight Ravers
10. High Tide Or Low Tide
11. All Day All Night
12. Walk The Proud Land

The very first studio album by Bob Marley, Peter Tosh and Bunny Wailer was released by Island Records in 1973. The tune is set when 'Concrete Jungle' starts playing in which the three sing about the harsh conditions in Kingston, Jamaica. The interaction between Bob's lead vocals and the falsetto background vocals of Peter and Bunny is magnificent. Peter and Bob were both born in a smaller villages and the song finds them being captured and struggling in Trenchtown, Kingston. "No sun will shine in my day today". He describes the conditions in the Kingston ghetto without useing words like unemployment, poverty and money. In this very first song you find the poet that Bob Marley is. Even worse conditions are described in 'Slave Driver', which takes us back in the time to when Africans were being transported to the Americas by masses, as slaves. The song connects the past with problems in the present. To complete this journey across time Peter Tosh wrote '400 Years'. In his opinion little has changed in terms of racial philosophy. He wants the circumstances in Jamaica to turn, claiming that the youth are the key to change. The first three songs are a perfect example of how Bob described reggae; a positive melody, sad words and a good vibration. Reggae is not simply a music of happiness and marijuana.  The album continues with Peter performing 'Stop That Train'. Stopping a train had been in The Wailers repertoire for some time, as they have had three distinct versions of 'This Train' and another of 'Stop That Train' on earlier albums. Both Peter and Bunny would sing the song again in their solo careers. With the previous two songs on Catch A Fire, Peter displays that not only Bob is capable of being the vocal leader of the group. Previous to their Island Records contract, Peter had sung many tracks being the front man. Bob, with the next two songs, introduces love as a theme for the first time on this album. 'Rock It Baby' is passionate,  and it is remarkable that one of the background vocalist is Bob's wife Rita Marley. 'Stir It Up' too, awakens the romantic spirit . Then, to understanding the pure reggae instrumental sound, there is 'Kinky Reggae', 'take it or leave it','believe it'. The guitar riff is indeed rather kinky. Marley's cry for 'No More Trouble' again addresses the hardship of Jamaican life, but it can be interpreted as applying for the rest of the world. "We don't need no more trouble, what we need is love". He gets more specific about oppression, or 'downpression', as Peter would have said, in 'Midnight Ravers'. "The riders they cover their face" and you "can't tell the woman from the man" it sounds in the chorus. It is quite clear in what way is being referred to social structures in the Americas. In the United States re-release of the album, two earlier recorded songs were included, which can be found in this discography as well.. 'High Tide Or Low Tide' is an emotional song of sticking together in tough times, and that could be said as well for 'All Day All Night', although it has a more positive ring to it. The last song is not very well known, but has been covered by Bob's first born son, Ziggy Marley in 1999. As a cherry on the cake of Catch A Fire we listen too 'Walk The Proud Land', which was recorded at the Record Plant, San Francisco, in 1973. It had been recorded many years ago as 'Rude Boy' on a Ska rythm. I have labelled Catch A Fire as being produced in 1972. Even though it was not released before the end of that year, it was definitely recorded then.

Bob Marley - Burnin'

01. Get Up, Stand Up
02. Hallelujah Time
03. I Shot The Sheriff
04. Burnin' And Lootin'
05. Put It On
06. Small Axe
07. Pass It On
08. Duppy Conqueror
09. One Foundation
10. Rastaman Chant
11. Reincarnated Souls
12. No Sympathy
13. The Oppressed Song

In the same year, Island Records released Burnin', which starts of with the legendary 'Get Up, Stand Up', written by Bob Marley and Peter Tosh together. The first two verses are sung by Marley, the chorus together and Tosh sings the last verse. The last appearance of  Marley and Tosh together on stage was at the Starlight Bowl singing 'Get Up, 'Stand Up'. The first time to hear Bunny Wailer on an Island Records album is to listen to 'Hallelujah Time'. Noticeable is that Bunny Wailer uses quite a different style in this performance. In 'I Shot The Sheriff' Bob sings the story of a man who admits to having killed the sheriff, although this had been done as an act of self defence after being falsely accused of having killed the deputy sheriff. It does by no means reflect any actual events in Bob's life, which does not undermine the message. 'Burnin' And Lootin'' continues on the issue of poverty and hardship, a theme heard throughout Bob's musical career. But as you will find, every album will have a positive twitch too. 'Put It On' is just that. 'Small Axe' too can put that smile on your face. Judy Mowatt, one of Bob's later background vocalist would have a hit with 'Put It On' on her Black Woman album produced by Shanachie Records, the label that produced several work from artists like Rita Marley, Yabby You, The Mighty Diamonds, Lucky Dube, Max Romeo and Augusto Pablo, all memorable artists or groups. Burnin' is continued by Bunny Wailer leading the vocals of  'Pass It On' with Bob and Peter singing background vocals, which had been quite usual during The Wailers time, when lead vocals were more often mixed. Bunny gives a very mellow tune to 'Pass It On'. 'Duppy Conquerer' brings that same style of reggae tune we had earlier heard Bob play on 'Kinky Reggae'. Actually, the two songs share a further connection, although a bit farfetched. Bob described a "duppy" as a "human vampire", somebody who leaches on an others success. First, Lee Perry said "look, we'll sort this out, we are duppy conquerors". Bob first mentions "duppy conquerers" in the song 'Who Is Mr. Brown' on Keep On Skanking, which is a Jamaican ghost story. "Duppy" in Patois means "ghost" or "spirit". On 'Kinky Reggae' Bob sings about Miss Brown. On Burnin' Peter switches back in front for 'One Foundation', after which we hear Bob again chanting the 'Rastaman Chant'. The remastered version of the album, released in 2001 included three more numbers. The first, 'Reincarnated Souls' is sung by Bunny Wailer. Then, Peter Tosh comes on with 'No Sympathy' which is a new version of the song that had already been featuring in the earlier career of The Wailers. Peter would later include the song in his first individual studio album Legalize It. Burnin' would be the latest album on which reggae's foremost triumvirate would sing together on a studio album. The last bonus track included in the remastered edition is 'The Oppressed Song' by Bunny Wailer.

Bob Marley - Natty Dread

01. Lively Up Yourself
02. No Woman, No Cry
03. Them Belly Full
04. Rebel Music
05. So Jah Seh
06. Natty Dread
07. Bend Down Low
08. Revolution
09. Talkin' Blues
10. Iron Lion Zion
11. Am-A-Do

In 1974 Bob continued his career without Peter and Bunny by his side. Island Records released Natty Dread soon after. Even though the act was still presented as Bob Marley & The Wailers, The Wailers changed to being the I-Three, consisting of Rita Anderson (Bob's wife), Judy Mowatt and Marcia Griffiths. The album starts with the positive tune 'Lively Up Yourself'. Then, written in the time The Wailers were still a group, 'No Woman, No Cry' which became Bob's best known song. The studio version has a slightly more uptempo beat compared to the version most people are familiar with, which is on the collection album Legend and features during his live concerts. The song needs little introduction. We return to the birthplace of Reggae, Rocksteady and Ska, in 'Them Belly Full'. Marley would later tell about his days in Trenchtown with Peter and Bunny, playing music not to feel the hunger in their bellies. In the song he sings how the root of all the nations problems lies in structural poverty. 'Rebel Music', an oath to his own music has Bob singing with a high pitched voice in the chorus, with the verses concentrating on freedom from oppression. Not a violent rebel but a rebel in music. In 'So Jah Seh' and 'Natty Dread' we can hear Bob's growing devotion to Rastafari. 'So Jah Seh' has a rather serious tone. In 'Natty Dread' he sings about his walking, trodding, skipping journey through the streets of Trenchtown. Keen to share some wisdom in 'Bend Down Low', the first track on the album where Marley does not address a serious issue with strong lyrics, instead it is one of Marley's romantic lullabies. Next, he calls for a mental revolution in the song titled 'Revolution'. As with the previous 'So Jah Seh' and 'Natty Dread' he expresses his strong feelings for Rastafari. 'Talkin' Blues' gives the album the positive tune back that it had given with 'Lively Up Yourself'. Talkin' Blues would later be the title of an album released in 1991 containing some live recordings from 1973-1975. The song 'Talkin' Blues' itself on this album has an extra verse added to it. Furthermore you'll find some parts of interviews in which Bob shares his view on the split-up off the group. The songs on the album are a mixture of live recordings and alternative versions. It also features one song that is seen as an outtake of the Natty Dread album. Naturally you can find it in this discography, it is 'Am-A-Do'. It has quite an unusual style for Bob Marley, but adds to his versatility.

Bob Marley - Rastaman Vibration

01. Positive Vibration
02. Roots, Rock, Reggae
03. Johnny Was
04. Cry To Me
05. Want More
06. Crazy Baldhead
07. Who The Cap Fit
08. Night Shift
09. War
10. Rat Race
11. Jah Live
12. Smile Jamaica
13. Rainbow Country

In the year in which both former Wailers Peter Tosh and Bunny Wailer released their first solo albums, Island Records released Rastaman Vibration. As Bob had opened Natty Dread with the cheerful 'Lively Up Yourself', the King of Reggae brings to us 'Positive Vibration'. It would be a frequent opening tune at his concerts. Second, 'Roots, Rock, Reggae' extends the second song on Natty Dread which was 'Rebel Music', paying tribute to reggae as a music. A very good video recording was mad of Bob Marley together with Wailers and I-Threes performing 'Roots, Rock, Reggae'. 'Johnny Was' on the other hand portrays a sad image, nonetheless I would classify it as beautiful song. A woman finds her son dead in the street, being hit by a stray bullet. Johnny himself never did a thing wrong, but died of the system he lived in. He continues along those lines with 'Cry To Me'. Two previous versions of this song exist, both to be found on The Wailers edition of the Roots Reggae Library. A Ska version on Rude Boy and a Rocksteady version on Satisfy My Soul Jah Jah. 'Want More' is a protest with a magnificent guitar riff. The tune would later be use by Prince Lincoln on Roots Man Blues. 'Crazy Baldhead' is possibly even stronger a protest. Bob loved to play the song in concert right after 'Running Away', a song we find later on the Kaya album. And if it weren't for the positive vibration felt throughout this album, you would certainly sit right down under it after having heard 'Who The Cap Fit'. This song can be found on More Axe titled 'Man To Man', on a Rocksteady rhythm. On Judge Not you find a song with the same title, but it does not have much resemblance to 'Who The Cap Fit'. 'Night Shift' reflects on a time in the 60's when Bob lived in the United States, working as a forklift operator in warehouse.  So the album has come to 'War'. The lyrics are a slightly modified translation of the speech by Haile Selassie I, Emperor of Ethiopia, addressing the United Nations General Assembly. This song, and the next, 'Rat Race', are two legendary protest songs that target both international and domestic politics. Both 'War' and 'Rat Race' are aimed at racial segregation. We are at war with one another, while we are one race, and should unite. 'Jah Live' was originally a single composed by Bob following the announcement that Haile Selassie I had passed away. Although Ethiopian authorities had declared his death, there was not a sign of his body. The song was included in the re-release of the album 2001. It is also a track on the soundtrack album of the epic Jamaican movie Countryman. Another addition to the album is 'Smile Jamaica', a track written before Bob preformed his Smile Jamaica concert, a few days after he had been shot. It is an oath to his country, telling his people to be positive, no matter the situation they are in. The last inclusion of this album is 'Rainbow Country'. The music on this song is not very melodic, but Marley's lyrics are nevertheless strong as always.

Bob Marley - Exodus

01. Natural Mystic
02. So Much Things To Say
03. Guiltiness
04. The Heathen
05. Exodus
06. Jamming
07. Waiting In Vain
08. Turn Your Lights Down Low
09. Three Little Birds
10. One Love
11. Roots
12. Keep On Moving
13. Punky Reggae Party

After he had been shot and performed the Smile Jamaica concert, Bob moved to London, England. It was there where he released Exodus, again on Island Records. The album starts with a well known guitar riffle which makes us remember 'Kinky Reggae'. 'Natural Mystic' leaves no discussion as to what a great album you have just started listening to. It comes on slowly but hits hard with a strong vibe that is simultaneously mellow.  'So Much Things To Say' is not very well-known, but deserves attention. Speech is silver, silence is golden. Neither 'Guiltiness' is quite well known, but it is hard to forget after having heard Bob's strong voice criticizing the big fish, the downpressors. 'The Heathen' has been a very popular track on live performances, which can be partly contributed to the guitar solo played by Junior Marvin. The title track, 'Exodus', follows, with a strong message; "Exodus, movement of Jah people!" Referring to the proposed exodus for African Jamaicans back to their homeland. In an attempt to allow Jamaicans to return to Ethiopia Haile Selassie donated 500 acres of land for Caribbean settlers (all of Africa had once been Ethiopia according to Rastafari believes, Ethiopia being the only part of Africa withstanding colonization, is sacred to followers of Rastafari). The next track is very well known, and special for Jamaicans, it is 'Jamming'. The One Love Peace Concert, held at the National Stadium in Kingston in order to quell the political violence in the country, came to its peak late at night when Bob performed Jamming. While improvising he ordered both Micheal Manley and Edward Seaga on stage, the leaders of the two opposing political parties (People's National Party - Jamaica Labour Party). He joined their hands to show the Jamaicans that there is no point in fighting over two people who shook hands. 'Waiting In Vain' follows up and this too is a very well known track, but for its romantic theme. 'Turn Your Lights Down Low' continues in the same style, two love songs after the strong stance starting the album. Some will undoubtedly mistake the next melody for the "don't worry be happy" song, which is indeed part of the lyrics of the chorus, but the correct title is of course 'Three Little Birds'. The original album ends after the optimistic 'One Love'. This song had been recorder by The Wailing Wailers for their debut album in 1965 under a much faster ska beat. The song was then revised to fit the 'All In One' melody, which you can find on Keep On Skanking. For Exodus, Bob decided to fill the song with new live. Even though the original album did not contain any further songs, the deluxe edition that came out in 2001 included some bonus tracks. First is 'Roots', which was originally only listed in Rebel Music, a compilation album released in 1986 by Island Records. This song never really made it to a wider public. It is, however, a very beautiful song. Two songs that did attract a wider audience but were not originally included on this album are 'Punky Reggae Party' and 'Keep On Moving'. The first had been preformed throughout the Babylon By Bus tour. On this studio version Bob adds another verse in which he refers to The Maytals, who had a great deal of influence during ska's evolvement into rocksteady, which then shortly turned into reggae. Toots & The Maytals headed into an entirely different path just having released Disco Reggae. Bob mentions other artists in the song as well. The last bonus track is Bob's 'Keep On Moving', though UB40's cover version of the song might be more familiar to some. Here too, Bob adds a few extra lines in which he namechecks both his children Ziggy and Cedella. This, of course, he did not do while singing the first take of the track, which can be found on the Keep On Skanking album, a part of The Wailers collection on the Roots Reggae Library.

Bob Marley - Kaya

01. Easy Skanking
02. Kaya
03. Is This Love
04. Sun Is Shining
05. Satisfy My Soul
06. She's Gone
07. Mysty Morning
08. Crisis
09. Running Away
10. Time Will Tell
11. I Know A Place
12. Who Colt The Game

The year is 1978, Island Records releases Bob Marley's album Kaya that had been recorded in their London studios. He begins with bringing you the relaxed vibes of  'Easy Skanking'. He asks to be excused for lighting a spliff, and takes it easy. 'Kaya' can be seen as Bob doing his duties for Peter Tosh's struggle for the legalization of herb by revising the song they had made in the early years. The early version is on the Keep On Skanking album of The Wailers. Peter had continuously made protest songs in favor of legalizing the "healing of the nation", take for instance 'Legalize It', on the ditto named album which shows Peter on the cover in the middle of a herbfield, or 'Bush Doctor' on the Bush Doctor album. He took up the musical battle once more after having been released from jail in 'Nah Goa Jail' on No Nuclear War. Bob, in his songs, stayed further in the background, though we heard him lit a spliff during 'Easy Skanking' already. 'Kaya' has him worrying about the humidity affecting the plant. Though I can not help picturing Peter being pissed off because of Bob still using the word "kaya" instead of "herb". The words from 'Is This Love' will linger through your head long after you've listened to it. And just as the next song, 'Sun Is Shining' it is one of the better known tracks on the album. As popular as 'Sun Is Shining' may be, I have found that many still don't even notice the toggling on and off of an intoxicating bass guitar that is first introduced at "Thursday morning". Earlier versions of 'Sun Is Shining' can be found on The Wailers Soul Revolution and on More Axe. On the latter it is overdubbed by the voices of Johnny Lover and Peter Tosh. 'Satisfy My Soul' has its roots in the more ska like song 'Don't Rock My Boat' on Selassie Is The Chapel. On Kaya, the song has been changed, and so had its name. 'Satisfy My Soul', a title which at first seems just as appropriate, because the  lyrics are sung in the chorus. However, few know that 'Satisfy My Soul Babe' and 'Satisfy My Soul Jah Jah' were older, totally different tracks that Bob had recorder during the same period in which he wrote 'Don't Rock My Boat'. These tracks are found on the albums Lonesome Feeling and Satisfy My Soul Jah Jah. Back to the analysis of Kaya, which continues with the sad 'She's Gone'. I reckon that some time after being in London Marley realized he felt a bit downhearted. Not only is 'She's Gone' quite sorrowful, it is followed by 'Misty Morning', which is is quite the opposite from 'Sun Is Shining', earlier on this album. From this song onwards, the album turns to a more serious side, first with 'Crisis'. But no matter what the crisis is, we have got to stay positive and "live it up". As mentioned earlier,  'Running Away' was a popular tandem with 'Crazy Baldhead' at Marley concerts. You'll hear Bob chant with Rita on this song, "who feels it knows it", which Rita turned into a hit during her solo career. A very slow drum beat brings us 'Time Will Tell', starting in a way reminiscent to 'Natural Mystic'. Two bonus tracks have been added by me on the Kaya album. Both tracks originate from the Black Ark Sessions together with Lee Perry. 'I Know A Place' tells us in a good mood that even in times when it seems as if there is no one around to care for you, there is always this one magical place which Bob knows. 'Who Colt The Game' is a vocal performance where Bob sounds rather vexed.

Bob Marley - Survival

01. So Much Trouble In The World
02. Zimbabwe
03. Top Rankin'
04. Babylon System
05. Survival
06. Africa Unite
07. One Drop
08. Ride Natty Ride
09. Ambush In The Night
10. Wake Up And Live
11. Come We Go Up A Jerusalem

Where on Kaya we had Marley starting out with some laidback sounds, this album immediately delivers the urgency of Bob's message. How else could you clasiffy 'So Much Trouble In The World', the first in this legendary tour of eleven songs. 'No More Trouble' on the Catch A Fire album definately deserved this follow up. Also in 'Top Rankin'' Marley hits a strong note against the status quo; "they don't want us to unite, all they want us to do is keep on fussing and fighting". He sings about brotherly and sisterly love. This expression is then amplified by 'Babylon System' a truly beautiful song despite its sad text. Babylon, everything that is bad in this world, forces upon us their system by deceiving everyone, and sucking blood like vampires. Bob cries for everyone to tell the youth the truth. After having heard his view on the situation of Africans in Jamaica on 'Survival' you'll no longer have any doubts about his Pan African aspirations. This feeling he transforms into sound, 'Africa Unite'! The opening melody of the track is astonishing, and who wouldn't want to hear it during a live performance? Bob only performed it on stage a couple of times. We are presented a "happy" song with 'One Drop', though the voice of a rebel can be heard, as every day we got to keep on fighting, because every day the people are dying for hunger and starvation. In 'Ride Natty Ride' Bob explains that no matter the situation, a man of his kind will always strive forwards. Intelligent men should follow his footsteps. 'Ambush In The Night' is a protest song against the political situation in Jamaica, and applicable on various others too I suppose. It is a very strong song indeed. Besides strong, the sound is well fit for filling any living room or car. The next step is to 'Wake Up And Live'. "Life is one big road with lots of signs", Bob wrote the song together with his friend Anthony Davis. Davis also wrote 'Jingling Keys' for Bob to sing, which sadly he never did. It is a nice song and would fit any of his albums. 'Zimbabwe' is a song Bob had written in order to support and inspire those oppressed by the white minority in Rhodesia, the British colony that would soon gain independence. On the album cover we can see the fourth flag in the sixth row, which represents the flag of the Zimbabwe Africa National Union (ANU), it is not to be confused with the actual flag of Zimbabwe. The leader of the ANU, Edgar Tekere, would later invite Bob Marley to play a concert celebrating the independence of Zimbabwe. This concert can be found within the live material available on this website. Only recently the song 'Come We Go Up A Jerusalem' has been uncovered. This song is arguably the least known song of Marley's discography. It is the last addition on the Roots Reggae Library to the Survival album.

Bob Marley - Uprising

01. Coming In Fom The Cold
02. Real Situation
03. Bad Card
04. We And Dem
05. Work
06. Zion Train
07. Pimper's Paradise
08. Could You Be Loved
09. Forever Loving Jah
10. Redemption Song
11. Slogans

A year later Bob recorded 'Coming In From The Cold' to be the starting track for Uprising. Listen to it and you will hear Bob singing about the same system as in 'Babylon System' on the previous album. When you receive the first tunes from 'Real Situation' you do not expect to be listening to a sad song. But you are, as the situation Marley describes is one of despair. Similar vibes will be felt on 'Bad Card'. Followed up by the religious 'We And Dem'. Nevertheless, both songs are of equal good quality.  'Work', is not merely a religious cry, but also calls for us to come together and work it out. Bob is literally counting down the days. After having heard Peter ask a train to be stopped on Catch A Fire, now the 'Zion Train' is coming our way.. 'Pimper's Paradise' would later be covered by Stephen Marley and Damian Marley, on Damian's Welcome To Jamrock. Stephen sings his dad's lyrics whereas Damian adds a verse. A girl is described in the song as doing things not complying with the rasta faith. The lovely 'Could You Be Loved' hardly needs an introduction. It is one of those songs that became rather popular in mainstream music. Bob thereafter again displays his devotion to Rastafari by singing that we will be 'Forever Loving Jah'. The acoustic hymn of 'Redemption Song' is by many considered to be Bob coming to terms with the fact that he will not live long thereafter. There is also a band version of this song in circulation. This can be provided on special request. As a bonus, I have added 'Slogans' a song that fits this protest album perfectly. It was only released in 2005, after having been found on a recording cassette. Originally Bob only played drums, the track has been modernized and Eric Clapton plays guitar on this added record. There are quite a collection of live performances around from the Uprising tour that Bob Marley played around the world.

Bob Marley - Confrontation

01. Chant Down Babylon
02. Buffalo Soldier
03. Jump Nyabinghi
04. Mix Up, Mix Up
05. Give Thanks And Praises
06. Blackman Redemption
07. Trench Town
08. Stiff Necked Fools
09. I Know
10. Rastaman Live Up
11. Why Should I

Before we start, Confrontation needs to be explained a bit more in detail. Bob had died two years earlier due to the devastating effects of cancer. In 1983 this album came out, which was a collection of singles recorded during his lifetime that were not yet released. 'Chant Down Babylon' is meant to show the strength of reggae music to overcome the struggle in life, especially those who are oppressed. This is what the picture on the album cover displays. Then follows 'Buffalo Soldier' which Bob wrote together with Noel Williams, it became one of Bob's better known songs. After 'Jump Nyabinghi' you realize once more what a positive vibration Bob brought to this world. 'Mix Up, Mix Up' is quite different from other Bob Marley songs. As Bob had already sung to us he would forever be loving Jah, 'Give Thanks And Praises' has the same message. 'Blackman Redemption' with it's chilling "cool runnings" is a nice sixth. Only after which you will find 'Trench Town', which could be classified together with the earlier Wailers song 'Trench Town Rock' and 'No Woman, No Cry' on Natty Dread. These three songs are focussed around the slum neighbourhood of Trenchtown in Kingston, Jamaica. 'Stiff Necked Fools' might recall 'Crazy Baldhead'. Marley shows he is capable of singing reggae ballads too in 'I Know'. This album originally ends with 'Rastaman Live Up' which Bob had written with Lee Perry, just as the last two songs found on Kaya However, I decided to add 'Why Should I', which does not feature an any album, so in the light of this posthumous release fits well into the playlist. The song can be found as well in the discography of The Wailers, although the background vocals there are sung by Peter Tosh and Bunny Wailer, whereas this song has the I-Threes singing along.

The star rating represents a personal rating of the audio quality of each album. Please note that by default albums have been given a full rating. In case of any sound disturbances the rating will gradually lower.

Studio Records
««««« (1973) Catch A Fire
««««« (1973) Burnin'
««««« (1974) Natty Dread
««««« (1976) Rastaman Vibration
««««« (1977) Exodus
««««« (1978) Kaya
««««« (1979) Survival
««««« (1980) Uprising
««««« (1983) Confrontation


Original Date Of Publishing: May 2012