Bob Marley + The Wailers "Soul Rebel" Lp: Sex + Revolution!
For their third Wailers album “Soul Rebel” [1971] [Here] the group
turned to maverick Kingston producer Lee "Scratch" Perry [Info] for creative and
technical assistance. Like the Wailers, Perry was interested in fusing American funk with Jamaican music. He shared their growing interest in the spiritual
themes of Rastafari. Also the politics of black power as developed through
the Wailers recent “revolutionary soul” styled 45 singles, most notably the
1969 “Black Progress” single and tracks such as “Soul Captives “Caution” “Stop
That Train” and “Can’t You See” from the
1970 “Best of The Wailers” album. In addition Perry’s crack studio band the
Upsetters [Info] had a new, hard edged reggae sound. They especially liked and felt
their recordings needed the Upsetter's hypnotic, driving rhythm [“Riddim”] visa
the bass and drum section provided by Carlton “Carlie” and Aston “Family Man
Barrett”.
On the whole, Perry stripped down the Wailers sound to
its bare essentials. Bob, Peter and Bunny's voices were each pushed forward in
the mix and recorded on separate microphones. The tempo and beat was still slowed
down further from the frantic ska and rock steady sound of their earlier
recordings. The bass guitar was pushed forward in the mix as a lead instrument.
The horns were pared back considerably. The new “riddim” section was added. Then
the entire “Soul Rebel” album was spontaneously voiced in one day, with the
emphasis being upon the Wailers soulful James Brown + Temptation's stylized
vocals and the poignancy of their lyrics. Last but not least, for the first time on
album the band was now named “Bob Marley +the Wailers”, quite possibly a point
of contention for Peter Tosh and Bunny Wailer in the years to come!
Vinyl A Side
The “Soul Rebel” songs were arranged on the album in the order they were recorded. The title track “Soul Rebel” [ Hear ]opens side one with Marley declaring himself to be a man in touch with the natural world, as per his recent conversion to the Rastafari religion. He is now the “natty dread”, an outsider from “Babylon”, observing the evils of the modern world all around him. It was now firmly established that the Wailers social justice themes from the “Soul Rebel” album onwards would increasingly deal directly with the themes of black consciousness, and the politics of freedom from oppression for all “sufferahs” around the world, more so than romance.
The “Soul Rebel” songs were arranged on the album in the order they were recorded. The title track “Soul Rebel” [ Hear ]opens side one with Marley declaring himself to be a man in touch with the natural world, as per his recent conversion to the Rastafari religion. He is now the “natty dread”, an outsider from “Babylon”, observing the evils of the modern world all around him. It was now firmly established that the Wailers social justice themes from the “Soul Rebel” album onwards would increasingly deal directly with the themes of black consciousness, and the politics of freedom from oppression for all “sufferahs” around the world, more so than romance.
In “Try Me” [not the James Brown song] Marley is the sacrosanct
black “soul man”, a loving protector of all that is seemingly good in the world.
Elsewhere on the album, “Cornerstone” [Hear] is a biblical reference to Psalm 118:22 the stone that the builder refused as the rock upon which greatness is later built.
Perhaps he is addressing Jamaica’s questionable place in the world after
British independence in 1962. Or maybe he’s just the rejected lover, who will
later prove to be the cornerstone of his partner’s happiness. In each case the
personal struggle also serves as a parable and microcosm of the troubled modern
age. Either way Marley offers a message of hope to the dejected and downtrodden
that, “The stone that the builder refuse will always be the head cornerstone”.
On “400 Years” [Hear] Tosh similarly focuses on freeing oneself, in
this case from a slave mentality, with a ferocious cry for the oppressed black
peoples to arise and shake off the shackles of the slave mindset. However the
uprising he advocates here is not merely a racial struggle against a white oppressor.
Rather he speaks of the shaking off the internal mental demons resulting from
slavery, which in eradicating their original culture and beliefs, have held the
black people back from realizing their true self-worth and potential nigh on
400 years now. Indeed in “Duppy Conqueror” [Hear]
the current hit single but a non-album track, the Wailers proclaimed that if
any evil forces or demons [in slang terms a "Duppy"] comes to test them, they
will be able to conquer the duppy with their cunning, spiritual power and
strength.
Vinyl B Side
Vinyl B Side
If the Wailers increasing use of Rastafari religious references [Info] seems overbearing by today’s standards, remember also that many young people
during the 60’s and 70’s were seeking spiritual fulfillment in what they perceived
as an increasingly godless, oppressive and meaningless world. We have ex-Beatle
George Harrison’s religious conversion to Krishna [for example in his songs “My
Sweet Lord”, “What is Life” All Things Must Pass”, and “Living in a Material
World” etc. etc. etc.]. Bob Dylan too [on his “Gotta Serve Somebody’ 45 and the other
tracks from his “Slow Train Coming” and “Saved" albums”]
In Bob Marley and the
Wailers case, the chief Rastafari sacrament, if you will, was smoking Ganja [
marijuana] which was considered central to spiritual growth, and communion with
Jah [God]. Also as a way to reason [philosophize] and become wise. Consider the
relative youthful appeal of all three religions: fundamentalist bible thumping,
chanting Krishna or the Rasta practice
of smoking Ganga for spiritual enlightenment: Bob Marley and the Wailers Rastafari practices
and themes could certainly prove a winner on the international pop and
underground rock scene they hoped to reach during the rest of the decade ahead!
Musically speaking however, the Wailers still needed an
allusive international hit album to widely reach such an audience. “Soul Rebel”
would continue to adapt the American black soul sound with Jamaican reggae in
hopes of closing the breach. In the
funky “It’s Alright”, Marley comes across stylistically like a Ganga smoking
Jamaican version of James Brown. In “Soul Almighty” [Hear] Bob manages to name check
two US dance styles, the mashed potato [See] and the funky chicken [See] in a smoking Rufus
Thomas R+B and soul groove.
Back cover: Check out Wailers African Hippie gear!
“Rebel Hop” [Hear] manages a medley of hits, quite popular
at the time, matching Bob Marley singing the Wailers hit “Rude Boy” with Bunny
Wailer singing the Motown Temptations” Cloud 9”. In “Reaction” Marley’s soulful
stoned slur is drenched in the religious rapture of perhaps having smoked too
much weed, a new stylistic trademark for him. If not outright stated the Ganga
references were clearly implicit throughout the sound and style of the album.
Finally Soul Rebels closing track “My Sympathy” is an
instrumental version of Tosh’s "400 Years" rather than a new song. As we shall see,
such instrumentals would soon morph into the Dub style B sides of the Wailers
hit 45’s, long before the style had become a major new musical movement in its
own rite.
Lee "Scratch Perry" tried to further define a clear band image
with international appeal employing his controversial design for the “Soul
Rebel” album cover. We see a rather risque black woman [with her nipples airbrushed
out] decked out in rebel gear [uniform and a machine gun] standing in front of
a photo backdrop of Dunn’s Falls [the tourist attraction] in Jamaica. Forget
that she was actually a staffer in the Trojan Record offices photographed in an
upstairs backroom studio in London. The image emphasizes two timely Wailer
themes that Perry figured had a lot of international appeal: sex and
revolution! Left to their own designs, the Wailers got to create the back cover
of the album showing them with their new short dreadlocks, dressed in stylish
hippie like African print outfits. The Wailers as Soul Rebels: Sex, revolution
and Ganga! But would it click?
All the pieces in the Lee "Scratch" Perry “Soul Rebel” package
seem to have provided a good fit and winning formula for the Wailers. Unfortunately
the 1971 album would only initially get released in Jamaica. Even there it initially met
with middling success. Basically, the Wailers remained but a hit local band
with a wave of non-album best selling singles, among them: “Duppy Conqueror [Hear ]”, "Small Axe"[Hear]. “Trench Town Rock” [Hear], “Concrete Jungle”, “Screw Face”, “Redder Than Red” and “Lick
Samba”.
It is these 45’s which helped establish the Wailer's new reggae
style [Info] in Jamaica anyway. They also began playing their own instruments along with
the Upsetter’s Carley and Aston Family Man Barrett on bass and drums. Marley started
playing guitar, Tosh guitar, keyboards and bass, with Bunny on bass and percussion on
these recordings.
Singer Johnny Nash had a hit with Bob's "Stir It Up" first! [1972]
Furthermore it is ironic that other tracks Bob had wrote and
recorded during the “Rebel Soul” and its follow up "Soul Revolution” album would
provide hits for other international stars if not the Wailers; “Stir It Up” [Hear] for
Johnny Nash, and Barbara Streisand’s version of “Guava Jelly” [Hear] among others. Also
noteworthy: Tosh’s "400 Years" would later receive a do over on the "Burning" album.
Also the “Soul Rebels” album cover remains an often overlooked piece of pure
early 1970’s rock schlock despite its questionable good taste. Undaunted the
Wailers would return to the studio with producer Lee Scratch Perry for one more
shot at a still allusive breakthrough album.
Verdict: Soul Rebels is another very important Wailers transitional
album. Vocally, thematically and instrumentally the new template was set even
if the album itself missed the target sales wise internationally or back home
in Jamaica. Nonetheless it’s a noble effort and a good reggae soul record well
worth a listen. I really don’t think a good Bob Marley and the Wailers
collection would be complete without a copy of this album!
Trojan mini lp box set: "Best of ..." "Soul Rebel" Soul Revolution 2" "Soul Revolution Dub"
Trojan mini lp box set: "Best of ..." "Soul Rebel" Soul Revolution 2" "Soul Revolution Dub"
JAD/UM has released a CD version of “Soul Rebel”, complete with
a remaster giving it a modern day digital sheen. Trojan Sanctuary have also rereleased
it in a cardboard mini album sleeve that faithfully replicates the original
cover. It is a part of a 4 cd Wailers “Soul Revolutionaries” box set containing
“Best of the Wailers [1970], “Soul Revolution 2” [1971] and “Soul Revolution
Dub” [1972]. Sound wise, this version of “Soul Rebel” is a bit murkier if not
more authentic compared to the original vinyl record. Shop around online for a
reasonably priced copy of the set and you won’t be upset!
Fortunately Trojan UK has also rereleased “Soul Rebels” as a
vinyl LP. The sound is more even faithfully authentic than the CD release, the
former of which you might’ve guessed I prefer best. A large cover, with an A
Side and a B side track arrangement lets you to best experience a record album as it as
originally conceived and released. The
bass is full, with a clear well rounded and warm "riddim" section and the soaring
ethereal vocals of all three Wailers sound great. You can find a vinyl copy online or
perhaps at a specialty vinyl record store. They seem to be popping up again so
check them out where you live. Two thumbs up for the vinyl album for sure!
Since Perry considered “Soul Rebel” to be
the first “Soul Revolution” album, it must’ve made sense to him, and if hardly
anyone else to name the next album he’d produce for Bob Marley and the Wailers “Soul
Revolution 2” [Hear]. However, as the name implies, the album continues to consolidate
the Wailers new reggae riddim and soul reggae sound from the “Soul Rebel” album. The
themes of sex, and revolution remain consistent too. As for the Ganga
references, they are more direct throughout. [I.e. on “Kaya”, “African
Herbsman”]
With a light hearted reference to the “Soul Rebel” album cover’s revolution
theme, the front and back cover art of “Soul Revolution 2” now instead shows
the Wailers pose menacingly Rude Boy style, but this time with toy guns. Perhaps a
wise move considering the increasingly brutal police crackdown on ghetto protesters in Kingston and the US war against communism being felt around the world during
the early 70’s?
Be that as it may, "Soul Revolution 2" would finally score the
Wailers an album release in both Jamaica and the UK. Slowly but surely from
here on in, Bob Marley and the Wailers would begin to gain street credibility as
an incredibly cool up and coming underground band poised for international
success.
Original Jamaican LP on Maroon: A Side
“Soul Revolution 2” begins with a Marley vocal tour de force on the Wailer style version of the soulful Curtis Mayfield song, “Keep on Moving” [Hear]. It’s a typical anti hero story about a lone gunman on the run from the law, a continuance of the rebellion theme. It’s the misunderstood and badly maligned “sufferah” fighting back against oppression and social injustice similar to Wailers earlier “Rude Boy” theme. Consider it a precursor of the bands upcoming classic “I Shot the Sheriff” track on the “Burning” album. Also the number one US comeback hit for Eric Clapton, the rock guitarist formerly named God, whose version would rocket Bob Marley and the Wailers to world renown! For now however, “Keep On Moving” would result in another best-selling 45 for the Wailers back home in Jamaica where the theme resonated only too well.
“Soul Revolution 2” begins with a Marley vocal tour de force on the Wailer style version of the soulful Curtis Mayfield song, “Keep on Moving” [Hear]. It’s a typical anti hero story about a lone gunman on the run from the law, a continuance of the rebellion theme. It’s the misunderstood and badly maligned “sufferah” fighting back against oppression and social injustice similar to Wailers earlier “Rude Boy” theme. Consider it a precursor of the bands upcoming classic “I Shot the Sheriff” track on the “Burning” album. Also the number one US comeback hit for Eric Clapton, the rock guitarist formerly named God, whose version would rocket Bob Marley and the Wailers to world renown! For now however, “Keep On Moving” would result in another best-selling 45 for the Wailers back home in Jamaica where the theme resonated only too well.
“Put it On” [Hear]: This second version of the song remains a
classic tale of “I rule my destiny”, echoing the theme of the Wailers “Rude Boy”
1965 hit single in which the listener is encouraged to “Walk the proud land
with me.” Another fine outing that would finally be definitively nailed down
for good on the "Burning" album too!
Also noteworthy in the “re do” column: Bunny takes the lead
on “Don’t Rock the Boat” [Hear]. Was it a tongue in cheek tale of caution for the
would be rebel, or simply a love song? Or both? The track would later be rerecorded
as “Satisfy My Soul” on the “Kaya” album. It is interesting that another version of the tune, with a different lead vocal would be released at the time
of the album release as another Wailer hit 45.
Maroon Records B Side
Likewise a fourth version of the Wailers “Duppy Conqueror” hit, mostly an instrumental for reasons unknown is included for the first but not the last time on a Wailers album. It too would later be rerecorded for the "Burning" album. Peter Tosh weighs in with a melodica keyboard instrumental on "Memphis". The Wailers were now becoming increasingly involved in not only arranging but also in playing the instruments on their records, a harbinger of greater records to come. Also note that this track is the only one by Peter Tosh included on this latest album by “Bob Marley + the Wailers”. On “Soul Rebel" he had been allowed three.
“African Herbsman” [Hear] is a rewrite of a Richie Haven's song with
an obvious reference to marijuana. Consider it a Wailer's tip of the hat to the
pot smoking international underground music scene which the band needed to
attract before international stardom could be theirs! Likewise “Kaya” [Hear] is a
thinly disguised ode to the herb, in this case a strain of the weed
traditionally used by the Rasta Bush Doctor for healing purposes, so to speak. It
would later be re-recorded for inclusion on the album of the same name.
Unlike most artists Bob Marley and the Wailers would often
rerecord and re-release many numerous studio versions of their various songs as
they reworked them towards musical and lyrical perfection. As such much of
their early work can indeed be considered as working versions of the greater
more well-known records yet to come.
Bunny Wailer: Cooler than cool!
Bunny Wailer: Cooler than cool!
Bunny again sings lead vocals on “Riding High” [Hear] a romantic ode
to a reluctant girl whom he fancies. Marley also contributed a more risqué
number with “Stand Alone” [Hear] in which he bemoans wife Rita’s apparent
infidelities. Considering that Bob had at least 11 children, but only 4 with
his wife his machismo seems to blind him to the songs inherent contradictions.
Nonetheless the album is not without its brand of sex and romance with the
inclusion of these two songs.
Marley’s “Sun is Shining”, seems like an unfinished musical
improvisation that makes little clear lyrical sense. However it has a
hauntingly beautiful melody seemingly borrowed from the Gershwin
classic “Summertime”. He would later revisit the song again on the “Kaya”
album.
"Soul Revolution 2" Album back cover
“Brainwashed”[Hear]: Bunny’s third song closes the album. It reiterates the Wailer's mental slavery theme from “Rebel Soul”. The black listener is warned to not believe the rubbish they were taught about themselves and their place in the world visa vis the fairy tale and nursery rhyme self images they were force fed as children.
“Brainwashed”[Hear]: Bunny’s third song closes the album. It reiterates the Wailer's mental slavery theme from “Rebel Soul”. The black listener is warned to not believe the rubbish they were taught about themselves and their place in the world visa vis the fairy tale and nursery rhyme self images they were force fed as children.
Verdict: "Soul Revolution 2" is the template upon which all
future Bob Marley and the Wailer albums would be based. Sound wise it
gracefully nails down the bands new harder edged reggae riddim sound with a
dash of soul. It is firmly branded with the Wailers trademark themes of sex,
revolution and Ganga. Unfortunately perhaps, it also emphasizes Bob Marley not
only in the band’s name on the album, but also with the predominant role given
to his songs and vocal talents. It’s good to see Bunny finally get three songs
on the album at least. Still, with everything else in place, Bob Marley and the
Wailers were now ready for a serious crack at the big times! As such it is an
essential album for your collection!
Indeed, Trojan Records [Info] agreed to release "Soul Revolution 2" in
the UK. Although more of a curio than a big hit, its reggae sound and hip style
resonated with the underground crowd looking for something new in music. The
Wailers had finally earned a toehold on the international market! The album
also sold well in Jamaica, bolstering the bands album street credibility there
now too. With a leading edge record album and new sound the Wailers were now
firmly ensconced at the head of the Jamaican music pack.
Soul Revolution 2 Dub Version
Soul Revolution 2 Dub Version
Lee "Scratch" Perry
Producer Lee "Scratch Perry" Perry was so pleased with the albums
success that he decided to produce a very limited edition Dub version of the
album for the club DJ’s and radio stations in Jamaica to play. It too was titled
“Soul Revolution 2” [Sample], and used the same cover, then when they ran out, just a
blank one creating a lot of confusion for record collectors in the years ahead.
Basically, Perry remixed the album by removing the Wailers
vocal tracks to recreate a bare bone instrumental version of the songs. It also
featured a very faint and ghostly Wailers vocal track that was only vaguely apparent
in the background where the vocals had originally bled over into the
instrumental tracks during the recording process.
The idea was that the "Soul Revolution" dub versions could be
used as instrumental tracks for the Jamaican DJ’s to rap over in between songs.
Perry did not invent dub. It was already a trend in Jamaica. In retrospect, it
might not even really be considered a dub record since it lacks the more
sophisticated special remixes and sound effects used today. However, with the
Upsettters strong bass and drum “riddim” section the parallel with today’s bass
and drum music is very self-evident. Perry was definitely ahead of the times in
popularizing and then later on developing the new dub style [Info] much further, as
did Bunny Wailer, but more on Bunny’s future efforts later in our discography.
Bob, Peter + Bunny
Bob, Peter + Bunny
As For Perry, he had a falling out with the Wailers after
they belatedly learned that he had sold the rights to the album to Trojan
Records in the UK for 18,000 lbs. They of course wanted their share, which they
believed was based upon a verbal agreement that Perry and the band would each
get a 50/50 split of the sales. A fist fight and a formal end to Perry’s role
as Bob Marley + the Wailers producer resulted when he denied that any
such agreement existed. Bob and he would continue to informally work together
on some of Marley’s musical ideas but Lee "Scratch" Perry’s prolific role in our
Bob Marley and the Wailers discography was over.
It is also noteworthy that Perry pocked the sales of the dub version of "Soul Revolution" for himself,
arguing that he had already paid the Upsetters for the session work on its
instrumental tracks and as for the Wailers, well their vocal tracks had been
removed from the album. Ironically when the Wailers left they took the Upsetter’s
Barret brothers bass and drum riddim section with them. Tired of using hired
guns on guitar Bob and Peter would from now on play themselves with Bunny sometimes
on bass, other times on percussion. The lineup for the classic Wailers band
was now firmly in place and the bands greatest and best known albums were soon to
follow.
Lee "Scratch" Perry : acrylic on canvas by Maria Rodsky
Both JAD/ UM and Trojan have released cd versions of "Soul Revolution
2" and the "Dub Version" of the album. As with the earlier Wailers soul recordings I personally
prefer the Trojan releases for their more authentic sound. The clear digitally
remastered JAD UM releases however, are more “cleaner”. It really depends upon
your own aesthetic in deciding which to purchase. Myself? I need both!
The Trojan "Soul Revolutionaries" box set remains an essential
buy as it includes all four of the Wailers 1970-72 albums in mini cardboard
replica covers with the original tracks intact in the original running order. JAD UM has also released copies
of both "Soul Revolution" albums. A few bonus tracks are added on at the end
of the "Soul Rebel" + "Soul Revolution" albums. Their newly remasterd dub version
of the "Soul Revolution" Dub version has been retitled “Upsetter Revolution Rhythm”.
The track listings are identical to the original album with a bonus alternate "Kaya" dub remix added. All of these releases shouldn’t be hard to find for sale
at a reasonable price online, especially in the New + Used listings on
Amazon.ca.
Wailer Discography: 1967-72 Collections
As I’ve repeatedly emphasized, the Wailers were originally
first and foremost a singles band until the early 1970’s. It is also noteworthy
that they released their music spread out on quite a few labels including their
own Wailin’ Soul [Info] and Tuff Gong [Info] ones. In addition there was a wealth of other
lesser known and officially unreleased recordings from this period. In an
attempt to make some sense of these recordings a buyer’s guide to the best
releases I’ve found follows to help complete your Bob Marley and the Wailers
collection from between 1967-72.
Trojan front album cover
"African Herbsman": Lee "Scratch" Perry sold Trojan the
rights to the tracks from both Soul Rebel and "Soul Revolution" although they
only chose to release the latter at the time. In 1973 when Bob Marley and the
Wailers really took off they decided to rerelease the "Soul Revolution" songs on
a new album, with a different track order and include some of the Wailers best 45s
from this era. [ Hear Album ]
Trojan record label with logo
Despite the rather rather crass commercial intentions the album nonetheless became many UK fans first exposure to the Wailers earlier recordings. It remains a fan favourite for that reason through until today. In 2003 Trojan re-released "African Herbsman" on CD with 10 bonus tracks, including some of the dub versions and a few more singles. While hardly indispensable it is a fun listen and will have nostalgic value for anyone who might’ve originally purchased it in 1973. However I myself am much fonder of the warmer sound on their vinyl reissue of the original "African Herbsman" album.
Despite the rather rather crass commercial intentions the album nonetheless became many UK fans first exposure to the Wailers earlier recordings. It remains a fan favourite for that reason through until today. In 2003 Trojan re-released "African Herbsman" on CD with 10 bonus tracks, including some of the dub versions and a few more singles. While hardly indispensable it is a fun listen and will have nostalgic value for anyone who might’ve originally purchased it in 1973. However I myself am much fonder of the warmer sound on their vinyl reissue of the original "African Herbsman" album.
"African Herbsman" vinyl record: The back cover with original track listings.
“Ammunition Dub Collection” [JAD UM] is a collection of a
lot of later dub versions of the Wailer tracks from this period. Some are
pretty cool, others are hardly essential. A fun but not necessary disc to own
unless you are a completest or especially interested in Lee "Scratch" Perry’s
early experiments in dub.
“Wailin n’ Soul’m Singles Selecta” [JAD UM] includes the 45’s
released on the Wailers first record label and sold from their own Kingston
record shop. Nice sound. Lots of classic tracks. I’d say this is a must have.
See the review under part 1 of my Wailers discography.
45 Vinyl Box Set
45 Vinyl Box Set
The 2 CD “Complete Upsetter Singles 1970-72 Plus Dubs”
[Cleopatra] is pretty complete as far as the Upsetter label goes. It also
includes many missing dub versions which is pretty cool. However Upsetter did
not release all of the Wailer's big Jamaican hits during this period.
Most of
these same tracks are already available on the other albums I’ve reviewed. Therefore
it’s an overall a rather spotty collection of Wailer 45’s, which perhaps
outside of a few rare dub sides and variations you will also easily find
elsewhere. If you see it for cheap, snatch it up. If not, you might want to
pass on this one. There is also a vinyl collection with 6 of the 45’s with
their correct dub B B-sides, which seems tantalizing if not expensive. I have
yet to hear the records myself so will reserve judgment. If you have heard them
please don’t hesitate to provide your own review for us in the Comments section
below this blog!
“127 King Street” [JAD UM] This fabulous disc includes the
missing 45’s from above, and what songs they are! While success continued to
evade the Wailers for most of 1970-72 they continued to bat out great non album singles
that sold very well in Jamaica often on their own Tuff Gong label. These are also some of the first tracks that the Wailers played on as well as
sing. "Screw Face", "Lick Samba", "Trench Town Rock", "Concrete Jungle"; they are all
here. Buy this CD!
"Original Cuts" [JAD UM]: Now here’s a handy collection of two
dozen early versions of the songs Bob Marley + the Wailers would later rerecord
on their more famous well known albums. A few rare dub sides are also thrown in
for good measure. Regretfully, the linear notes, while interesting and
tastefully done only provide a brief outline of when the different versions
featured here were actually recorded. Tut tut! Nonethess, this is an essential
disc. It’s great to have the tunes altogether on one cd and is a very
listenable and enjoyable Wailers collection.
Peter Tosh: “Can’t Blame the Youth” [UM Jad] These tracks
are a must have. The CD includes Peter Tosh’s solo and Wailer tracks from the
1969-72 period. One often forgets Peter was a major reggae artist in his own
rite. As such these tracks are absolutely indispensable. “Arise Blackman” is
included here, as are the hits “Mega Dog”, and the Rude Boy classic “Them a Fi
Get A Beatin’”.
Equally delicious is the title track and “Here Comes the
Judge”. Basically Peter attacks the slave mentality issue with no bars hold.
While the Jamaican Rude Boys were being held to a very high moral standard for their acts of rebellion, Peter asks why the Jamaican youth weren’t being taught
in school that many of their so called national heroes were actually slave
traders, and pirates. On "Here Comes the Judge" they are one by one put on trial
for their crimes in a hilarious court room send up that is worth the price of
the disc alone. Do not hesitate to buy this disc!
Peter Tosh: “Arise Black Man” [Trojan] There’s some overlap
here as the CD includes the title song as well as “Them a Fi Get a Beating”.
Although it omits “Here Comes the Judge” we are treated to a lot of very rare
Tosh tracks including the “Mega Dog” variations, a “Rudies Melody”, The Return
of Capone”, “Downpresser” [a big solo hit for Peter previously recorded by the
Wailers as “Sinner Man”!] “Selassie Serenade” [The Rasta Theme again] and
Peter's lesser known solo work with Lee "Scratch" Perry! This is a helluva fun
disc with all sorts of oddities and forgotten greats. I’d recommend getting
both of these Tosh CD’s if you can find them for a good price.
Box Sets: There are a number of discs arranged in box sets
and sold independently as single CDs covering the many recordings variations,
experiments and lesser known tracks that the Wailers recorded during their
1967-72 soul period. These are definitely for the hard core fan and
can be quite pricey even and hard to find. However the sound quality is usually
quite good and you can learn a lot by examining these tracks as the artists audio note
pad of ideas and musical directions if you will. I have decided to go with the EMI
French "Complete Wailers 1967-72" sets, discs 1 to 3 and 7 to 8. As such I cannot
review the other series as I am not as familiar with them but if you wish to
provide a review please do so in the Comments section below or as a guest blog.
Lots of alternate versions, rare singles, and obscure tracks
produced by Leslie Kong and R+B singer Johnny Nash. Nash had a big hit with Marley’s "Stir
it Up" [Hear] and even had Bob sing backup vocals and help with the arrangements of his
number one hit “I Can See Clearly Now” [Hear]. He was a big promoter of Bob and even
brought him to England and introduced him to the important music industry
insiders to try to help him get a break after "Soul Revolution" was released. We
are treated to the original versions of “Chances Are” and his only single
release during the trip “Reggae on Broadway” [Hear]. Despite its inane lyrics the
record is one huge quivering slab of hard rocking reggae funk, an experimental
direction he would not try again, especially after the single went nowhere and
has since been all but forgotten.
Bob Marley's UK Solo 45 Reggae on Broadway
It's interesting how Marley was ready to go it
alone without the Wailers on this trip. Was it a harbinger of changes to come? The
other handful of largely forgettable recordings Marley made on the trip are
also included here without the ridiculous overdubs on the post death “Chances
Are” album which gullible consumers were tricked into buying thinking it was a
long lost Bob Marley album. Far from it.
Equally fascinating is a little known
single the Wailers recorded as a long shot at breaking into the US
market: a reggae version of the Archie’s bubblegum hit “Sugar Sugar” [Hear]. No, it
went nowhere, but yes, it is a whole lot of fun and kind of scary to imagine
what direction the Wailers might've gone had it been a hit!?
Some of the dub sides here grow wearisome after a while.
There sure were a lot and mostly they were just the instrumental tracks from
the singles. Disc 2 “Selassie in the Chapel” [Hear] includes the very rare spiritual
of the same name, as well as the mega rare “Black Progress” 45 and its dub B-side,
either of which justifies buying this disc!
Complete Wailers 1967-72 Part 2 Discs 4-6:
You get the complete "Soul Rebel", "Soul Revolution" + "Best of the Wailers" [1970] [see last review] albums on separate discs with the dub versions attached. Some of these would’ve been later remixes, especially the ones on "Soul Rebel", which weren't originally released at the time. Disc 6 “More Axe” includes a collection of most of the Wailer and Lee "Scratch Perry" remaining recordings, most of which you might find elsewhere but here they are all in one place. This set essentially contains most of the Perry produced recordings together in one place. If you already have the albums it is rather a waste and of course you don’t get the original album artwork. Copies are usually expensive and very hard to find so you really need to decide for yourself whether this is an essential set for your Marley collection.
You get the complete "Soul Rebel", "Soul Revolution" + "Best of the Wailers" [1970] [see last review] albums on separate discs with the dub versions attached. Some of these would’ve been later remixes, especially the ones on "Soul Rebel", which weren't originally released at the time. Disc 6 “More Axe” includes a collection of most of the Wailer and Lee "Scratch Perry" remaining recordings, most of which you might find elsewhere but here they are all in one place. This set essentially contains most of the Perry produced recordings together in one place. If you already have the albums it is rather a waste and of course you don’t get the original album artwork. Copies are usually expensive and very hard to find so you really need to decide for yourself whether this is an essential set for your Marley collection.
We hear more dub tracks and leftover recordings from the Lee "Scratch" Perry and Johnny Nash sessions. There are also rare originals, various
alternate recordings and extended club remixes. This set is a bit scattered but
is important to include to round out the material on the first 6 discs. It’s a
fun listen, though hardly as earth shattering as set 1 or 2.
Please note that the linear notes with these discs are in
French. Apparently they have a wealth of information on them, but unfortunately
I don’t speak French. Maybe that won’t be a problem for you? It would be a big
plus to get down to all the nitty gritty here about the sessions. Apparently an
English version was later released but I have not seen it myself.
More Reading:
Smile Jamaica: my visit to Bob Marley's birth + burial place in the mountain town of 9 Miles @ Hi! Hi! Hi!
On The Beach: Everyone knows the rastaman's got the best ganga @ Yah/ Jah!
NEXT: Wailers Discography Part 4: Catchin’ Fire!Smile Jamaica: my visit to Bob Marley's birth + burial place in the mountain town of 9 Miles @ Hi! Hi! Hi!
On The Beach: Everyone knows the rastaman's got the best ganga @ Yah/ Jah!
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