Youtube Bob Marley Is This Love – As Tuff Gong release a series of limited edition Marley albums, we round up the greatest hits of reggae’s biggest stars.
The Wailers of the ska era led to the unique Jamaican fashion of the 60s, glorifying or condemning the violent cult of Kingston “rude boy” youth. It is noteworthy that, considering his previous sociopolitical songs, Marley focused on the impoverished situations that created the phenomenon: “He wants, he wants, he can’t get it, get it, get it, I don’t want it.”
Youtube Bob Marley Is This Love
Selassie Is the Chapel is unlike any other song Marley has ever recorded, and is actually a doo-wop song with a Rastafarian twist. The guitar and drums are set against a noticeably detuned lo-fi background, which only makes Weeper’s high-pitched harmonies all the more powerful. It is terrible and unbelievable.
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Initially unconvinced by punk Marley, he eventually recognized the Roxy’s neighbors as kindred spirits – “outcasts from society” – and threw his money into a high-energy punk-reggae party called Clash and the Damned, saying “it won’t be boring old farts ” commanding be” in the title event.
The way the opening track of Exodus slowly plays out is really exciting—it takes 30 seconds to fade out—and its mood is chilling too, with lyrical references to the Apocalypse and “more people will have to suffer.” many more will “have to die”.
Producer Chris Blackwell may have sweetened White Ears’ vocals, but you could never accuse The Wailers of sugarcoating their message themselves. Evidence A: Catch the fire opener Concrete Jungle A very grim reportage, presumably not about the slums of Kingston, but about Marley’s time in the US in the mid-60s.
The Wailers in London in 1973… (from left) Peter Tosh, Aston “The Family Man” Barrett, Bob Marley, Earl Lindo, Carlton Barrett and Bonnie Weller. Photo: Michael Ochs Archives/Getty Images
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The Wailers have always been open-minded musically: from Bacharach and David in the 60s to the Archies’ Sugar Sugar, while 1971’s Lick Samba ventured into Latin American music. Could You Be Loved?, on the other hand, combines Marley’s sharp pop instincts with disco, especially with the I-Threes choruses.
Marley’s pre-Island discography may have been complicated — many releases, many labels — but ’00s Fy-ah Fy-ah, Man to Man and Grooving Kingston 12 tidied it up nicely, revealing the likes of Caution: a quirky, quivering leader. . guitar, haunting harmonies in the chorus, and the hit chorus of “Hit Me From the Top, You Crazy Funk Mom.”
Marley’s great music was inspired by Curtis Mayfield – the young Wailers even replicated the Impressions attitude in the picture. It’s tempting to call Johnny Mayfield’s response to “The Death of Freddie”: an empathetic examination of sudden death (“a stray bullet”), but with a wider meaning, a richness of harmonies against the lyrics.
Smiling Jamaica, the theme of the concert in Kingston, almost cost Marley: he was shot dead by gunmen two days before the show. It’s easy to think that the song itself is a strange afterthought: despite the title, it sounds bleak and dark, as if Marley doesn’t quite trust the emotions the lyrics are meant to convey.
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Recorded at one of Marley’s first Wailers sessions since returning to Jamaica from a US sojourn in the mid-60s, Free Time is influenced by the music he heard in America: a civil rights song with a distinctly evocative impression of People Ready Well. lyrical – and a total delight: piano-driven rocksteady with beautiful descending melodies.
As gritty and powerful as Marley was in the late ’70s, “War” does away with standard chorus structures and all semblance of lyricism. The music exists as a humble background to a quote from Haile Selassie’s speech: “War is everywhere until the philosophy of the superiority of one race and the inferiority of another is finally discredited and abandoned once and for all.”
Marley recorded several versions of One Love—which began as a ska track in 1965—but the version he included on People Get Ready in Exodus was the final version. Its contemporary role as the upbeat soundtrack to Jamaica’s many tourism commercials belies the fire-and-brimstone aspects of the lyrics.
Often seen as a metaphorical song about colonialism, it seems to be, at its core, about The Wailers’ long relationship with the Jamaican music industry. Burnin’ re-recording beats Lee Perry’s original – slightly slower, with Peter Tosh’s beautiful voice.
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Of all the Wailers’ collaborations with Perry in the early ’70s, the title track from their December 1970 album is the most progressive. Regardless of how it’s done, it would be a great song, but its heavy bass feels like it’s a decade away.
1979’s Survival LP was Marley’s most radical political statement yet, and his focus on Pan-Africanism was not only reflected in Top Rankin”s lyrics (“They don’t wanna see us put together… That’s all we did.” keep killing each other.) , but the sound of it: Horn has more than a touch of Fela Kuti.
Marley frequently revamped older material in the ’70s, but Kaya’s 1978 version of Sun Is Shining (a song clearly inspired by Eleanor Rigby) pales in comparison to Perry’s 1971 version: minimal, bass-heavy, more Gloomy – It sounds better than the lyrics. he suggested, weaving Tosh’s melody over Marley’s voice.
Jamming is Marley’s most intimate and well-known style, but the music underlying this captivating tune is surprisingly hard. Check out the instrumental and vocal versions included on the deluxe edition of Exodus for proof of the amazing rhythm section the Wailers boast.
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After Tosh and Bunny Wailer left, Marley had a big hit with Natty Dread in 1974. The tension of Them Belly Full dissipates Them Belly Full dissipates the tension of Them Belly Full, interrupted by the ominous warning of “forget your troubles and dance” call: “It’s an angry hungry crowd.”
Co-written by Perry, Duppy Conqueror’s Louie Louie-esque groove seems to pay homage to producer Joe Higgs’ unique method of curing stage fright by having mourners rehearse in graveyards. “If you’re not scared of fe sing fe duppy [ghosts],” Wailer explains, “the audience can’t scare you.” The high-pitched, trembling interjections add just the right amount of mystery.
Natty Dread’s opening track is the reggae equivalent of Rock and Roll Is Here to Stay: a passionate espousal of the genre’s virtues, and Island Records is trying as hard as anyone to bring Marley to white audiences. A unique audience-supported version of Live 1975! It felt like a mutual explosion of joy.
A lot of Exodus tend to be quiet, but the power of its title track comes from a relentless sense of urgency. Exodus is built around a riff that stays the same for most of its eight minutes. Its last 60 seconds are the closest a ’70s Wailers album will come to dubbing.
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Slave Driver and Tosh’s excellent 400 Years is the most intense moment in Catch a Fire. “My blood runs cold every time I hear the crack of the whip,” Marley sings, capturing the song’s emotional temperature. For all his fame, he’s also frosty — he’s sure the “tables have turned” and his target is in hell.
Aside from how Marley got his wife Rita to sing the backing vocals on a song about his mistress, Cindy Breaksby, Dim Your Lights is a beautiful love song. It’s somewhere between reggae and soul ballad, with a beautiful melody, while the slide guitar and – yes – the harmonies are beautifully done.
Eric Clapton’s hit song brought more attention to Marley as a songwriter, but his glitzy funk wasn’t the original Wailers police patch that lacked the falsetto, organ lines and echoing breakdown: “If I’m guilty, I’ll pay!” —and funk-style clavichords.
Bob Marley backstage before a show at Milan’s San Siro stadium in June 1980. Photo: 56 Hope Road Music Ltd./Reuters
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Kaya is, by some accounts, the least popular of Marley’s 70s albums, a light filler sandwiched between the hot Exodus and fiery Survival, but its hits are irresistible, a testament to one of Marley’s lesser talents. a great pop craftsman is layering one beautiful melodic hook on top of another.
The Perry-produced original Trenchtown Rock, one of 24 singles released by the Wailers in 1971, had one of the biggest early releases of all time: “One of the good things about music is when it doesn’t hurt you.” He brought reggae to the suburbs of Kingston, staying with Marley’s live shows throughout his career.
Rita insists that Marley knew he was dying when he recorded “Uprising”; the closing track, of course, provides its own musical epitaph. Redemption Song features a full band version, but lacks the original soundtrack influence. closer than folk
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