Bob Marley & The Wailers -

Bob Marley (Feb. 6, 1945 — May 11, 1981) was a Jamaican vocalist, guitarist, and songwriter known internationally as the frontman of Kingston reggae legends The Wailers. He led the band through several iterations over an 18-year period, achieving global fame with a series of albums on Island Records between 1973 and 1978.

Marley co-founded The Wailers in 1963 with Bunny Wailer and Peter Tosh. The act released a string of ska-soul singles on Wail ‘N Soul ‘M and other labels during the mid-to-late 1960s, culminating with two albums on Upsetter in 1970 and 1971.

Marley broke internationally with Catch a Fire (1973) and Burnin’, which introduced songs like “Stir It Up,” “Concrete Jungle,” and “Get Up, Stand Up.” After Tosh and Wailer departed, he regrouped as Bob Marley & The Wailers and recorded Natty Dread (1974), Rastaman Vibration (1976), and the politically charged Exodus (1977), which featured “Jamming,” “Three Little Birds,” and “One Love.” He survived a 1976 assassination attempt and rebounded with the global hit Kaya (1978), followed by Survival (1979) and Uprising (1980). His stage shows with the I Threes and Wailers band established him as a worldwide symbol of resistance and spiritual resolve.

The Wailers members: Bob Marley (guitar, vocals), Bunny Wailer (vocals, percussion, 1963-74), Peter Tosh (vocals, guitar, 1963-74), Beverley Kelso (vocals, 1963-65), Junior Braithwaite (vocals, 1963-65), Cherry Green (vocals, 1963-65), Constantine “Vision” Walker (backing vocals, 1966-67), Aston “Family Man” Barrett (bass, 1969-81), Carlton Barrett (drums, 1969-81), Rita Marley (backing vocals) Marcia Griffiths (backing vocals, 1974-81), Judy Mowatt (backing vocals, 1974-81), Al Anderson (lead guitar, 1974-75, 1978-81), Junior Marvin (lead guitar, vocals, 1977-81), Earl Lindo (keyboards, percussion, vocals, 1973-74, 1978-81), Tyrone “Organ D” Downie (keyboards, percussion, vocals, 1975-81), Alvin “Seeco” Patterson (percussion, 1974-81)

Background

He was born Robert Nesta Marley on February 6, 1945, in Nine Mile, Saint Ann Parish, Jamaica to Norval Sinclair Marley (1885–1955) and Cedella (née Malcolm, 1926–2008). Norval — originally from Crowborough, East Sussex, England with Syrian Jewish ancestry — was 60 years Bob’s senior. He died at age 70 when Marley was 10. Cedella was a Jamaican singer and writer who would later author two books about her son.

As a child in Nine Mile, Marley befriended Neville Livingston (b. 1947), who adopted the name Bunny Wailer. They played music together at Stepney Primary. Cedella started seeing Thadeus Livingston (Bunny’s father) and they had a daughter, Claudette Pearl, Bob and Bunny’s mutual half-sister. The Marley’s and Livingston’s settled in Trenchtown, where the boys listened to local ska music and American R&B via US radio.

Marley and Wailer formed a vocal group with fellow Trenchtown youth Beverley Kelso, Junior Braithwaite, and Peter Tosh. They rehearsed near the residence of Joe Higgs of the popular vocal duo Higgs and Wilson. Higgs became their harmony coach and taught Marley how to play guitar.

The Wailers

By 1962, Marley (guitar), Tosh (keyboards), and Wailer (percussion), formed the instrumental core of the Teenagers with Braithwaite on vocals and Kelso and Cherry Smith on backing vocals. They went through several name changes (the Wailing Rudeboys, the Wailing Wailers) before settling on the Wailers.

Apart from the band, Marley cut a 1962 single with Kingston producer Leslie Kong: “Judge Not” (b/w “Do You Still Love Me?”), released on Beverley’s Records with backing by the label’s house band, Beverley’s Allstars. Another track, “One Cup of Coffee,” appeared on the back of a 1963 Ernest Ranglin single.

In 1963, the Wailers caught the ear of Clement Dodd, founder of Coxsone Records, who produced their first single “Simmer Down” (b/w “I Don’t Need (Your Love)”), a Jamaican #1 hit in February 1964. It was recorded at Studio One with backing by the Skatalites. Between 1964 and 1967, the Wailers issued 19 further singles on Coxsone.

The Wailing Wailers

The Wailers released their debut album, The Wailing Wailers, in late 1965 on Studio One.

The album compiles 1964–65 recordings by the core trio of Bob Marley, Peter Tosh, and Bunny Wailer, then billed as The Wailing Wailers. Though later regarded as their debut, the LP was not a conventional studio album but a curated compilation assembled by producer Clement “Coxsone” Dodd, who selected what he deemed their strongest ska-era sides for Studio One.

Sessions occurred at Jamaica Recording Studio on Brentford Road, Kingston, with backing by the Soul Brothers, Studio One’s in-house band. Tracks feature multiple former members, including Junior Braithwaite, Cherry Smith, and Beverley Kelso, though the sleeve photo depicts the trio lineup of Marley, Tosh, and Wailer.

Dodd sequenced the album around youth anthems like “Simmer Down,” “Rude Boy,” and “Lonesome Feeling,” which established the Wailers as early spokesmen for Kingston’s rudeboy subculture. “(I’m Gonna) Put It On” and “One Love” introduced lyrical themes that Marley would revisit in later decades. Covers of “What’s New Pussycat?” and “When the Well Runs Dry” reflect the group’s grounding in American soul, interpreted through the lens of Jamaican ska.

A1. “(I’m Gonna) Put It On” (3:06) — Originally issued in 1965 as a single on Studio One, written by Bob Marley with producer Coxsone Dodd. The lyrics affirm religious devotion and resilience through hardship. Marley re-recorded it in a slower, rocksteady tempo on Soul Rebels (1970).
A2. “I Need You” (2:48) — One of the Wailers’ earliest Studio One ballads, written and sung by Marley in 1964. A separate, faster version with different arrangement appears on Soul Rebels. The lyrics express romantic yearning.
A3. “Lonesome Feeling” (2:50) — Written by Marley, Tosh, and Livingston and released in 1965, this track emphasizes their signature three-part harmony over a lively ska beat. The lyrics deal with abandonment and emotional solitude.
A4. “What’s New Pussycat?” (3:02) — A 1965 hit by Tom Jones, written by Burt Bacharach and Hal David for the film of the same name. The Wailers’ version adapts it into a ska format with vocal interplay. The lyrics convey infatuation and bemusement.
A5. “One Love” (3:20) — Marley wrote and recorded this original ska version in 1965. It later evolved into the reggae anthem “One Love / People Get Ready” (1977), incorporating Curtis Mayfield’s refrain. The song calls for peace, unity, and collective spiritual love.
A6. “When the Well Runs Dry” (2:35) — Originally a 1961 Southern soul single by William Bell, written by Bell and adapted here in ska form. The lyrics reflect heartbreak and longing in the wake of emotional depletion.

B1. “Ten Commandments of Love” (4:16) — A 1958 doo-wop ballad by Harvey and the Moonglows, written by Marshall Paul and recorded for Chess. The Wailers’ version slows the tempo and emphasizes choral harmony. The lyrics list rules for romantic devotion.
B2. “Rude Boy” (2:20) — A Marley original written in 1965 to address Kingston’s street youth. The lyrics both warn and defend the rudeboy lifestyle amid rising violence and police pressure.
B3. “It Hurts to Be Alone” (2:42) — Sung by Junior Braithwaite and released in 1965, this was one of his few leads before leaving the Wailers. The lyrics describe romantic despair. Written by Braithwaite with Studio One arranger Jackie Mittoo.
B4. “Love and Affection” (2:42) — A Marley ballad recorded at Studio One in 1965. The lyrics express tenderness and desire for emotional connection.
B5. “I’m Still Waiting” (3:31) — Written and recorded by Marley in the mid-1960s; this original version was later remade in 1971 for Soul Revolution with a slower, organ-laced arrangement. The lyrics concern emotional vulnerability and waiting for a partner’s return.
B6. “Simmer Down” (2:49) — Released in January 1964 as the Wailers’ debut single on Studio One and Jamaica’s first No. 1 ska hit. Written by Marley and produced by Coxsone Dodd with the Skatalites backing. The lyrics urge Kingston’s youth to reject violence.

Clement Dodd produced the sessions and compiled the LP. Early pressings featured original 1965 mono mixes; most subsequent reissues altered the sound with overdubs to reflect later musical trends. A proper CD edition with the original tracklist and artwork did not appear until 2016. The 1971 reissue cover, with a posed shot of Tosh, Marley, and Wailer, later inspired the 2 Tone Records Walt Jabsco logo.

Meanwhile, Marley mentored the Soulettes, a vocal trio that included Rita Anderson, his soon-to-be wife. In 1968, they flew to the Bronx, where Marley cut a number of US-friendly sides with songwriter Jimmy Norman, including “Gonna Get You” and “Stay With Me.” That October, they had their first child, Ziggy Marley.

1969–71: Evolution

During the late ’60s, Marley converted to Rastafari and grew his hair into dreadlocks. The Wailers broke with Dodd and linked with producer Lee “Scratch” Perry and his studio band the Upsetters. As ska gave way to reggae, the Wailers slowed their tempos and adopted more guitar-based arrangements, as heard on the 1970/71 Wailers albums Soul Rebels and Soul Revolution Part II.

Soul Rebels

Bob Marley & The Wailers released their second album, Soul Rebels, in December 1970 on Trojan Records.

Recorded with Lee “Scratch” Perry at Randy’s Studio in Kingston from August to November 1970, Soul Rebels marked the group’s first album issued outside Jamaica. Perry shaped the sessions around a pared-down ensemble sound with voice, guitar, bass, drums, and organ, emphasizing dryness, separation, and narrow tonal space. The absence of horns and auxiliary layers gives the album its stark, early‑70s character.

Marley sings lead with rhythm guitar. Peter Tosh contributes vocals and select songwriting, and Bunny Wailer provides harmony parts. Backing tracks were supplied by the Upsetters’ rhythm unit under Perry’s direction, with Aston Barrett on bass and Carlton Barrett on drums. Keyboard parts circle between percussive organ stabs and sustained chordal figures.

Marley wrote most of the material, while Tosh supplied “No Sympathy” and “400 Years.” James Brown’s “I Guess I’ll Have to Cry, Cry, Cry” appears in recast form as “My Cup.” “Rebel’s Hop” incorporates songwriting elements from Curtis Mayfield, Norman Whitfield, and Barrett Strong. Perry receives co-credit on the title track.

“Soul Rebel” opens with clipped guitar accents and a steady rhythmic stride beneath Marley’s extended phrasing. “Try Me” centers on short vocal lines set against staggered organ figures. “It’s Alright” moves with light rhythmic emphasis and close-knit harmonies. “No Sympathy” contrasts Tosh’s lower register with a tight, minimal accompaniment. “My Cup” sets repeated organ punctuation against a slow, evenly paced rhythm. “Soul Almighty” threads rapid vocal ascent across short instrumental responses.

Side B begins with “Rebel’s Hop,” which cycles through brief call-and-response bursts. “Corner Stone” rests on measured spacing between vocal lines and sparse organ reinforcement. “400 Years” uses drawn-out phrasing and clipped chord placement to underline the lyric. “No Water” and “Reaction” maintain short-form structures marked by close vocal entries and steady percussion. “My Sympathy” revisits the Tosh-penned motif in altered form with persistent rhythmic emphasis.

A1. “Soul Rebel” (3:19) — Marley
A2. “Try Me” (2:45) — Marley
A3. “It’s Alright” (2:34) — Marley
A4. “No Sympathy” (2:13) — Tosh
A5. “My Cup” (3:34) — Brown — reworks the 1968 James Brown single “I Guess I’ll Have to Cry, Cry, Cry”
A6. “Soul Almighty” (2:42) — Marley

B1. “Rebel’s Hop” (2:38) — Marley — adapts melodic and lyrical fragments from mid-’60s soul singles, notably the Impressions and early Motown sides, with new lyrics by Marley
B2. “Corner Stone” (2:28) — Marley
B3. “400 Years” (2:33) — Tosh
B4. “No Water” (2:08) — Marley
B5. “Reaction” (2:41) — Marley
B6. “My Sympathy” (2:41) — Marley

Sessions occurred between August and November 1970 at Randy’s Studio (Studio 17) in Kingston with production by Lee “Scratch” Perry. Perry engineered and shaped the mix around dry vocal reverb and a restrained, percussive rhythm balance.

Trojan first issued Soul Rebels in the UK in December 1970. Its censored sleeve image, approved without band consultation, later prompted objections from the Wailers. The album has since been reissued multiple times across varying Perry-era configurations.

Soul Revolution Part II

Bob Marley & The Wailers released Soul Revolution Part II in 1971 on Upsetter and Maroon Records.

Produced by Lee “Scratch” Perry, Soul Revolution Part II expands the sparse framework of its predecessor with more vocal interplay and textured organ phrasing. The album was recorded between 1970 and 1971 at Randy’s Studio 17 in Kingston, with vocals layered atop Perry’s rhythm tracks performed by the Barrett brothers and the Upsetters. The title appeared inconsistently between pressings — cover sleeves used Part II, while some labels printed Soul Revolution, leading to naming confusion in later reissues.

Marley sings lead on most tracks with rhythm guitar accompaniment. Bunny Wailer takes lead vocals on “Riding High” and “Brain Washing,” while Peter Tosh joins on harmonies. Backing tracks feature Aston “Family Man” Barrett on bass and Carlton Barrett on drums, with keyboard parts by Glen Adams and percussive overdubs by Perry.

Marley wrote nine of the twelve songs, including alternate versions of earlier Wailers material. Tosh penned “Riding High” and “400 Years,” and Richie Havens receives credit for “African Herbsman,” retitled and misprinted as “African Herbman” on original LP labels. “Keep On Moving” integrates writing elements from Mayfield and Perry and would later reappear in revised form on Chances Are (1981).

“Keep On Moving” opens with offbeat guitar shots and stacked harmonies over a slow, pulsing rhythm. “Don’t Rock My Boat” alternates soft phrasing with spaced instrumental gaps and brief organ responses. “Put It On” adds tremolo organ and tightened snare placement beneath overlapping vocals. “Fussing and Fighting” rests on staggered phrasing with reverb-treated instrumentation. “Duppy Conqueror V/4” toggles between vocal sections and instrument-only segments, treating silence as a dynamic layer. “Memphis,” a short instrumental, isolates the guitar rhythm against faint percussion.

Side B opens with “Riding High,” which pairs Bunny Wailer’s falsetto with bare rhythm backing. “Kaya” slows its phrasing with clipped responses and circular progression. “African Herbsman” uses offbeat organ flourishes and quick vocal cadence. “Stand Alone” condenses phrasing across short melodic bursts. “Sun Is Shining” layers distorted guitar accents behind faint vocals. “Brain Washing” closes with intercut rhythmic dropouts and sustained keyboard washes.

A1. “Keep On Moving” (3:09) — Marley, Mayfield, Perry
A2. “Don’t Rock My Boat” (4:33) — Marley — later version appeared on Kaya (1978) as “Satisfy My Soul”
A3. “Put It On” (3:34) — Marley
A4. “Fussing and Fighting” (2:29) — Marley
A5. “Duppy Conqueror V/4” (3:25) — Marley — hybrid take that alternates between vocal and instrumental sections
A6. “Memphis” (2:09) — Marley

B1. “Riding High” (2:46) — Livingston
B2. “Kaya” (2:39) — Marley — later re-recorded for Kaya (1978)
B3. “African Herbman” (2:24) — Havens — misprinted title of “African Herbsman”
B4. “Stand Alone” (2:12) — Marley
B5. “Sun Is Shining” (2:11) — Marley
B6. “Brain Washing” (2:41) — Livingston

Sessions occurred during 1970 and 1971 at Randy’s Studio in Kingston with production by Lee “Scratch” Perry. Original Jamaican pressings appeared on Upsetter Records; later UK editions used the Maroon label. A vocal-free dub version — Soul Revolution Part II Dub — was issued in parallel, and both versions were later compiled as Upsetter Revolution Rhythm (2004). Select tracks were recompiled by Trojan in 1973 on African Herbsman.

1972–73: International Rise

The Wailers made another international contact in American soul singer Johnny Nash, who adopted the rocksteady beat on his singles “Hold Me Tight” and “Stir It Up,” a Marley-penned Wailers cover. In 1971, Marley and Nash co-composed the music to the Swedish romance film Want So Much to Believe, in which Nash stars as Robert. The following year, the Wailers and Nash did a joint tour of the UK.

While there, the Wailers arranged a meeting with Island Records head Chris Blackwell to discuss royalties on his release of their material in the UK market. Instead, he offered them an advance for a new album.

Catch a Fire

Bob Marley and the Wailers released their fourth album, Catch a Fire, on April 13, 1973, on Island.

The album marked their international breakthrough and the beginning of their partnership with Island Records. It fused militant Jamaican songwriting with Western album production values, bridging the group’s roots in ska and rocksteady with expanded arrangements suited for rock and soul audiences. Chris Blackwell remixed and overdubbed the original Jamaican sessions for global release.

Bob Marley sings lead and plays rhythm guitar alongside Peter Tosh (organ, guitar, piano, vocals) and Bunny Wailer (bongos, congas, vocals). Aston “Family Man” Barrett handles bass, with his brother Carlton on drums. Additional contributions come from Wayne Perkins (slide guitar, lead guitar), Winston Wright (organ), John “Rabbit” Bundrick (clavinet, Moog, synth), Jean Alain Roussel (piano), Tommy McCook (flute), and backing vocals by Rita Marley and Marcia Griffiths.

Marley wrote seven of the album’s nine songs, including “Stir It Up,” which had previously been a US hit for Johnny Nash. Peter Tosh contributed “400 Years” and “Stop That Train.” The arrangements retain the group’s harmonic interplay while integrating overdubbed guitars and keyboards from the London remix sessions. Tosh’s tracks showcase his stark vocal phrasing and minor-key melodic tendencies.

“Concrete Jungle” opens with clipped rhythm guitar and suspended harmonies over a slow backbeat, culminating in Perkins’ soaring feedback-laced solo. “Slave Driver” rides a pulsing one-drop cadence with tightly phrased vocals. Tosh’s “Stop That Train” offsets resignation with buoyant organ phrasing. “Stir It Up” builds tension through layered percussion and wah-wah guitar, unfolding slowly across five and a half minutes. “Midnight Ravers” closes the album with call-and-response vocals over restless hi-hats and shifting keyboard lines.

A1. “Concrete Jungle” (4:13)
A2. “Slave Driver” (2:54)
A3. “400 Years” (2:45) — written by Peter Tosh
A4. “Stop That Train” (3:54) — written by Peter Tosh
A5. “Baby We’ve Got a Date (Rock It Baby)” (3:55)

B1. “Stir It Up” (5:32) — originally recorded in 1967 and covered by Johnny Nash in 1972
B2. “Kinky Reggae” (3:37)
B3. “No More Trouble” (3:58)
B4. “Midnight Ravers” (5:08)

Sessions occurred between May and October 1972 at Dynamic Sound, Harry J’s, and Randy’s studios in Kingston. Bob Marley and Chris Blackwell produced the album. Sylvan Morris engineered the Jamaican sessions; Blackwell oversaw overdubs and final mixes at Island Studios in London.

Catch a Fire features cover art by Rod Dyer and Bob Weiner, who designed the original Zippo-lighter sleeve. This hinged design housed the LP vertically, with a metal rivet and side-flip action. Later pressings featured a portrait of Marley by Esther Anderson, designed by John Bonis.

Island first issued “Baby We’ve Got a Date” as a single in early 1973. The Wailers promoted the album on a UK–US tour that included TV appearances and marked Bunny Wailer’s final performances with the group. The album reached No. 171 on the Billboard 200 and No. 51 on the R&B Albums chart.

In 2001, Island released a deluxe edition of Catch a Fire with a second disc of un-overdubbed Jamaican mixes. A 2000 documentary by Jeremy Marre chronicled the album’s production and legacy.

Burnin’

Bob Marley and the Wailers released their fifth album, Burnin’, on October 19, 1973, on Island.

The album completed the band’s international breakthrough and served as the final studio release by the original trio lineup of Marley, Peter Tosh, and Bunny Wailer. While partly concurrent with Catch a Fire, Burnin’ took on a more militant tone, revisiting earlier compositions in heavier new arrangements and introducing defiant anthems like “Get Up, Stand Up” and “I Shot the Sheriff.”

Marley (vocals, guitar), Tosh (vocals, guitar, keyboards), and Bunny (vocals, percussion) share lead duties over a backing unit anchored by Aston “Family Man” Barrett (bass, lead guitar on “I Shot the Sheriff”) and Carlton Barrett (drums). Earl “Wire” Lindo contributes organ and clavinet. Chris Blackwell added overdubs at Island Studios in London, including contributions from John “Rabbit” Bundrick (synth, clavinet). The group self-produced the sessions in Kingston.

Songwriting duties were split among the three vocalists, with Marley contributing six titles, Tosh writing “One Foundation,” and Bunny arranging the closer, “Rasta Man Chant.” Jean Watt — Tosh’s partner — wrote both “Hallelujah Time” and “Pass It On.” The group re-recorded three earlier numbers: “Duppy Conqueror,” “Small Axe,” and “Put It On,” all originally produced with Lee Perry.

“Get Up, Stand Up” opens with a staggered chord pattern and syncopated vocal entries, escalating into group exhortations and percussive jabs. “I Shot the Sheriff” places Marley’s clipped phrasing above a suspended riddim, breaking into dramatic harmonic pivots at the chorus. “Burnin’ and Lootin’” rides a slower pulse with whispered chants and interjected keyboard runs. “Pass It On” and “Rasta Man Chant” adopt a more loping, spiritual cadence with layered vocals and nyabinghi-style percussion.

A1. “Get Up, Stand Up” (3:15) — written by Bob Marley & Peter Tosh
A2. “Hallelujah Time” (3:27) — written by Jean Watt
A3. “I Shot the Sheriff” (4:39)
A4. “Burnin’ and Lootin’” (4:11)
A5. “Put It On” (3:58)

B1. “Small Axe” (4:00) — originally recorded in 1970 with Lee Perry
B2. “Pass It On” (3:32) — written by Jean Watt
B3. “Duppy Conqueror” (3:44) — new version of 1970 single
B4. “One Foundation” (3:44) — written by Peter Tosh
B5. “Rasta Man Chant” (3:43) — traditional; arranged by Marley, Tosh & Bunny Wailer

Sessions occurred in spring 1973 at Harry J Studios in Kingston with The Wailers producing. Chris Blackwell handled mixing and overdubs at Island’s Basing Street Studios in London. Engineering credits include Tony Platt and Phill Brown.

Burnin’ features cover design by CCS London with photography by Esther Anderson. The original LP includes printed lyrics and group photos.

Island issued “Get Up, Stand Up” in September 1973 (b/w “Slave Driver”). “I Shot the Sheriff” followed in early 1974. The album entered the Billboard Black Albums chart, eventually earning Gold certification in the US. In 2007, the Library of Congress added Burnin’ to the National Recording Registry.

A 2001 remaster appended three bonus tracks: “Reincarnated Souls” (originally the 1973 B-side of “Concrete Jungle”), Tosh’s unreleased “No Sympathy,” and Bunny Wailer’s “The Oppressed Song.” A 2004 deluxe edition added two alternate takes of “Get Up, Stand Up” and a live set recorded at Leeds University on November 23, 1973 — the final recorded performance by the original trio.

Natty Dread

Bob Marley and the Wailers released their sixth album, Natty Dread, on October 25, 1974, on Island.

The album marked Marley’s first studio effort without Peter Tosh and Bunny Wailer, who departed after Burnin’. It introduced the I–Threes — Rita Marley, Judy Mowatt, and Marcia Griffiths — as the new backing vocal trio, and reflected Marley’s rising stature as a global cultural figure. Natty Dread emphasized personal spirituality and political urgency with clearer song structures and expanded instrumentation.

Marley sings lead and plays rhythm guitar alongside bassist Aston “Family Man” Barrett and drummer Carlton Barrett. Bernard “Touter” Harvey plays organ and piano, while Jean Roussel adds Hammond organ and handled arrangements on key tracks. Al Anderson debuts on lead guitar. The I–Threes provide vocal harmonies across the album. Lee Jaffe contributes harmonica on select cuts.

Though songwriting credits vary across editions, Marley wrote or co-wrote every track. “No Woman, No Cry” is officially credited to Trenchtown associate Vincent Ford, while contributions by Rita Marley, Leon Cogill, Allen Cole, and Carlton Barrett appear on paper but reflect Marley’s efforts to redirect royalties away from a former publishing contract. “Rebel Music (3 O’Clock Roadblock)” recounts an incident Marley experienced with police in Kingston.

“Lively Up Yourself” opens with syncopated guitar slashes and an escalating vocal vamp. “Them Belly Full (But We Hungry)” layers rhythm guitar and double-time drumming beneath its stark economic warning. “Rebel Music” alternates between chant sections and narrative passages across a near seven-minute form. “No Woman, No Cry” contrasts mellow keys and a delicate melody with a swelling, singalong chorus. “So Jah Seh” and the title track reaffirm Marley’s spiritual commitment, while “Talkin’ Blues” moves with a clipped shuffle and sardonic phrasing.

A1. “Lively Up Yourself” (5:11)
A2. “No Woman, No Cry” (3:46) — credited to Vincent Ford; reflects Marley’s upbringing in Trenchtown
A3. “Them Belly Full (But We Hungry)” (3:13) — credited to Leon Cogill & Carlton Barrett
A4. “Rebel Music (3 O’Clock Roadblock)” (6:45) — credited to Aston Barrett & Hugh Peart

B1. “So Jah Seh” (4:27) — credited to Rita Marley & Willy Francisco
B2. “Natty Dread” (3:35) — credited to Rita Marley & Allen Cole
B3. “Bend Down Low” (3:21)
B4. “Talkin’ Blues” (4:06) — credited to Leon Cogill & Carlton Barrett
B5. “Revolution” (4:23)

Sessions occurred in 1974 at Harry J Studios in Kingston with The Wailers and Chris Blackwell producing. Sylvan Morris engineered the basic tracks; Sid Bucknor handled mixing.

Natty Dread features cover art by Tony Wright. The painted image of Marley signaled his emergence as a solo icon, distinct from the Wailers trio.

Island released Natty Dread in the UK in October 1974, where it reached No. 43 and sold over 100,000 copies. The album entered the US Billboard 200 in May 1975, peaking at No. 92. In 2001, Universal remastered the album with one bonus track: “Am-A-Do.” The live version of “No Woman, No Cry,” recorded at the Lyceum Theatre on July 17, 1975, became a global hit the following year and eclipsed the studio version in popularity.

Live!

In December 1975, Bob Marley and the Wailers released Live!, a document of their July 17 concert at London’s Lyceum Theatre.

Bob Marley and the Wailers released Live! on December 5, 1975, on Island and Tuff Gong. The album captures their July 17, 1975, concert at the Lyceum Theatre in London during the Natty Dread tour.

Live! documents the international breakthrough of the new Wailers lineup, featuring Marley with the I Threes and the Barrett–Downie–Anderson rhythm section. The setlist draws from their last three studio albums, with Marley revisiting earlier songs from Burnin’ and Catch a Fire in longer, more dramatic form. The performance version of “No Woman, No Cry” replaced the studio take as the definitive rendition and became Marley’s first UK hit single.

Marley sings and plays rhythm guitar, with Aston “Family Man” Barrett on bass and piano, and Carlton Barrett on drums. Al Anderson handles lead guitar, Tyrone Downie plays keyboards, and Alvin “Seeco” Patterson adds percussion. The I Threes — Rita Marley, Judy Mowatt, and Marcia Griffiths (absent due to pregnancy) — provide harmonies. The band stretches compact studio tracks into extended performance pieces, emphasizing breakdowns, vocal callouts, and instrumental interplay.

“Trenchtown Rock,” originally a 1971 non-album single, opens the album with clipped phrases, stop-start rhythm, and call-and-response chants. “Burnin’ and Lootin’,” from Burnin’, builds from tension to release through bass-led momentum. “Them Belly Full (But We Hungry)” and “Lively Up Yourself,” both from Natty Dread, trade between clipped vocal syncopation and tight brass jabs. Side two pivots on the extended “No Woman, No Cry,” stretched to seven minutes with organ fills and choral refrains. “I Shot the Sheriff” — from Burnin’ — rides a rising pulse with slowed refrains and searing guitar. The finale, “Get Up, Stand Up,” from Burnin’, peaks with repeated crescendos and alternating lead vocals.

A1. “Trenchtown Rock” (4:23) – originated as a 1971 non-album single.
A2. “Burnin’ and Lootin’” (5:11) – from Burnin’ (1973).
A3. “Them Belly Full (But We Hungry)” (4:36) – from Natty Dread (1974).
A4. “Lively Up Yourself” (4:33) – from Natty Dread (1974).

B1. “No Woman, No Cry” (7:07) – from Natty Dread (1974).
B2. “I Shot the Sheriff” (5:18) – from Burnin’ (1973).
B3. “Get Up, Stand Up” (6:28) – from Burnin’ (1973).

Island staff recorded the performance on July 17, 1975, at London’s Lyceum Theatre using the Rolling Stones Mobile Studio. Danny Holloway supervised live capture. Phill Brown mixed the tapes at Basing Street Studios under the supervision of Bob Marley and the Wailers, Steve Smith, and Chris Blackwell. The cover photo was taken by Dennis Morris. Live sound was engineered by Dave Harper and Chip Chase.

Island issued “No Woman, No Cry (Live ’75)” as a single on August 29, 1975. It reached No. 22 on the UK Singles Chart and became Marley’s first charting hit in Britain. In 2001, Island reissued Live! with the bonus track “Kinky Reggae” (originally from Catch a Fire). A 2016 Deluxe Edition restored both full Lyceum concerts across two discs with additional live takes of “Stir It Up,” “Natty Dread,” “Rebel Music (3 O’Clock Roadblock),” and “Slave Driver.”

Rastaman Vibration

Bob Marley and the Wailers released their seventh studio album, Rastaman Vibration, on April 30, 1976, on Island.

The album reaffirmed Marley’s position as a global voice of resistance, blending militant themes with polished arrangements and vibrant production. It was the first Marley album to chart in the US Top 10 and the only one to place a single (“Roots, Rock, Reggae”) on the Billboard Hot 100. Though subtler than prior Wailers albums, Rastaman Vibration sharpened its lyrical intent with direct political commentary and spiritual affirmation.

Marley sings lead vocals and co-produces with the Barrett brothers: Aston on bass and Carlton on drums. Al Anderson and Earl “Chinna” Smith split guitar duties; Tyrone Downie and Jean Roussel add layered keyboards. The I–Threes — Rita Marley, Marcia Griffiths, and Judy Mowatt — provide harmonies. Tommy McCook plays saxophone on “Roots, Rock, Reggae,” and Donald Kinsey adds overdub guitar to “Johnny Was” and “Roots, Rock, Reggae.”

Though credited variously to Vincent Ford, Rita Marley, and others, Marley composed all songs while diverting publishing credits to family and friends to circumvent prior contractual obligations. The lyrics draw on Rastafari doctrine (“War”), local injustice (“Johnny Was”), and spiritual uplift (“Positive Vibration”). “War” paraphrases a 1963 UN speech by Ethiopian Emperor Haile Selassie, whose words Marley delivers with solemn pacing and clipped cadence.

“Positive Vibration” opens with syncopated organ pulses under the I–Threes’ vocal refrains. “Johnny Was” recounts street tragedy over a slow, brooding beat with echo-laden percussion. “Roots, Rock, Reggae” builds around a clipped one-drop rhythm and loping bass figure, with airy synth flourishes. “Who the Cap Fit” swells from hushed verses to a forceful chorus on betrayal and hypocrisy. “War” pairs minor guitar voicings with staccato phrasing, gradually intensifying to a final chant of victory over oppression.

A1. “Positive Vibration” (3:34) — credited to Vincent Ford
A2. “Roots, Rock, Reggae” (3:38) — credited to Vincent Ford
A3. “Johnny Was” (3:48) — credited to Rita Marley
A4. “Cry to Me” (2:36) — credited to Rita Marley
A5. “Want More” (4:14) — credited to Aston Barrett

B1. “Crazy Baldhead” (3:12) — credited to Rita Marley & Vincent Ford
B2. “Who the Cap Fit” (4:43) — credited to Aston Barrett & Carlton Barrett
B3. “Night Shift” (3:10)
B4. “War” (3:36) — lyrics adapted from Haile Selassie I’s 1963 UN speech
B5. “Rat Race” (2:50) — credited to Rita Marley

Sessions occurred in late 1975 and early 1976 at Harry J Studios and Joe Gibbs Studio in Kingston, with Sylvan Morris engineering. Mixing took place at Criteria Studios in Miami with Chris Blackwell, Aston Barrett, and Alex Sadkin.

Rastaman Vibration features art direction by Neville Garrick. The cover combines Rastafari symbolism with Marley’s portrait in red, green, and gold hues.

Island released “Rat Race” in 1975 as a preview single. “Johnny Was,” “Roots, Rock, Reggae,” “Positive Vibration,” and “Who the Cap Fit” followed in 1976. The album peaked at No. 8 on the Billboard 200 and No. 11 on the R&B Albums chart. In 2002, Island issued a deluxe edition with alternate mixes and a second disc of live recordings from the May 26, 1976 concert at The Roxy in Los Angeles.

Also in 1976, Marley and Lee Parry co-produced Escape from Babylon, the fourth album by Puerto Rican-American singer Martha Veléz. It mixes Wailers covers (“Bend Down Low,” “Get Up, Stand Up”) with Marley co-writes (“There You Are,” “Happiness”). He dueted with the singer on the rocksteady hit “Disco Night.”

Exodus

Bob Marley and the Wailers released their eighth studio album, Exodus, on June 3, 1977, on Island.

Written and recorded during Marley’s stay in London following a December 1976 assassination attempt, Exodus departs from the militant themes of his prior work in favor of spiritual resolve and romantic affirmation. The album introduces a warmer, funk-influenced production style that softens the rhythmic drive without abandoning its core pulse.

Marley sings lead and plays rhythm guitar alongside Junior Marvin on lead guitar, Aston “Family Man” Barrett on bass, and Carlton Barrett on drums. Tyrone Downie plays electric piano, clavinet, organ, and synthesizer; percussionist Alvin “Seeco” Patterson accents the pulse. David Madden (trumpet), Vin Gordon (trombone), and Glen DaCosta (saxophone) contribute brass passages. Background vocals come from the I–Threes: Rita Marley, Judy Mowatt, and Marcia Griffiths.

Marley wrote all ten tracks, including “One Love/People Get Ready,” which integrates a portion of the 1965 Curtis Mayfield song. Side A explores burden, injustice, and deliverance through layered arrangements and extended chants. Side B pivots toward intimacy and optimism, introducing several of Marley’s most enduring songs.

“Natural Mystic” opens with low-pass ambience and layered horns that resolve into a suspended one-drop rhythm. “So Much Things to Say” builds over clipped, syncopated phrases and internal call-and-response. “Guiltiness” drops the tempo and rests on brooding vocal harmonies. “The Heathen” rises from echo-laden accents into a driving chorus with layered rhythm guitar. “Exodus” stretches over a repeated ostinato and chant figures, punctuated by alternating brass figures. “Waiting in Vain” moves with hushed restraint, framed by soft organ and clipped percussion. “One Love/People Get Ready” slows the 1965 ska arrangement into a steady, harmonized refrain.

A1. “Natural Mystic” (3:28)
A2. “So Much Things to Say” (3:08)
A3. “Guiltiness” (3:19)
A4. “The Heathen” (2:32)
A5. “Exodus” (7:40)

B1. “Jamming” (3:31)
B2. “Waiting in Vain” (4:16)
B3. “Turn Your Lights Down Low” (3:39)
B4. “Three Little Birds” (3:00)
B5. “One Love/People Get Ready” (2:52) — interpolates the 1965 Curtis Mayfield song

Sessions occurred between late 1976 and April 1977 at Harry J Studios in Kingston and Island Studios in London with production by Bob Marley & The Wailers. Karl Pitterson and Godwin Logie engineered the tracks; Neville Garrick directed the cover design.

Island issued “Exodus” as the lead single, followed by “Waiting in Vain,” “Jamming,” and “Three Little Birds.” “One Love/People Get Ready” appeared posthumously in 1984. The album peaked at No. 20 on the Billboard 200 and reached No. 8 in the UK, where it spent 56 weeks on the chart. A 40th anniversary edition appeared in 2017 with a new mix by Ziggy Marley.

“Punky Reggae Party”

In August 1977, Bob Marley released “Punky Reggae Party” as a stand‑alone single.

Marley wrote the song in response to The Clash’s cover of Junior Murvin‘s “Police and Thieves.” He name‑checks that band alongside The Wailers, The Damned, The Jam, The Maytals, and Dr. Feelgood.

A. “Punky Reggae Party” (9:19)
B. “Punky Reggae Version” (8:49)

He recorded the track in July 1977 with producer Lee Perry, releasing it first on 12‑inch formats in Jamaica on Tuff Gong and Perry’s Black Art labels.

In the UK and other territories, the song appeared as the B‑side to “Jamming” on Island. “Punky Reggae Party” did not appear on any studio album; later versions surfaced on Exodus (Deluxe Edition), Legend (2002 CD), and other compilations.

Kaya

Bob Marley and the Wailers released their ninth studio album, Kaya, on March 23, 1978, on Island.

Drawn from the 1977 Exodus sessions, Kaya retreats from confrontation to explore personal themes of longing, comfort, and peace. The release coincided with Marley’s return to Jamaica and the One Love Peace Concert held the following month.

Marley sings lead and plays rhythm and acoustic guitar. Junior Marvin plays lead guitar, with Aston “Family Man” Barrett on bass. Carlton Barrett and Winston Grennan split drum credits. Tyrone Downie plays piano and organ. Alvin “Seeco” Patterson contributes percussion. Glen DaCosta (trumpet) and Vincent Gordon (trombone) add brass parts. The I–Threes — Rita Marley, Judy Mowatt, and Marcia Griffiths — provide backing vocals throughout.

Marley wrote all ten songs, including revised versions of three tracks first recorded in 1971 with Lee Perry: “Kaya,” “Sun Is Shining,” and “Satisfy My Soul” (originally “Don’t Rock My Boat”). Lyrical content alternates between romantic invitation (“Is This Love,” “She’s Gone”), stoned reflection (“Easy Skanking,” “Running Away”), and quiet perseverance (“Crisis,” “Time Will Tell”).

“Easy Skanking” opens with clipped guitar syncopation beneath gentle chord phrasing. “Kaya” drifts along a light shuffle with sustained organ lines and softened vocals. “Is This Love” follows an upward keyboard figure over steady backbeats. “Sun Is Shining” lowers the tempo, layering phased guitar above slow, compressed chords. “Satisfy My Soul” builds from arpeggiated rhythm guitar and parallel vocal harmonies.

Side B begins with “She’s Gone,” paced by sharp rhythm accents and snare bursts. “Misty Morning” rests on tremolo guitar and curling organ tones. “Crisis” holds to steady percussion under wide-voiced keyboard harmonies. “Running Away” uses repeating guitar shapes over even pacing. “Time Will Tell” closes with steady pulse, clustered vocal layering, and exposed phrasing.

A1. “Easy Skanking” (2:58)
A2. “Kaya” (3:15)
A3. “Is This Love” (3:52)
A4. “Sun Is Shining” (4:58)
A5. “Satisfy My Soul” (4:31)

B1. “She’s Gone” (2:25)
B2. “Misty Morning” (3:33)
B3. “Crisis” (3:54)
B4. “Running Away” (4:15)
B5. “Time Will Tell” (3:29)

Sessions occurred between January and April 1977 at Island Studios in London. The band produced the material, and Island founder Chris Blackwell approved the final mix. Ted Jensen mastered the album at Sterling Sound in New York.

Island lifted “Is This Love” as the lead single, followed by “Satisfy My Soul.” Kaya reached No. 4 on the UK Albums Chart and placed Top 10 in Australia, Norway, and New Zealand. A 40th anniversary edition appeared in 2018 with new mixes by Stephen Marley.

Babylon by Bus

In November 1978, Bob Marley and the Wailers released Babylon by Bus, a live double-album sourced from a recent three-night stand (June 25–27) at the Pavillon de Paris.

The double album compiles live performances from June 25–27, 1978, at the Pavillon de Paris, during the final leg of the Kaya tour. Several tracks are sourced from earlier 1975–76 performances. The set spans romantic ballads, militant anthems, and non-album tracks. “Kinky Reggae,” though included, lacks verifiable source attribution and predates the 1978 tour.

Marley sings lead and plays rhythm guitar. Aston “Family Man” Barrett plays bass, with Carlton Barrett on drums. Junior Marvin and Al Anderson alternate on lead guitar. Tyrone Downie and Earl “Wire” Lindo share keyboards. Alvin “Seeco” Patterson contributes percussion. The I–Threes — Rita Marley, Judy Mowatt, and Marcia Griffiths — provide backing vocals.

Marley composed nine of the thirteen tracks. The album opens with Vincent Ford’s “Positive Vibration” and includes two rarities: “Punky Reggae Party” (co-written with Lee Perry) and “Rat Race” (written by Rita Marley). “War / No More Trouble” merges two separate compositions in a continuous medley.

“Exodus” unfolds across extended cycles of chant, unison lines, and rising instrumental layers. “Lively Up Yourself” suspends time through staccato phrasing and echoed keyboard refrains. “Concrete Jungle” builds tension with repeated harmonic shapes and midrange vocal intensity. “Jamming” closes the set with ascending vocal refrains and tight instrumental pacing.

A1. “Positive Vibration” (5:50) — originally appeared on Rastaman Vibration (1976)
A2. “Punky Reggae Party” (5:51) — non-album single, first issued 1977 (b/w “Jamming”)
A3. “Exodus” (7:41) — originally appeared on Exodus (1977)

B1. “Stir It Up” (5:17) — originally appeared on Catch a Fire (1973)
B2. “Rat Race” (3:41) — non-album single, first issued 1976 (b/w “Roots, Rock, Reggae”)
B3. “Concrete Jungle” (5:37) — originally appeared on Catch a Fire (1973)
B4. “Kinky Reggae” (4:46) — originally appeared on Catch a Fire (1973)

C1. “Lively Up Yourself” (6:18) — originally appeared on Natty Dread (1974)
C2. “Rebel Music (3 O’Clock Roadblock)” (5:20) — originally appeared on Natty Dread (1974)
C3. “War / No More Trouble” (5:28) — medley from Rastaman Vibration (1976)

D1. “Is This Love” (7:27) — originally appeared on Kaya (1978)
D2. “The Heathen” (4:29) — originally appeared on Exodus (1977)
D3. “Jamming” (5:54) — originally appeared on Exodus (1977)

Recordings occurred on June 25–27, 1978, at the Pavillon de Paris with supplemental material from earlier London concerts. Bob Marley, Chris Blackwell, and Jack Nuber produced the album. Nuber handled live engineering and mixing.

Babylon by Bus features tour-themed packaging by Neville Garrick, designed as a bus with die-cut windows revealing interchangeable inserts depicting instruments and stage backdrops.

Island promoted the release alongside the group’s continued world tour. The album charted in multiple territories: No. 4 in the Netherlands, No. 15 in Norway, and No. 40 in the UK.

Survival

Bob Marley and the Wailers released their tenth studio album, Survival, on October 2, 1979, on Island/Tuff Gong.

Recorded in early 1979 at Tuff Gong Studios, Survival marked a return to militant themes after the subdued tone of Kaya. Marley framed the album around pan-African unity and resistance to colonial rule, originally titling it Black Survival before shortening it to avoid misinterpretation.

Marley sings lead and plays rhythm guitar with Aston “Family Man” Barrett on bass and Carlton Barrett on drums. Junior Marvin and Al Anderson alternate on lead guitar. Tyrone Downie and Earl “Wire” Lindo handle keyboards, with Alvin “Seeco” Patterson on percussion. The I–Threes — Rita Marley, Marcia Griffiths, and Judy Mowatt — provide backing vocals. The brass section features Ronald “Nambo” Robinson (trombone), Junior “Chico” Chin, Micky Hanson, and Jackie Willacy (trumpets), and Headley Bennett (alto sax). Melba Liston and Luther Francois arranged select horn parts. Lee Jaffe plays harmonica on “Ride Natty Ride.”

Marley composed all ten tracks, co-writing “Wake Up and Live” with Anthony Davis of Third World. The lyrics call for African independence (“Zimbabwe”), denounce imperial deception (“Babylon System”), and assert collective self-determination (“Africa Unite,” “One Drop”). Tracks like “Ambush in the Night” and “Top Rankin’” invoke personal and political struggle through tightly arranged instrumentation and layered chants.

“So Much Trouble in the World” opens with stereo-panned guitar riffs over a steady pulse and doubled vocal lead. “Zimbabwe” pairs tense horn bursts with slow chant–response phrasing. “Top Rankin’” builds on sharp snare rimshots and clipped guitar accents. “Babylon System” alternates mournful verses with bright instrumental breaks. “Survival” moves quickly with stabbing guitar and fast-paced vocal sync. “Africa Unite” rests on rimdrum accents, sustained organ, and interlocking vocals. “One Drop” centers on Carlton Barrett’s signature beat with staggered emphasis and rhythmic clarity. “Ride Natty Ride” adds harmonica and organ flourishes to a rising skank pattern. “Ambush in the Night” plays against minor-key harmonies with syncopated urgency. “Wake Up and Live” concludes with brassy stabs and a multi-layered vocal refrain over surging tempo cycles.

A1. “So Much Trouble in the World” (4:00)
A2. “Zimbabwe” (3:51)
A3. “Top Rankin’” (3:10)
A4. “Babylon System” (4:21)
A5. “Survival” (3:53)

B1. “Africa Unite” (2:54)
B2. “One Drop” (3:51)
B3. “Ride Natty Ride” (3:50)
B4. “Ambush in the Night” (3:12)
B5. “Wake Up and Live” (Bob Marley, Anthony Davis) (4:58)

Sessions occurred in January–February 1979 at Tuff Gong Recording Studio in Kingston, Jamaica. Bob Marley & The Wailers co-produced the album with Alex Sadkin. Ted Jensen mastered the original LP at Sterling Sound in New York.

The album cover, designed by Neville Garrick, shows 48 African national flags arranged over the Brookes slave ship diagram with the Survival title in bold white. A foldout poster included several banned and disputed African and Caribbean territories omitted from the official cover layout.

Island issued “So Much Trouble in the World” and “Zimbabwe” as singles. Survival reached No. 20 on the UK Albums Chart and charted in Norway (No. 10), Sweden (No. 17), and New Zealand (No. 14). In the U.S., it peaked at No. 70 on the Billboard 200 and No. 32 on the Soul LPs chart. A 2001 remaster includes a 12″ mix of “Ride Natty Ride.”

Uprising

Bob Marley and the Wailers released their eleventh studio album, Uprising, on July 10, 1980, on Island/Tuff Gong.

Recorded in early 1980 at Tuff Gong Studios in Kingston, Uprising balances spiritual affirmation with worldly confrontation. It stands as the final studio album completed during Marley’s lifetime and closes with the stripped-down farewell “Redemption Song.”

Marley sings lead and plays rhythm and acoustic guitar. Aston “Family Man” Barrett contributes bass, rhythm guitar, and piano; his brother Carlton Barrett plays drums with additional parts by Carlton “Santa” Davis. Tyrone Downie and Earl “Wire” Lindo split keyboard duties. Junior Marvin and Al Anderson alternate on lead guitar. Alvin “Seeco” Patterson adds percussion. The I–Threes — Rita Marley, Judy Mowatt, and Marcia Griffiths — supply backing vocals throughout.

Marley wrote all ten tracks. “We and Dem,” “Real Situation,” and “Bad Card” express confrontation with institutional deceit and personal betrayal. “Forever Loving Jah” and “Zion Train” reaffirm Rastafarian endurance. “Redemption Song,” inspired by a 1937 Marcus Garvey speech, breaks from the album’s ensemble aesthetic with solo acoustic delivery. “Could You Be Loved,” developed in 1979 during a tour flight, merges rhythmic repetition with choral interjections and Brazilian percussion cues.

“Coming in from the Cold” opens with suspended phrasing that gives way to a tight skank under wah-inflected guitar. “Real Situation” layers clipped chordal motion beneath spiraling call-response vocals. “Bad Card” rides a relaxed tempo with dry snare hits and blunt vocal cadence. “We and Dem” builds from clustered keyboard accents and descending guitar lines. “Work” repeats ascending phrases over closed hi-hat motion and mantra-like delivery.

“Zion Train” pulses with layered horn bursts over locked rhythm guitar. “Pimper’s Paradise” sets a low, syncopated bounce beneath lyrical critique and jazz-tinged organ lines. “Could You Be Loved” centers on syncopated handclaps, phased guitar, and cuíca embellishments. “Forever Loving Jah” cycles around echoed guitar pulses with rising vocal interplay. “Redemption Song” closes with unadorned acoustic rhythm and declamatory phrasing.

A1. “Coming in from the Cold” (4:30)
A2. “Real Situation” (3:08)
A3. “Bad Card” (2:50)
A4. “We and Dem” (3:12)
A5. “Work” (3:41)

B1. “Zion Train” (3:36)
B2. “Pimper’s Paradise” (3:27)
B3. “Could You Be Loved” (3:57)
B4. “Forever Loving Jah” (3:52)
B5. “Redemption Song” (3:47)

Sessions occurred from January to April 1980 at Tuff Gong Studios in Kingston with production by Bob Marley & The Wailers and executive production by Chris Blackwell. Errol Brown and Michael Rees handled engineering and mixing. Ted Jensen mastered the album at Sterling Sound in New York. Neville Garrick directed the cover design; Adrian Boot provided photography.

Island released “Could You Be Loved” in May and “Redemption Song” in October. Uprising reached No. 6 on the UK Albums Chart and also charted Top 10 in Austria, Norway, Sweden, and New Zealand. In the US, it peaked at No. 45 on the Billboard 200 and No. 41 on the Black Albums chart. The 2001 reissue adds a full-band version of “Redemption Song” and an extended 12″ mix of “Could You Be Loved.”

Illness and Death

In July 1977, doctors diagnosed Bob Marley with acral lentiginous melanoma, a rare form of skin cancer that appeared under the nail of his right big toe. Though commonly misattributed to a football injury, the lesion was a symptom of an existing internal condition. Marley declined amputation on spiritual grounds, opting instead for partial removal of the nail and a skin graft. He continued to perform and record through the next three years, concealing the extent of his illness while preparing for a global tour.

By mid-1980, Marley released Uprising and completed a major European tour, highlighted by a 100,000-strong crowd in Milan. He collapsed while jogging in Central Park that September and was hospitalized with cancer that had metastasized to his lungs, liver, and brain. After one final concert in Pittsburgh, he canceled the remainder of the tour and sought unconventional treatment in Bavaria, where he remained until May 1981. On a return flight to Jamaica, his condition worsened and the plane diverted to Miami, where he died on 11 May at age 36.

Jamaica honored Marley with a state funeral on 21 May 1981 that blended Ethiopian Orthodox rites with Rastafari symbols. He was buried in a chapel at Nine Mile with his red Gibson Les Paul guitar, a Bible opened to Psalm 23, and a stalk of cannabis. Prime Minister Edward Seaga eulogized him as a voice etched into the national consciousness and an experience that left an indelible mark on all who encountered him.

Chances Are

Bob Marley & The Wailers released Chances Are in October 1981 on Cotillion (US) and WEA International.

Issued five months after Marley’s death, Chances Are collects unreleased material recorded between 1968 and 1972 during his intermittent work with Danny Sims’ JAD label. Most tracks originate from New York and Kingston sessions funded by JAD while Marley lived part-time in the United States. For release, producers Larry Fallon and Danny Sims added overdubs and extended the original tapes into polished mid-length arrangements with additional instrumentation and mix edits.

Marley sings lead and plays rhythm guitar with backing by various uncredited session players from both Jamaica and New York. Jimmy Norman and Al Pyfrom co-wrote two of the tracks (“Gonna Get You,” “Stay With Me”). Arrangements vary from stripped-down rhythm section to augmented pop-soul hybrids with brass, piano, and auxiliary percussion. Several tracks stem from prior versions recorded under Wail ‘N’ Soul ‘M, later reworked here with studio overdubs.

Marley wrote or co-wrote six of the eight tracks. “Soul Rebel” and “Kaya” trace back to earlier Jamaican recordings, while “Reggae on Broadway” was composed to break Marley into US radio and issued as a CBS single in 1972. “Dance Do the Reggae” and “Mellow Mood” were updated from rocksteady-era originals with new vocal takes and instrumental layers. “Chances Are” and “Stay With Me” reflect Marley’s brief embrace of late-’60s soul-pop stylings, while “I’m Hurting Inside” adapts a 1968 Wailers cut into a softer vocal performance with subdued production.

“Reggae on Broadway” opens with brass stabs and guitar syncopation, then shifts into an extended chorus with layered horns and downward vocal cadences. “Gonna Get You” uses ghosted harmony vocals, floating tremolo textures, and minimal drum fills beneath the lead melody. “Chances Are” slows the pace for organ-infused balladry with extended bridge phrasing. “Soul Rebel” follows a softened mid-tempo pattern with tighter melodic phrasing than the Perry version. “Dance Do the Reggae” moves through clipped phrases and repeated choruses, lengthened by an added final verse. “Mellow Mood” overlays new percussion on a remake of Marley’s Wail ‘N’ Soul ‘M hit. “Stay With Me” centers on a verse–bridge–chorus cycle doubled at the end. “I’m Hurting Inside” closes the set with quiet vocal layering and brief instrumental breaks.

A1. “Reggae on Broadway” (5:20) — Marley — written and recorded in 1972 for CBS as a crossover single; remixed and extended for this release
A2. “Gonna Get You” (3:16) — Norman, Pyfrom
A3. “Chances Are” (5:03) — Marley — 1968 ballad overdubbed with organ and extended sections
A4. “Soul Rebel” (3:58) — Marley — early version predating the Lee Perry-produced recording

B1. “Dance Do the Reggae” (4:38) — Marley — 1968 CBS single remixed with added verse and chorus
B2. “Mellow Mood” (3:22) — Marley — re-recording of his 1967 Wail ‘N’ Soul ‘M track with percussion overdubs
B3. “Stay With Me” (3:00) — Norman, Pyfrom — pop-oriented co-write extended through bridge repetition
B4. “I’m Hurting Inside” (3:40) — Marley — remake of the 1968 Wail ‘N’ Soul ‘M track, remixed for this album

Recordings occurred between 1968 and 1972 in Jamaica and the United States. Danny Sims and Larry Fallon produced the compilation from unreleased JAD sessions. Final edits and overdubs were completed in 1981. Cotillion released the album on LP in North America; WEA handled international distribution.

Cotillion lifted “Reggae on Broadway” as a 12″ single. The album received mixed press on release and was later supplanted by archival reissues from the Complete Wailers series. Most tracks reappeared in rawer form on Black Progress (1997), while “Mellow Mood” remained exclusive to early CD pressings.

Confrontation

Confrontation In May 1983, Tuff Gong and Island Records issued Confrontation, the final album by Bob Marley & The Wailers.

The album was assembled from unfinished recordings made between 1977 and 1980, with overdubs and final mixes completed in April–May 1982 by engineer Errol Brown under the supervision of Rita Marley. Drawn from demos, dubplates, and non-album singles, the material was edited and sequenced into a unified ten-track release. Confrontation was intended as the concluding part of a thematic trilogy that began with Survival and continued on Uprising.

Sessions span multiple Wailers lineups. Marley handles lead vocals and rhythm guitar. Contributors include Aston Barrett (bass, guitar), Carlton Barrett and Carlton “Santa” Davis (drums), Tyrone Downie and Earl Lindo (keyboards), Junior Marvin (lead guitar), Alvin Patterson and Devon Evans (percussion), and the I Threes — Rita Marley, Marcia Griffiths, and Judy Mowatt — who overdubbed new backing vocals on tracks initially recorded with the Meditations. Horn parts feature Glen DaCosta (tenor sax), David Madden (trumpet), and Ronald “Nambo” Robinson (trombone).

Marley wrote or co-wrote all selections. “Buffalo Soldier,” composed with Noel “King Sporty” Williams, draws from African-American military history to reflect themes of struggle and displacement. “Rastaman Live Up!,” co-written with Lee Perry, dates from their 1970s dubplate period. “Jump Nyabinghi,” “Give Thanks and Praises,” and “Stiff Necked Fools” adopt liturgical structures rooted in Rastafari doctrine. “Chant Down Babylon,” “Trench Town,” and “Mix Up, Mix Up” merge denunciation with self-reference. “Blackman Redemption” and “I Know” outline Marley’s final lyrical affirmations of identity and spiritual direction.

“Chant Down Babylon” opens with clipped guitar, snare accents, and alternating vocal lines. “Buffalo Soldier” rides a mid-tempo march with off-beat brass and stepped bass motion. “Jump Nyabinghi” blends frame drum patterns with pentatonic minor cadences. “Mix Up, Mix Up” contrasts harmonic backing vocals with loose keyboard phrasing and elastic meter. “Give Thanks and Praises” rises on a two-chord verse pattern with cascading call lines.

“Blackman Redemption” slows the pace under soft horn passages, modal vocal phrasing, and reverberant bass tone. “Trench Town” lifts from keyboard syncopation and Marley’s melodic anchoring. “Stiff Necked Fools” flows on a half-time rhythm with dual keyboard overlays and syllabic phrasing. “I Know” uses programmed drums and ambient keyboards behind subdued melodic lines. “Rastaman Live Up!” builds on horn dialogue and extended phrasing in a cyclical cadence.

A1. “Chant Down Babylon” (2:36)
A2. “Buffalo Soldier” (4:17) – Marley, N.G. Williams
A3. “Jump Nyabinghi” (3:44)
A4. “Mix Up, Mix Up” (5:02)
A5. “Give Thanks and Praises” (3:16)

B1. “Blackman Redemption” (3:33)
B2. “Trench Town” (3:12)
B3. “Stiff Necked Fools” (3:25)
B4. “I Know” (3:21)
B5. “Rastaman Live Up!” (5:26) – Marley, Lee Perry

The tracks originated from sessions held at Tuff Gong Studios in Kingston between 1977 and 1980. Marley, the Wailers, and Errol Brown co-produced the original recordings. Brown completed overdubs and mixing in 1982 with input from Rita Marley and Aston Barrett. Ted Jensen mastered the album at Sterling Sound in New York. Neville Garrick designed the sleeve, depicting Marley as Saint George slaying a dragon — adapted from a World War I British recruitment poster and referencing the imperial banner of Haile Selassie.

Island lifted “Buffalo Soldier” as the lead single. The album reached No. 6 in New Zealand, No. 11 in Australia, and No. 55 on the Billboard 200. A 2001 CD reissue appended a 12-inch mix of “Buffalo Soldier” (7:37) as a bonus track.

Discography: