Bob Marley

He was an ordinary mischievous child, mad about football, but unusually sensitive and possessing an innate ability to lead others which he used only unconsciously. Began playing/singing ’60 with Bunny Livingston (b Neville O’Riley Livingston, 23 April ’47) and Peter McIntosh (aka ‘Tosh’; b Winston Hubert McIntosh, 19 Oct. ’44; d 11 Sep. ’87); both had began playing on home-made instruments. Marley had a smoky tenor, Bunny a higher, keening voice and Tosh a powerful baritone; they were infl. by Sam Cooke, Brook Benton, the Drifters and the Impressions (with Curtis Mayfield); Marley also later cited the infl. of Fats Domino, Elvis Presley, country singer Jim Reeves, plus indigenous music developing at the time (see Reggae). They took lessons from Joe Higgs (of duo Higgs and Wilson); he was an infl. not only because he insisted on correct harmonies but because he already wrote songs about ganja (marijuana) and Rastafarianism before it was fashionable; he also gave Marley tuition on guitar and songwriting. Marley was at first turned away from Leslie Kong’s recording studio, just one of a gaggle of youths hanging around, but was taken back by Jimmy Cliff and Desmond Dekker, making his first record ’62 (‘Judge Not’, written with Higgs’s help).

The Teenagers, aka Wailing Rudeboys, was a group incl. the trio, Junior Braithwaite (lead singer, though Marley led the group), Beverly Kelso and Cherry Smith; Alvin Patterson played traditional Afro-Jamaican burru drums, aka ‘Willie’, ‘Pep’, ‘Franceesco’, later famous as Seeco, the Wailers’ percussionist. Seeco was an important infl. from the beginning, but was also acquainted with Clement ‘Sir Coxsone’ Dodd: the first track for Dodd was ‘Simmer Down’ ’63, written by Bunny, backed by the Skatalites; Coxsone dubbed them the Wailing Wailers on the instant nation-wide hit. The ska beat was slowed down and became ‘rude boy’ music. Though Braithwaite was the best singer his infl. waned; some of the songs were bitter and loaded with politics, but there were also interesting covers (e.g. the Beatles’ ‘And I Love Her’, Tom Jones’s ‘What’s New Pussycat’) and adapted versions of songs by the Contours, Junior Walker, Bob Dylan and others as Marley studied songwriting and the new world-wide politics of youth at a time when Jamaica itself was a political maelstrom. Despite sometimes having several hits in the Jamaican top ten, the group was paid practically nothing by Coxsone.

In early ’66 Marley married Rita Anderson, then went to Wilmington, Delaware to stay with his mother, his name changed to Robert Nesta on his passport; he returned to Kingston the same year, now under the spell of Rastafarianism. Bunny’s ‘Rude Boy’, Rita’s ‘Pied Piper’ and other records had been hits; ska had evolved further into ‘rock-steady’, relaxed and sensual, often with ‘protest’ lyrics as the Jamaican political scene heated still more. The Wailers had made more than 50 tracks for Coxsone; formed own Wailin’ Soul label which failed; recorded more than 80 demos for JAD (label operated by Danny Sims and Johnny Nash), then ten tracks for Kong ’69 released as Best Of The Wailers (Bunny didn’t like the title, telling Kong that he would die; a year later Kong dropped dead at age 38). Marley worked in the USA for a few months ’69, returned again; the group recorded for Lee Perry late ’69–early ’70, some sides issued on their own Tuff Gong label (Marley’s street nickname). Perry’s label Upsetter had the Upsetters as the house band, led by bassist Aston Francis Barrett (b ’46, aka ‘Family Man’ or ‘Fams’) and his brother, drummer Carlton Lloyd ‘Carly’ Barrett (b ’50; shot to death 17 April ’87 in Kingston, his widow and another charged with murder), eventually merging with the Wailers as rock-steady became reggae, still slower, steeped in Rasta and ganja, its hypnotic beat and powerful politics appealing around the world. Many fans felt that the records made with Perry were the best of all: Tyrone Downie (b ’56) played keyboards on ‘Trench Town Rock’, no. 1 for five months ’71. Meanwhile Marley went to Sweden ’70 with Nash to work on a soundtrack (film/record never released), then to London, joined by the Wailers, to play backup on Nash album I Can See Clearly Now, with four songs by Bob. The LP did well but Marley’s single ‘Reggae On Broadway’ flopped.

At the end of ’71 the trio was broke, depressed, cold, homesick and in trouble with the government over work permits; Marley went to Chris Blackwell at Island Records and offered to make an album: he gave them Å“8,000. Even then, Blackwell later recalled, it was not a lot of money for an album, but it was all gambled: he had no idea whether they could do it or not, but he knew who Marley was, having released his first UK single, ‘One Cup Of Coffee’, leased from Kong. The band went home and made Catch A Fire, released late ’72 UK, early ’73 in USA (by Capitol, who did not promote it). Marley reserved Jamaican distribution for his own Tuff Gong label. Released as Michael Manley became Prime Minister of Jamaica by a landslide (despite censorship of true Jamaican music on the radio, all the artists supporting Manley), and as produced by Blackwell, it changed the direction of reggae, giving rock fans something new to dance to and a new kind of lyrical consciousness. Earl Lindo (b ’53; aka ‘Wire’, pron. ‘Wya’) replaced Downey on keyboards; sextet incl. trio and the Barretts. Next LP Burnin’ ’73 (originally called ‘Reincarnated Souls’ but Bunny’s title track was dropped) incl. ‘I Shot The Sheriff’, covered by Eric Clapton (no. 1 USA, 9 UK ’74; other Marley songs covered incl. Taj Mahal’s ‘Slave Driver’, Barbra Streisand’s ‘Guava Jelly’). African Herbsman ’73 compiled Perry tracks incl. ‘Trench Town Rock’ on Trojan, label formed by Blackwell with Lee Goptal and retained by Goptal when they split up. Wailers toured UK, appeared on TV’s Old Grey Whistle Test; on returning to Jamaica, Bunny left: a strict Rasta, he lost weight, was terribly homesick on tour, never toured with the Wailers again. They toured USA ’73, Higgs subbing for Bunny, opening at Max’s Kansas City in NYC for a new talent called Bruce Springsteen; they worked hard but met lack of understanding and not much money; they were sacked while opening for Sly and the Family Stone. Toured UK ’73 without Higgs; Marley and Tosh quarrelled and Wire left to join Taj Mahal: the first edition of the Wailers was almost finished. Natty Dread ’74 was a minimalist album, powerful and full of moral authority; it incl. Marley, Carly, Fams, Bernard ‘Touter’ Harvey on organ (too young to tour), harmonies by Rita, Marcia Griffiths and Judy Mowatt, and Lee Jaffe on harmonica, a fast friend of Marley who had taken ‘Sheriff’ to Clapton’s bassist Carl Radle and who was the only white person ever to play as a Wailer. The girl trio was called the I Threes by Marley; Griffiths had single/LP Young, Gifted And Black on Harry J with husband Bob Andy, a hit in Europe.

Early versions of Marley’s ‘Road Block’ and ‘Knotty Dread’ were issued on Tuff Gong in Jamaica and huge hits but not played on Jamaican radio, historically operated by foreigners totally out of touch with the island’s music. Blues/rock guitar lines were dubbed in UK by Al Anderson (b ’53, NJ), who had worked with Island artist John Martyn; he first heard reggae played for him by Free’s Paul Kossoff and played lead for the Afro-rock band Shakatu, left to join new Wailers. The original trio performed together May ’74 in Kingston, opening for Marvin Gaye, with Downey on keyboards: it was his first appearance with the band outside the studio, and he joined the new lineup. Marley prod. Escape From Babylon ’75 by Martha Valez on Sire. A Tuff Gong series of spots was a landmark in Jamaican radio. US tour in June incl. Anderson, Downey, Jaffe and the Barretts plus Rita and Judy (as the I Twos: pregnant Marcia stayed home). Their popularity was growing. First reggae on US network TV was ‘Kinky Reggae’ on a Manhattan Transfer TV show. They were asked to open for a Rolling Stones tour, but refused; in London in July Lyceum concerts sold out, recorded as the fiery Bob Marley And The Wailers Live! Bunny, Tosh and Marley last played together at Stevie Wonder benefit for blind Jamaican children Oct. ’75. The gentle Bunny changed his name to Bunny Wailer and went his own way: albums incl. Blackheart Man ’76, Protest ’77, Sings The Wailers ’81 on Mango; the more volatile Tosh’s output incl. ganja anthem ‘Legalize It’, title track of LP ’76, then Equal Rights ’77 on CBS, who then dropped him; he toured opening for the Stones, released Bush Doctor ’78, Mystic Man ’79 on their label, then Wanted: Dread And Alive ’81 on EMI. He was murdered by robbers in his home in Kingston as his last album No Nuclear War ’87 was released on Parlophone.

Marley became a superstar ’76, in constant demand for concerts, endlessly interviewed by journalists flooding into Kingston. Anderson and Jaffe defected to Tosh (whose Legalize It also incl. the rhythm section of Sly and Robbie). Rastaman Vibrations ’76 incl. Earl ‘Chinna’ Smith on rhythm guitar, a session player with his own Kingston band the Soul Syndicate. Don Kinsey replaced Anderson: b in Indiana, had toured with Albert King, recorded on Island in trio White Lightning with brother Woody on drums, Buster Cherry Jones on bass. The new album disappointed hard-core reggae fans but was his biggest hit ever; his only top ten LP in the USA (incl. ‘Roots, Rock, Raggae’, his only USA Hot 100 hit). He had got out of a contract with Sims when signing with Island by yielding his publishing to Sims’s Cayman Music; now he did not take credit for all his songs, but spread them among band and friends to keep money from Cayman. Asked if the Manley government would try to use him he’d said that only Rasta had the truth; now ‘Rat Race’ from the LP sent up the politicians and was a hit on Tuff Gong. A date of 5 Dec. ’76 was set for a free concert in Kingston: Tosh, Bunny and Burning Spear were asked to join the bill; the Manley government, whose socialism was floundering as the island continued to heat up, announced an election for Dec. hoping to cash in. Manley’s People’s National Party was opposed by the Jamaica Labour Party, led by anthropologist, folklorist, former record producer Edward Seaga. On 3 Dec. gunmen shot up Marley’s home, wounding several people incl. Bob, Rita and Kinsey, manager Don Taylor most seriously; miraculously no one was killed. Reasons mooted for the attack were political jealousy, one of sidekick Skill Cole’s scams gone wrong, Taylor’s gambling or Marley’s scandalous affair with the light- skinned Miss World, Cindy Breakspeare; but the incident was never explained. Marley, Rita and Kinsey appeared in concert as scheduled two days later, with Downey, Carly, Cat Coore from Third World on bass, horns, and drummers from Ras Michael and the Sons of Negus.

Marley went to London to record; Blackwell had recruited Anderson and Kinsey, now found Julian ‘Junior’ Marvin (b Jamaica, raised in UK and USA; aka Junior Kerr, Junior Hanson), who had played with T-Bone Walker, Billy Preston, Ike and Tina Turner and Wonder, and made two LPs with his own band, Hanson. Exodus ’77 and Kaya ’78 were recorded, the former incl. four-to-the-bar ‘rockers’ drumming (militant style the rage then in Jamaica) and three songs about the attempted murder. Kaya was more mellow, with dance and love songs. On a European tour ’77 the Wailers played football with French journalists; Marley injured his foot, the toenail came off and cancerous cells were found: urged to have the toe amputated, he refused, had minor surgery and seemed to recover. Despite increasing violence he returned to Kingston early ’78; a peace concert had been organized, possibly by racketeers to calm down the slum youths so that they could get back to business. Tosh was backed by World Sound and Power, with Sly and Robbie. Ras Michael performed; Marley got Manley and Seaga to shake hands on stage, but they were uncomfortable. He then went on the most strenuous tour so far: the USA (filled Madison Square Garden), Europe, Canada and West Coast USA, with Marvin, rehired Wire and Anderson, Downey, Seeco and the Barretts; Tosh guested in LA; tour album was two-disc Babylon By Bus; he toured Asia, returned to Jamaica to record new songs. He visited Ethiopia late ’78, began working on song ‘Zimbabwe’; played Boston benefit ’79 for Amandla (amandla ngawetu, ‘freedom for the people’) for African freedom fighters; his masterpiece Survival ’79 incl. ‘Zimbabwe’, widely covered in Africa.

His health began to fail; he caught cold in NYC, felt better on West Coast; visited Africa early ’80, the trip marred by the discovery that Taylor was a thief: Marley had never made a profit on tour because Taylor skimmed it to finance his gambling. Last album Uprising ’80 gave up horns and rock sound in favour of an African flavour; before its release the Wailers played for Zimbabwe’s independence celebrations in April, perhaps the high point of his life. He was warned not to return to Jamaica, where civil war seemed imminent, because he was still seen as a Manley supporter and the CIA was supporting Seaga; he toured Germany, but his health worsened: he died of cancer without seeing his home again. Like Bob Dylan, he never sold that many records, though five LPs were top ten in UK incl. posthumous Confrontation ’83 (tracks not previously released outside Jamaica, released on second anniversary of his death) and Legend ’84, the last at no. 1); compilations and reissues of early work have appeared on CBS, WEA labels, others; Chances Are incl. ‘Reggae On Broadway’. A new edition called Legend ’90 entered the UK charts on CD and stayed there for years; it compiled his pop hits, and was followed by companion Natural Mystic ’95, with stronger political stuff; and there was a four-CD limited edition Songs Of Freedom ’92, all on Tuff Gong/Island. The Real Sound Of Jamaica on Milan had ’69–72 tracks by the original trio made at Eandy’s, recorded by Perry, some songs that became famous later but the originals never bettered for power and beauty. Dreams Of Freedom ’97 on Axiom/Island had eleven tracks remixed by Bill Laswell, supposed to be Marley-in-dub, but surprisingly insubstantial. Marley made millions, but a lot was stolen and he gave a lot away; he was criticized for driving an expensive car, but he could park it in any slum in Kingston and no one would touch it. He is still loved by millions; he preached, among other things, that the only way black people could be superior to whites was by refusing to practise their racism. With no father and separated from his mother as a child, he had suffered loneliness as well as poverty, but he wore no mantle later: ‘I and I don’t have to suffer to be aware of suffering. So is not anger and alla dat, but is just truth, and truth haffa bust out of man like a river’ (quote from Bob Marley by Stephen Davis ’83, a good biography). His son Ziggy Marley has become a successful reggae artist.

1969
Soul Shakedown

1970
Soul Rebels

1973
Catch a Fire
1973
Burnin’
1973
African Herbsman

1974
Natty Dread
1974
Rasta Revolution

1975
Jah Live
1975
Live
1976
Rastaman Vibration
1977
Reflection
1977
Exodus

1978
Kaya

1978
Babylon by Bus [live]

1979
Bob Marley
and the Wailers

1979
Survival

1980
Uprising

1981
Chances Are
1983
Confrontation

1984
In the Beginning

1984
Riding High

1986
Rebel Music

1988
The Bob Marley Story: Caribbean Nights
1988
The Mighty Bob Marley
1989
Return to
Dunns’ River Falls

1991
Bob Marley
[Bella Musica]
1991
Talkin’ Blues

1992
Rebel’s Hop
1994
Simmer Down at Studio One, Vol. 1

1994
56 Hope Road Live
1995
Reggae
1995
Dunn’s River Falls

1995
One Day: Live
1995
Island Fever

1995
Bob Marley & Wailers
1995
So Much Things to Say

1996
Reggae Sensation

1996
Rebel Revolution

1996
Soul Revolution, P. 2
1996
Mellow Mood

1997
Reggae ‘n Dub
1997
Dreams of Freedom: Ambient Translations of…

1998
Down South Miami [live]
1998
Live at Apollo Theatre
1998
Live at the Lyceum
in London
1998
One Love Peace
Concert [live]

1999
Try Me

1999
Best of the Wailers

1999
Natural Mystic
[Avid]

1999
Live at Santa Barbra 1979

2000
Put It On