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World - Released January 1, 2001 | Universal-Island Records Ltd.

Distinctions The Qobuz Ideal Discography - The Qobuz Standard
Catch a Fire was the major label debut for Bob Marley and the Wailers, and it was an international success upon its release in 1973. Although Bob Marley may have been the main voice, every member of the Wailers made valuable contributions and they were never more united in their vision and sound. All the songs were originals, and the instrumentation was minimalistic in order to bring out the passionate, often politically charged lyrics. Much of the appeal of the album lies in its sincerity and sense of purpose -- these are streetwise yet disarmingly idealistic young men who look around themselves and believe they might help change the world through music. Marley sings about the current state of urban poverty ("Concrete Jungle") and connects the present to past injustices ("Slave Driver"), but he is a not a one-trick pony. He is a versatile songwriter who also excels at singing love songs such as his classic "Stir It Up." Peter Tosh sings the lead vocal on two of his own compositions -- his powerful presence and immense talent hint that he would eventually leave for his own successful solo career. More than anything else, however, this marks the emergence of Bob Marley and the international debut of reggae music. Marley would continue to achieve great critical and commercial success during the 1970s, but Catch a Fire is one of the finest reggae albums ever. This album is essential for any music collection. ~ Vik Iyengar
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World - Released January 1, 1978 | Island Records (The Island Def Jam Music Group / Universal Music)

Distinctions The Qobuz Ideal Discography - The Qobuz Standard
Arguably the most influential live reggae album ever, Babylon by Bus captures Bob Marley and the Wailers during the European leg of their Kaya tour in the spring of 1978. The success of this set was not entirely unexpected, however. If the universal and widespread acclaim of Live! -- their first concert recording -- was an indicator, all involved knew that a Bob Marley & the Wailers performance contained unique energies and a vibe all of its own. Sharply contrasting the somewhat pastoral grooves of the Kaya album, Babylon by Bus possesses a more aggressive sound -- which was a trademark of this particular band. Tyrone Downie's progressive rock keyboard flavors on "Exodus," as well his judiciously located percussive clavinet accentuations during "Punky Reggae Party," lock in with Aston "Familyman" Barrett's viscous basslines to create something akin to psychedelic reggae or even along the lines of Parliament/Funkadelic. Likewise, "Heathen" highlights Anderson's explosive guitar leads, which are distinctly reminiscent of Eddie Hazel from his early days with Funkadelic. The lead guitar solos on "Rebel Music (3 O' Clock Roadblock)" and "Is This Love" also define Al Anderson's innovative and decidedly Western guitar style, as it is seamlessly and thoroughly integrated with Marley and the Wailers. As with their first concert album, Babylon by Bus highlights material from the band's history up to that point. "No More Trouble" is placed in an entirely new context when linked with "War," which features lyrics taken from a United Nations speech given by Haille Selassie I, the Ethiopian emperor considered the father of modern Rastafarianism. Other early tracks, such as "Kinky Reggae" and "Stir It Up," prove to be not the only favorites of concert attendees. More recent offerings of "Is This Love," "Jammin'," and "Exodus" actually garner the most audible support. Without question, Babylon by Bus is an integral component of any popular music collection. ~ Lindsay Planer
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$12.99

World - Released January 1, 2013 | Island Records (The Island Def Jam Music Group / Universal Music)

Hi-Res Distinctions Hi-Res Audio
The second half of the 1970s was a prolific era for Bob Marley, at the peak of his glory days, during which he was releasing an album a year. After Rastaman Vibration in 1976, Exodus in 1977, the Jamaican artist released this Kaya in 1978, with tracks originating from the same session as Exodus, recorded during the first few months of his exile in London, in early 1977. The album is widely considered as his lightest, no doubt because of its theme, as Kaya means marijuana in Jamaican slang. The album starts off with Easy Skanking’s“Excuse me while I light my spliff”, as if Marley was totally at ease with the B-side nature of these songs. But it would be a mistake to underestimate the hit machines that were the Wailers, as this album features two of their discography’s biggest successes, Is This Love and Satisfy My Soul – certified double platinum in France and gold disc in the USA. Bob Marley also used these sessions to revisit his Lee Perry period, first with the title song Kaya, for which he wrote a chiselled version without Scratch’s wacky flamenco guitar, like a symbol of Island’s influence – some would say to the detriment of romanticism… –, while Sun Is Shining, more ethereal than its original, rose to new heights and spiciness with Junior Marvin’s electric guitar. On the B-side at the time, one could find She’s Gone, a song about an ousted lover, Crisis, which sounds like a spin-off born out of a rehearsal for Is This Love, or the “rastaman chant” Time Will Tell, cadenced by Nyabinghi drumming. The album ends in a deadpan way with Smile Jamaica, a title composed for its namesake concert on December 5th, 1976 at the National Heroes Park in Kingston, Jamaica, in which Bob Marley took part two days after being shot… © Smaël Bouaici/Qobuz
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Reggae - Released January 1, 2001 | Island Records (The Island Def Jam Music Group / Universal Music)

Distinctions The Qobuz Standard
Uprising would be the final studio album featuring Bob Marley & the Wailers to be released during Marley's lifetime. Prophetically, it also contains some of the band's finest crafted material, as if they were cognizant that this would be their final outing. The album's blend of religious and secular themes likewise creates a very powerful and singular quest for spirituality in a material world. Although it is argued that an album's graphic design rarely captures the essence of the work inside, the powerful rebirthing image of a rock solid Marley emerging with his arms raised in triumph could not be a more accurate visual description of the musical jubilation within. Musically, the somewhat staid rhythms often synonymous with reggae have been completely turned around to include slinky and liquid syncopation. "Work," "Pimper's Paradise," and the lead-off track "Coming in From the Cold" are all significant variations on the lolloping Rasta beat. The major difference is the sonic textures that manipulate and fill those patterns. The inventive and unique guitar work of Al Anderson -- the only American member of the original Wailers -- once again redefines the role of the lead electric guitar outside of its standard rock & roll setting. "Zion Train" is awash in wah-wah-driven patterns creating an eerie, almost ethereal backdrop against Marley's lyrics, which recollect images from Peter Tosh's "Stop That Train" all the way back on Marley & the Wailers' international debut Catch a Fire. The final track on the original pressing of Uprising is "Redemption Song." Never has an artist unknowingly written such a beautiful and apropos living epitaph. The stark contrast from the decidedly electric and group-oriented album to this hauntingly beautiful solo acoustic composition is as dramatic as it is visionary. Less than a year after the release of Uprising, Marley would succumb to cancer. The 2001 "Definitive Remaster" version of Uprising contains the band version of "Redemption Song" and the 12" mix of "Could You Be Loved." ~ Lindsay Planer
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Reggae - Released January 1, 2001 | Island Records (The Island Def Jam Music Group / Universal Music)

Distinctions The Qobuz Standard
Containing what is considered Marley's most defiant and politically charged statement to date, Survival concerns itself with the expressed solidarity of not only Africa, but of humanity at large. The album was controversial right down to the jacket, which contains a crude schematic of the stowage compartment of a typical transatlantic slave ship. Survival is intended as a wake-up call for everyman to resist and fight oppression in all of its insidious forms. From Tyrone Downie's opening synthesizer strains on "So Much Trouble in the World" to the keyboard accents emerging throughout "Zimbabwe," the sounds of Survival are notably modern. The overwhelming influence of contemporary African music is also cited with the incorporation of brass, á la Fela Kuti and his horn-driven Africa '70. While "Top Rankin'," "Ride Natty Ride," and "Wake Up and Live" are the most obvious to benefit from this influence, there are other and often more subtle inspirations scattered throughout. Survival could rightly be considered a concept album. Marley had rarely been so pointed and persistent in his content. The days of the musical parable are more or less replaced by direct and confrontational lyrics. From the subversive "Zimbabwe" -- which affirms the calls for the revolution and ultimate liberation of the South African country -- to the somewhat more introspective and optimistic "Africa Unite," the message of this album is clearly a call to arms for those wanting to abolish the subjugation and tyranny of not only Africans, but all humankind. Likewise, Survival reinforces the image of Marley as a folk hero to those suffering from oppression. ~ Lindsay Planer
$18.99

Reggae - Released January 1, 2004 | Tuff Gong

Distinctions The Qobuz Standard
The Wailers' fourth album overall, Burnin', was their second for Island Records, released only six months after its predecessor, Catch a Fire. Given that speed, it's not surprising that several tracks -- "Put It On," "Small Axe," and "Duppy Conqueror" -- are re-recordings of songs dating back a few years. But they fit in seamlessly with the newer material, matching its religious militancy and anthemic style. The confrontational nature of the group's message is apparent immediately in the opening track, "Get Up, Stand Up," as stirring a song as any that emerged from the American Civil Rights movement a decade before. The Wailers are explicit in their call to violence, a complete reversal from their own 1960s "Simmer Down" philosophy. Here, on "Burnin' and Lootin'," they take issue with fellow Jamaican Jimmy Cliff's song of the previous year, "Many Rivers to Cross," asking impatiently, "How many rivers do we have to cross/Before we can talk to the boss?" "I Shot the Sheriff," the album's most celebrated song, which became a number one hit in the hands of Eric Clapton in 1974, claims self-defense, admits consequences ("If I am guilty I will pay"), and emphasizes the isolated nature of the killing ("I didn't shoot no deputy"), but its central image is violent. Such songs illuminated the desperation of poor Jamaican life, but they also looked forward to religious salvation, their themes accentuated by the compelling rhythms and the alternating vocals of the three singers. Bob Marley was a first among equals, of course, and after this album his partners, Peter Tosh and Bunny Wailer, quit the group, which thereafter was renamed Bob Marley and the Wailers. The three bonus tracks on the 2001 reissue are all by Tosh and Wailer, though recorded at the album's sessions, suggesting the source of their frustration. ~ William Ruhlmann
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World - Released January 1, 2001 | Universal-Island Records Ltd.

Distinctions The Qobuz Standard
Natty Dread is Bob Marley's finest album, the ultimate reggae recording of all time. This was Marley's first album without former bandmates Peter Tosh and Bunny Livingston, and the first released as Bob Marley & the Wailers. The Wailers' rhythm section of bassist Aston "Family Man" Barrett and drummer Carlton "Carlie" Barrett remained in place and even contributed to the songwriting, while Marley added a female vocal trio, the I-Threes (which included his wife Rita Marley), and additional instrumentation to flesh out the sound. The material presented here defines what reggae was originally all about, with political and social commentary mixed with religious paeans to Jah. The celebratory "Lively Up Yourself" falls in the same vein as "Get Up, Stand Up" from Burnin'. "No Woman, No Cry" is one of the band's best-known ballads. "Them Belly Full (But We Hungry)" is a powerful warning that "a hungry mob is an angry mob." "Rebel Music (3 O'Clock Road Block)" and "Revolution" continue in that spirit, as Marley assumes the mantle of prophet abandoned by '60s forebears like Bob Dylan. In addition to the lyrical strengths, the music itself is full of emotion and playfulness, with the players locked into a solid groove on each number. Considering that popular rock music was entering the somnambulant disco era as Natty Dread was released, the lyrical and musical potency is especially striking. Marley was taking on discrimination, greed, poverty, and hopelessness while simultaneously rallying the troops as no other musical performer was attempting to do in the mid-'70s. ~ Jim Newsom
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Reggae - Released January 1, 2001 | Island Records (The Island Def Jam Music Group / Universal Music)

Distinctions The Qobuz Standard
For Bob Marley, 1975 was a triumphant year. The singer's Natty Dread album featured one of his strongest batches of original material (the first compiled after the departure of Peter Tosh and Bunny Wailer) and delivered Top 40 hit "No Woman No Cry." The follow-up Live set, a document of Marley's appearance at London's Lyceum, found the singer conquering England as well. Upon completing the tour, Marley and his band returned to Jamaica, laying down the tracks for Rastaman Vibration (1976) at legendary studios run by Harry Johnson and Joe Gibbs. At the mixing board for the sessions were Sylvan Morris and Errol Thompson, Jamaican engineers of the highest caliber. Though none of these cuts would show up on Legend, Marley's massively popular, posthumous best-of, some of the finest reality numbers would surface on the compilation's more militant equivalent, 1986's Rebel Music set. "War," for one, remains one of the most stunning statements of the singer's career. Though it is essentially a straight reading of one of Haile Selassie's speeches, Marley phrases the text exquisitely to fit a musical setting, a quiet intensity lying just below the surface. Equally strong are the likes of "Rat Race," "Crazy Baldhead," and "Want More." These songs are tempered by buoyant, lighthearted material like "Cry to Me," "Night Shift," and "Positive Vibration." Not quite as strong as some of the love songs Marley would score hits with on subsequent albums, "Cry to Me" still seems like an obvious choice for a single and remains underrated. Though record buyers may not have found any single song to be as strong on those terms as "No Woman No Cry," Rastaman Vibration still reached the Top Ten in the United States. ~ Nathan Bush
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World - Released January 1, 2002 | Tuff Gong

Distinctions The Qobuz Standard
$16.49

Reggae - Released January 1, 2013 | Tuff Gong

Distinctions The Qobuz Standard
The second half of the 1970s was a prolific era for Bob Marley, at the peak of his glory days, during which he was releasing an album a year. After Rastaman Vibration in 1976, Exodus in 1977, the Jamaican artist released this Kaya in 1978, with tracks originating from the same session as Exodus, recorded during the first few months of his exile in London, in early 1977. The album is widely considered as his lightest, no doubt because of its theme, as Kaya means marijuana in Jamaican slang. The album starts off with Easy Skanking’s “Excuse me while I light my spliff”, as if Marley was totally at ease with the B-side nature of these songs. But it would be a mistake to underestimate the hit machines that were the Wailers, as this album features two of their discography’s biggest successes, Is This Love and Satisfy My Soul – certified double platinum in France and gold disc in the USA. Bob Marley also used these sessions to revisit his Lee Perry period, first with the title song Kaya, for which he wrote a chiselled version without Scratch’s wacky flamenco guitar, like a symbol of Island’s influence – some would say to the detriment of romanticism… –, while Sun Is Shining, more ethereal than its original, rose to new heights and spiciness with Junior Marvin’s electric guitar. On the B-side at the time, one could find She’s Gone, a song about an ousted lover, Crisis, which sounds like a spin-off born out of a rehearsal for Is This Love, or the “rastaman chant” Time Will Tell, cadenced by Nyabinghi drumming. The album ends in a deadpan way with Smile Jamaica, a title composed for its namesake concert on December 5th, 1976 at the National Heroes Park in Kingston, Jamaica, in which Bob Marley took part two days after being shot… © Smaël Bouaici/Qobuz
$10.49

World - Released January 1, 2001 | Island Records (The Island Def Jam Music Group / Universal Music)

Distinctions The Qobuz Standard
A posthumous collection produced by Rita Marley, based on work left behind by Bob upon his death. Some of his best post-Wailers work is here, with songs like "Buffalo Soldier," "Chant Down Babylon," and "Blackman Redemption." Given that he wasn't alive to do the production that he usually helped in, this album seems remarkably true to the general vision of Bob Marley's albums. Other somewhat lesser-known tracks also help to fill in all of the cracks with some remarkable material. Case in point: "Jump Nyabinghi," a nice danceable groove with perhaps less of the usual politics mixed in, but with just as much musicality. Overall, any Bob Marley fan ought to own this album. For the uninitiated, Legend is always the starting point, but, after that, this may not be such a bad choice for additions to the collection. ~ Adam Greenberg
$14.99

World - Released January 1, 2002 | Island Records (The Island Def Jam Music Group / Universal Music)

Distinctions The Qobuz Standard
Originally released in February 1991, this album combines material from several different sources to trace the development of Bob Marley & the Wailers between October 1973 and September 1975. The bulk of the disc comes from a 1973 radio concert performed before a handful of listeners at the Record Plant recording studio in San Francisco and broadcast by KSAN-FM. The outfit who played them was technically still the Wailers, since Peter Tosh was still with them (and sang lead on his own compositions, "You Can't Blame the Youth" and "Stop That Train"), although Bunny Livingston had declined to tour and been replaced by Joe Higgs. By 1974, when the group assembled to record their next album, Natty Dread, Tosh and Livingston had quit, and the band was reorganized as Bob Marley & the Wailers. In July 1975, the band played two shows at the Lyceum in London that would break them in the U.K., when recordings from the performances were issued as the album Live!. Finally, the musical tracks are interspersed with excerpts from an interview with Marley conducted in September 1975. While these spoken fragments provide a flavor of Marley's conversation, his heavy patois is very difficult for non-Jamaicans to understand. Still, these are valuable odds and ends for the Bob Marley fan. ~ William Ruhlmann
$10.49

Reggae - Released January 1, 2001 | Island Records (The Island Def Jam Music Group / Universal Music)

Distinctions The Qobuz Standard
The second half of the 1970s was a prolific era for Bob Marley, at the peak of his glory days, during which he was releasing an album a year. After Rastaman Vibration in 1976, Exodus in 1977, the Jamaican artist released this Kaya in 1978, with tracks originating from the same session as Exodus, recorded during the first few months of his exile in London, in early 1977. The album is widely considered as his lightest, no doubt because of its theme, as Kaya means marijuana in Jamaican slang. The album starts off with Easy Skanking’s “Excuse me while I light my spliff”, as if Marley was totally at ease with the B-side nature of these songs. But it would be a mistake to underestimate the hit machines that were the Wailers, as this album features two of their discography’s biggest successes, Is This Love and Satisfy My Soul – certified double platinum in France and gold disc in the USA. Bob Marley also used these sessions to revisit his Lee Perry period, first with the title song Kaya, for which he wrote a chiselled version without Scratch’s wacky flamenco guitar, like a symbol of Island’s influence – some would say to the detriment of romanticism… –, while Sun Is Shining, more ethereal than its original, rose to new heights and spiciness with Junior Marvin’s electric guitar. On the B-side at the time, one could find She’s Gone, a song about an ousted lover, Crisis, which sounds like a spin-off born out of a rehearsal for Is This Love, or the “rastaman chant” Time Will Tell, cadenced by Nyabinghi drumming. The album ends in a deadpan way with Smile Jamaica, a title composed for its namesake concert on December 5th, 1976 at the National Heroes Park in Kingston, Jamaica, in which Bob Marley took part two days after being shot… © Smaël Bouaici/Qobuz
$8.99

World - Released January 1, 2002 | Island Records (The Island Def Jam Music Group / Universal Music)

Distinctions The Qobuz Standard
In assembling Bob Marley & the Wailers' British chart singles for the 1984 compilation Legend, Island Records created what turned out to be a perennial seller, but also an album that misrepresented the range of Marley's work, downplaying its political aspect in favor of danceability and romantic sentiments. Of course, what made Marley such a powerful figure internationally was his message about the uprising of the oppressed, but you wouldn't know that from Legend. Two years later, Island sought to redress the balance with its second major Marley compilation, Rebel Music. Here, in tracks drawn from such albums as Natty Dread, Rastaman Vibration, and Survival, Marley the political activist could be heard in all his glory, decrying "So Much Trouble in the World." In "War," presented in the medley with "No More Trouble" that had appeared originally on the 1978 concert album Babylon by Bus, he quoted Ethiopian ruler Haile Selassie about the dire consequences of denying rights to people of color. At the end, in a version taken from the 1975 "Live!" album, he implored his listeners to "Get Up, Stand Up." (Of course, he was not unaware that that exhortation also allowed them to dance in the aisles.) There were other political songs in Marley's repertoire, of course, and Rebel Music shared with Legend an unfortunate tendency to slight the Wailers' early albums, which contained plenty of appropriate material. (Only one track was drawn from Catch a Fire and none at all from Burnin'.) But for the millions who bought Legend, Rebel Music provided a necessary corrective revealing Marley's impassioned political stance. (Note that this compilation marked the first release on an album of "Roots," the non-LP B-side to the 1977 single "Waiting in Vain.") ~ William Ruhlmann
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$11.49

Reggae - Released March 23, 1978 | Tuff Gong

Hi-Res
The second half of the 1970s was a prolific era for Bob Marley, at the peak of his glory days, during which he was releasing an album a year. After Rastaman Vibration in 1976, Exodus in 1977, the Jamaican artist released this Kaya in 1978, with tracks originating from the same session as Exodus, recorded during the first few months of his exile in London, in early 1977. The album is widely considered as his lightest, no doubt because of its theme, as Kaya means marijuana in Jamaican slang. The album starts off with Easy Skanking’s “Excuse me while I light my spliff”, as if Marley was totally at ease with the B-side nature of these songs. But it would be a mistake to underestimate the hit machines that were the Wailers, as this album features two of their discography’s biggest successes, Is This Love and Satisfy My Soul – certified double platinum in France and gold disc in the USA. Bob Marley also used these sessions to revisit his Lee Perry period, first with the title song Kaya, for which he wrote a chiselled version without Scratch’s wacky flamenco guitar, like a symbol of Island’s influence – some would say to the detriment of romanticism… –, while Sun Is Shining, more ethereal than its original, rose to new heights and spiciness with Junior Marvin’s electric guitar. On the B-side at the time, one could find She’s Gone, a song about an ousted lover, Crisis, which sounds like a spin-off born out of a rehearsal for Is This Love, or the “rastaman chant” Time Will Tell, cadenced by Nyabinghi drumming. The album ends in a deadpan way with Smile Jamaica, a title composed for its namesake concert on December 5th, 1976 at the National Heroes Park in Kingston, Jamaica, in which Bob Marley took part two days after being shot… For its 40th anniversary, Kaya is released in a special edition with Stephen Marley remixing the original session recordings, like his brother Ziggy did with Exodus. © Smaël Bouaici/Qobuz
$23.99
$20.49

Reggae - Released December 5, 1975 | Tuff Gong

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$10.49

Reggae - Released January 1, 2013 | Island Records (The Island Def Jam Music Group / Universal Music)

Reggae - Released January 1, 2000 | Universal Music Group International

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The singles that Bob Marley and the Wailers cut for Lee Perry's Upsetter label in the late '60s and early '70s are among some of the most historically significant in reggae. They mark Marley's break with the ska and rock-steady styles of the mid-'60s and the beginning of his mature reggae sound. Of course, historical significance doesn't always translate into musical enjoyment, but in this case it definitely does. The band, which had formed the core of Perry's mighty Upsetters studio group, gives up slow, churning grooves that move with a tremendous, ponderous energy, like an elephant charging. Marley, Peter Tosh, and Bunny Wailer sing harmonies that are rarely smooth and never exactly pleasant, but always somehow beautiful. This six-disc box set includes every track known to have been recorded by the Wailers for the Upsetter label, and the resulting program may be a bit daunting for all but the most dedicated fans. The song list includes such immortal material as "Small Axe," "Put It On," "African Herbsman," and "Soul Rebel" (not to mention relative obscurities like "Riding High" and "Who Colt the Game"), but when dub versions, alternate takes, alternate mixes, and deejay versions are taken into account, there are as many as five versions each of many of these songs on the program; it's also worth noting that at this point in Perry's development as a producer, his "dub versions" were little more than unadorned instrumental tracks. For Marley completists and reggae scholars, however, this box is a treasure trove, and anyone can appreciate the impeccable sound quality, not to mention the sheer musical solidity of these performances. It would be an exaggeration to say that every reggae fan must own this box, but anyone with a serious interest in reggae history should certainly consider it. ~ Rick Anderson
$10.49

Reggae - Released February 3, 2015 | Tuff Gong

Captured on tour supporting the Kaya album, Easy Skanking in Boston '78 marks the beginning of the Universal Music Group's archival Bob Marley series, something made possible by the Marley family, who offered up plenty of archival concert and unreleased studio recordings. This first release is a powerful show, slowly rolling up from midtempo favorites into some kicking and classic Wailers anthems like "Jamming" and "Exodus." The sound quality is excellent and a vast improvement over bootlegs, which still sounded quite good, but it does seem an odd selection to launch the reggae legend's archival series, until one looks at the accompanying video release. Easy Skanking in Boston '78 (the video) features hand-held footage from a fan who captured the show with Marley's permission, but only seven of the songs were filmed, and even they're not complete. Still, both the previously unseen video and the audio release will hold interest for the casual fan as well as the fanatic, while the performance is outstanding, making one wonder if the always inspired Marley ever had an "off" night. ~ David Jeffries
$8.99

Reggae - Released January 1, 2010 | Tuff Gong

On first thought, a collection of dub mixes of classic tunes by Bob Marley & the Wailers seems like a reggae fan's dream come true. Originally released exclusively in digital form in 2010, In Dub, Vol. 1 collects mostly previously unreleased dub mixes from the vaults, with some newly crafted ones as well. The versions vary widely in style and virtually no production information, or mixing credits make it hard to place when they may have been put to tape. The digital delay flutter of "One Love/People Get Ready Dub" or "Three Little Birds Dub" suggests post-'80s studio trickery and "Waiting in Vain Dub" has more subdued grit in classic '70s dub style. There's nothing as raw and saturated as the pioneering '70s productions of King Tubby or Lee Perry, though dub champion Scientist contributes a new mix of "Lively Up Yourself" (known here as "Lively Up Your Dub"), heavy with stereo-panned delay, triggered drums, and fragmented horns. While it is novel to hear some of these songs in a classic dub style, the mixes are either way too busy ("Is This Love Dub") or uninspired ("Smile Jamaica Version"), and the collection loses steam quickly. As good as the concept sounds, In Dub, Vol. 1 fails to be captivating in the way other dub collections are, and takes away from the original songs more than it expands on them. Marley's ubiquitous rasta anthems were often such dense studio affairs, with all the elements so meticulously placed, that the systematic application and jumble of the dub treatment just doesn't really succeed. ~ Fred Thomas