Peter Tosh – Glenn Miller Ballroom, Boulder, CO 2/13/79 Complete Soundboard Recording
Some say blogs are for writing, I blog Music. Here is a pristine quality recording and performance from the Bush Doctor.
01 – Intro -400 Years
02 – Stepping Razor
03 – Pick Myself Up
04 – African
05 – Burial
06 – Soon Come
07 – I’m The Toughest
08 – Bush Doctor
09 – Don’t Look Back
10 – Get Up Stand Up
11 – Legalize It
Another Classic from the Dubwise Garage Collection
Steel Pulse w/ Al Anderson
The Ritz Theatre, New York. 1982-xx-xx. 3rd Night. WBAI broadcast 99.5 FM
Another special treat for reggae fans. 2 Steel Pulse rare unreleased shows and a killer jam with Al Anderson of Bob Marley and the Wailers. So much rare roots reggae to share with the fans, just takes a little time and positive vibes for all to enjoy.
01 Drug Squad 5:37
02 Blues Dance Raid 7:25
03 Ku Klux Klan 5:08
04 Man No Sober 6:53
05 Ravers 9:15
Al Anderson photo by Jim Crowley. Thanks to TheLibrarian for sharing. Al plays lead on a smokin version of Drug Squad.
You can download the lossless FLAC files below or this MP3 File
Also included is another rare Steel Pulse show from the The Catalyst, Santa Cruz, CA on July 10th 1982
Uncle George
Biko’s Kindred Lament
Blues Dance Raid
Soldiers
Rally Round
Riot
Chant A Psalm
A Who Responsible
Sound System
Ravers
Find It Quick
Ku Klux Klan
Man No Sober
Drug Squad
Reggae Fever
Handsworth Revolution
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01 Drug Squad.flac Size : 27338.762 Kb Type : flac |
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02 Blues Dance Raid.flac Size : 36653.389 Kb Type : flac |
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03 Ku Klux Klan.flac Size : 25301.906 Kb Type : flac |
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04 Man No Sober.flac Size : 34067.031 Kb Type : flac |
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05 Ravers.flac Size : 46431.198 Kb Type : flac |
Bob Marley & The Wailers
1979.04.13. Festival Hall, Osaka, Japan
This show has the most clapping I have ever heard during any concert, so I asked a Japanese friend if he could give me some insight. I talked with Hideki Nakagawa who explained to me that since the Japanese can’t sing along with the songs since they don’t understand English well, they “clap to convey the feelings of us from start to end.” Hideki also had this to say about this particular show. “I am hearing this show now and it is most amazing show of all Japan shows. The Crowd sing along with No Woman No Cry(Bob brings to sing and start sing) it is magic moment.
Junior said Japanese word at end of Jammin “Okini”.
That means “Thank you” in the words of Osaka Dialect,
usually “Arigato”.”
Audience Recording. Fairly Good Quality. One of the lesser circulated dates from the April 1979 tour of Japan. For the more serious collectors that like to have history preserved in its best quality, I have provided lossless FLAC files and for most are MP3 files, just click on the song title to play or left click and save as to download.
01 – Positive vibration 
02 – Concrete jungle
03 – Them belly full
04 – The heathen
05 – Running away
06 – Crazy baldhead
07 – I shot the sheriff
08 – No woman no cry
09 – Is this love
10 – Lively up yourself
11 – Jammin
12 – War
13 – Get up stand up
14 – Exodus
You can Download Lossless FLAC files on the main site here JAPAN PAGE
Peter Tosh
Bethesda, MD 3/14/79 in the WHFS studio that afternoon, (7″ reel@ 3.75 ips) Peter hangs out in the studio, gives interviews between songs, & plays a little acoustic guitar. A great piece of Peter Tosh musical history. Thanks to the original taper.
Pick Myself Up (song is missing)
I am That I am
Stand Firm
interview
Jah Is My King {Creation} (acoustic)
interview
Commercials
Ketchy Shubby
Stepping Razor
interview
Don”T Look Back (with Mick Jagger)
interview
Jah God
Get A Beaten
Get UP Stand Up
Interview
Commercials
interview
?
400 Years
All one track. this what it includes in order. Almost best to download and listen to instead of playing in your browser.
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Peter and Donald Kindsey
Here is a update on the Bob Marley Movie titled “Marley”.
Thanks to Evelyn Diaz for the article.
The “definitive” doc on the reggae legend opens April 20.
For Bob Marley fans, it’s time to get up, stand up … and run to the nearest indie theater. Magnolia Pictures announced today they have acquired U.S. rights to Academy Award winner Kevin Macdonald‘s long-in-development Bob Marley documentary Marley, described as the definitive documentary about the legendary musician, from his earliest days to his rise to international superstardom.
Marley is executive-produced by Bob Marley’s son, Ziggy Marley, and Island Records founder Chris Blackwell. Made with the unprecedented support of the Marley family, the film features rare footage, archival photos, and incredible performances and interviews with his family, friends and bandmates.
Documentary distribution maestros Magnolia Pictures will release the film theatrically and on VOD April 20, and some time later VH1 will premiere the film on television as part of its Rock Doc series.
“This documentary is the ultimate revelation of my father’s life … The family is proud to be able to have the world finally experience this emotional journey,” said Ziggy Marley in a statement.
(Photo: Michael Ochs Archives/Getty Images)
Bob Marley was very serious about reaching the African American fans and, his message began to pick up steam in America’s African American community in 1979. Marley had been popular with the white American fan base but the African American community had long remained impervious to the impact of Bob Marley and Reggae music. All of that was about to change. A series of legendary shows at Harlem’s Apollo Theater in 1979 coupled with the release of the militant Pan African oriented ‘Survival’, as well as an appearance at the Amandla Festival in the same year, began to elevate Marley’s reputation in the eyes of African Americans. It is said there had not been this much excitement and energy in Harlem since the day’s of Marcus Garvey. The Wailers were the first reggae band to play at Harlem’s famous Apollo Theater. 4 nights with 2 show played each night except the last night.All of the circulated (hope there’s more out there) shows that collectors have been blessed to enjoy all these years are now here in one place for the fans to enjoy.
Bob Marley & The Wailers: Apollo Theater, New York NY
Richard Grabel, NME, 10 November 1979
BOB MARLEY had to change his approach. He had a virtual patent in the international arena on the stance of the mad-shaman reggae icon, the athletic Lion prancer and dancer. He was always a thrill to watch, but the danger that his moves would become too set, too predictable, was there.
So he has changed and the tone of his new Survival album – deliberate, taken at a slower, more considered pace, but full of thought and purpose– was carried into the performance. Marley played down the athletic display and instead emphasised the incredible expressiveness and control of his singing.
He was less the impassioned shaman and more the eloquent preacher. He has serious things on his mind and now, more than ever, he wants to be sure we get the message.
The setting of the Apollo Theatre, a Harlem landmark, is well chosen for Marley’s return after a year and a half absence. It’s small enough for his concentration on lyrical message and emotional subtleties to reach out and connect. The use of the stage set is effective, with three backdrops used during the show. The first is an Ethiopian flag, the second a portrait of Selassie I, the third a collage including images of Marcus Garvey, Selassie I and guerilla fighters. They don’t distract, but unobtrusively encourage a little thought about the political context in which this music is made. Marcia Griffiths of the I-Threes isn’t on this tour, so it’s just Rita Marley and Judy Mowatt as the I-Twos. Otherwise the Wailers are at full strength,
augmented by a trumpet-and-sax horn section. That makes ten musicians, but the sound is still quite lean and spare, avoiding the pratfall of creating an overblown, big band version of what ought to be an essentially minimalist sound. Marley’s imagination seems caught up with the new songs he has written, and he gave them his most careful and concentrated delivery. But some older material fared less well. The opening songs ‘Natural Mystic’ and ‘Them Belly Full’ were surprisingly lackluster, going by without any glory. But with ‘I Shot The Sheriff’ everyone woke up. Marley became that Lion spirit for a while, gesturing, testifying; a militant Rasta proclaiming the injustice of a world where the cards are stacked against you.
While the band lays down a steady groove, unhurried and compelling, Marley delivers his lines as what they are, a very personal and heartfelt meditation on the current state of play. With its reference to the attempt on Marley’s life, ‘Ambush In The Night’ is the song that brings the survival theme down to a personal level, and as such it’s a key song. Marley takes special care in articulating the lyrics. Many in the audience know the song and recognise its meaning. When Marley gets to the lines
“through the power of the Most High, we keep on surviving,” he is greeted by the first mass cheers of the night. The second occassion for cheers is when Marley puts down his guitar and shouts “Jah!” Usually this is a signal for Marley to start letting loose with his warrior stage dance, but in terms of physical expression, the performance remained relatively subdued. But the meanings of ‘One Drop’ and ‘Survival’ were well communicated, the conviction behind the songs unmistakable. ‘No Woman No Cry’ fares less well. It needs a more emotional reading, and Marley underplays it. ‘Jamming’ is better, serving as a dance number
and getting people on their feet. The Wailers even throw in a tight, muscular dub section while Marley does some fancy stepping. The band, like Marley, seemed to pick up interest on the new material and lag a bit on the old stuff. ‘Kinky Reggae’, for example, doesn’t really mash it up like it should. Some of the guitar solos from Junior Marvin are ordinary and dispensable. But the Barrett brothers’ rhythm section keeps
the syncopated swing going strong, and on the whole they are excellent. Near the end, ‘Zimbabwe’ comes forward as a powerful testimonial. This is where Marley’s vocal technique accomplishes its most delicate task, conveying that an essentially angry, revolutionary lyric is born out of feelings of concern and compassion. What Marley has sussed is that in these times he sometimes needs not to display and dazzle but to persuade and teach. Brother, you’re so right.
© Richard Grabel, 1979
October 25, 1979 - late show
* Venue: Apollo Theater
* City: Harlem, New York City
* State/Province: New York
* Country: United States
* Recording Source Audience
Band lineup
* Bob Marley, vocals, rhythm guitar
* Aston Barrett, bass
* Carlton Barrett, drums
* Junior Marvin, lead guitar
* Al Anderson, lead guitar
* Tyrone Downie, keyboards
* Earl "Wya" Lindo, organ
* Alvin "Seeco" Patterson, percussion
* Devon Evans, percussion
* Glen DaCosta, saxophone
* Dave Madden, trumpet
* The I-Threes, backing vocals
Setlist
1. "Natural Mystic"
2. "Them Belly Full (But We Hungry)"
3. "I Shot The Sheriff"
4. "Concrete Jungle"
5. "Ambush In The Night"
6. "Ride Natty Ride"
7. "Running Away" -> "Crazy Baldhead"
8. "Wake Up And Live"
9. "One Drop"
10. "No Woman, No Cry"
11. "Jammin'"
12. "So Much Trouble In The World"
13. "Zimbabwe"
14. "Africa Unite"
15. "War" -> "No More Trouble"
Review
* show is incomplete, missing a few songs at the end.
* the show has been released on the bootleg "At The Apollo '79".
* rare 1979 performance of "Natural Mystic".
* only known live performance of "So Much Trouble In The World".
* fade out after "Crazy Baldhead" and fade in before "Wake Up And Live".
* since this show was released on a bootleg, it is possible the setlist could have been messed up, regarding the unusual middle position of "Wake Up And Live".
* during "Ride Natty Ride" an unknown harmonica player joins the band.
October 28, 1979 - late show
Soundboard
* Venue: Apollo Theater
* City: Harlem, New York City
* State/Province: New York
* Country: United States
* Recording Source Soundboard
Band lineup
* Bob Marley, vocals, rhythm guitar
* Aston Barrett, bass
* Carlton Barrett, drums
* Junior Marvin, lead guitar
* Al Anderson, lead guitar
* Tyrone Downie, keyboards
* Earl "Wya" Lindo, organ
* Alvin "Seeco" Patterson, percussion
* Devon Evans, percussion
* Glen DaCosta, saxophone
* Dave Madden, trumpet
* The I-Threes, backing vocals
[1] Positive Vibration [5:00]
[2] Wake Up & Live [6:11]
[3] The Heathen [5:08]
[4] One Drop [4:32]
[5] I Shot The Sheriff [4:39]
[6] Runnin Away > [3:59]
[7] Crazy Baldhead// [1:17]
[8] Zimbabwe [4:27]
[9] War > [3:24]
10] No More Trouble [1:47]
11] Exodus [7:40]
Encore:
12] No Woman No Cry [6:49]
13] Jammin// [4:27]
Thanks to all that have been a part of sharing this show, you know who you are.
Review
Another amazing show from the Apollo. The horn section adds so a full beautiful sound to the live shows.
* show is pretty incomplete, missing a few songs at the end.
* cuts out during "Crazy Baldhead" and back in before "Zimbabwe". Definite cut during "Jammin'".
Bob Marley And The Wailers
Apollo Th. Harlem, NY Oct. 26-27, 1979
Soundboard
* Venue: Apollo Theater
* City: Harlem, New York City
* State/Province: New York
* Country: United States
* Recording Source Soundboard
Band lineup
* Bob Marley, vocals, rhythm guitar
* Aston Barrett, bass
* Carlton Barrett, drums
* Junior Marvin, lead guitar
* Al Anderson, lead guitar
* Tyrone Downie, keyboards
* Earl “Wya” Lindo, organ
* Alvin “Seeco” Patterson, percussion
* Devon Evans, percussion
* Glen DaCosta, saxophone
* Dave Madden, trumpet
* The I-Threes, backing vocals
Setlist
SBD
1. “Positive Vibration”
2. “I Shot The Sheriff”
3. “War” -> “No More Trouble”
4. “Exodus”
5. Call for encore
6. “No Woman, No Cry”
7. “Jammin’”
Review
* two recordings from two of seven Apollo shows. Since two AUDs from the first two shows on October 25 and a SBD from the last show on October 28
is circulating, both these recordings must come from two of the four shows performed on October 26 or October 27
You can also download FLAC files from one of the shows on the main site Bob Marley Concerts.com
Bob Marley & the Wailers
June 16th 1976 Live at the Hammersmith Odeon, London
A very nice recording from the soundboard. Maybe a tad slow, I don’t mess with pitch control with transferring tapes. I try to leave history as exact as it was documented. Bob and the Wailers did a run of shows at the Odeon from June 15th thru the 18th. His mark as the king of reggae was solidified this year with these shows and the ones at the Lyceum show he now had the band in top for and was ready to conquer the world with his messages and positive energy.
Setlist:
You can right clip and save as each song above, or just left clip to listen. Also
the entire show is in the youtube clip below
Here is a great article from NME,, thanks to Michael for sending it to me
Bob Marley & the Wailers: Hammersmith Odeon, London
Charles Shaar Murray, NME, 26 June 1976
RIOTS LAST NIGHT they said, marauding hordes of smart, mean kids swarming around getting illegal all over the place with property and the concession stands in the foyer. Not so much heaving the moneylenders out of the temple as ripping off their money, but as an analogy it will suffice.
Like Patti Smith’s Roundhouse set, the Wailers’ show gets things on which don’t happen in the ordinary crappy-old-theatre-with-humorous-acoustics type of environment such as is provided by town councils throughout the land.
The audience, by sheer sleight of spirit, made the rows of seating devices perform the Big Vanish just as they shut the house lights down, transforming Hammersmith Odeon into an environment fit for whoopin’, hollerin’, jumpin’ up and down, dancin’ tight, singin’ along and all kinds of other things that folks do when someone’s blowing clouds of inexorably exhilarating and ineluctably – you should excuse the expression – positive vibrations all over them.
‘Trenchtown Rock’ filled the hall, occupying space and time like a solid object. Down front it was like dancing in the middle of a choir while simultaneously getting a full massage – plus you could watch the band with the I Threes dignifiedly swaying in the breeze and Marley moving fluid behind the centre mike, radiating the strange kind of intensity of presence that a small man can use to dominate a stage.
The band generated what seemed like infinite quantities of energy with virtually no apparent effort; a judoka’s mastery of stress and balance and pressure. Family Man Barrett’s bass was a huge granite Odin humming in the bath and the guitars did almost as much dancing as the audience.
Marley himself was, they tell me, in a state of near exhaustion that night, but even in that state he moved more earth than any of your friendly neighbourhood gentlemen of leisure can do after fifteen hours sleep and half a gram of coke up the nasal cavities. What was so totally overwhelming about the show was not so much “The Music” itself (inasmuch as music can never be considered as something existing separately from the people who produce it and those who listen to it) as the audience, and what got the audience the way they were.
See, these days a lot of dull, brutish music is played dully and brutally and received dully and brutally by audiences grown accustomed to no better. The Wailers’ audience last Wednesday night reacted passionately and joyously to the music, singing and dancing along with it quite spontaneously and unpromptedly, without seeming at all dominated by or subordinate to the performer.
What was happening was quite simple. The audience regarded Marley as their champion and their voice, but not as their master or leader or prophet. They regarded him with admiration and affection, not with the kind of fawning idolatry that greets Bowie or Jagger. Similarly, Marley manifests respect and friendship to the people he plays to, a welcome change from the usual rampant condescension.
Maybe it was once like that in rock and roll: an audience hearing people instead of instruments and a man instead of lyrics, and not wanting or needing to cluster round the back to watch him get into his car after the gig.
© Charles Shaar Murray, 1976
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Bob Marley and the Wailers live in Heidelberg, Germany
The Exodus Tour began in Paris, France, on May 10, 1977. The tour ended early in London with 4 shows being performed and 2 cancelled due to the toe injury Bob got during a soccer game in London. The US part of the tour was also canceled. The last show of the tour has been released, labeled Live! at the Rainbow. It is reported that all four shows have been recorded and taped on video. At least 3 of the Rainbows shows in audio format circulate with Marley collectors one of which is almost instrumental since the vocals are so low in the mix. Here is one of the rare non-official recordings from the tour. It features rare Photos from Heidelberg courtesy of Peter Sarowy who took these amazing pictures.
May 16, 1977
* Venue: Rhein-Neckar-Halle
* City: Heidelberg
* State/Province: Baden-Württemberg
* Country: Germany
* Recording Source Audience
Band lineup
* Bob Marley, vocals, rhythm guitar
* Aston Barrett, bass
* Carlton Barrett, drums
* Junior Marvin, lead guitar
* Tyrone Downie, keyboards
* Alvin “Seeco” Patterson, percussion
* The I-Threes, backing vocals
My Tape transfer notes: The recording is from my transfer.
Setlist:
*******************************************
Burnin’ and Lootin’
Bellyfull
crowd
Heathen
crowd
War > No More Trouble
crowd
No Woman NO Cry
Lively Up Yourself
crowd
crowd
I Shot the Sheriff
tape flip
To Listen just click each track.
To Download, right click of each track and save as.
Review
Good audience recording. Too bass heavy but vocals are strong. The first 1977 unofficial Bob Marley show I traded for long ago.
Another standout long version of Heathen and a great Lively Up Yourself. Both those songs are stand-outs during this tour.
Many Bob Marley concerts circulate in trade circles with collectors, hardcore fans, and archivists, and of all those shows one of the best that has never been officially released is this epic show from the Quiet Knight in Chicago 1975. It was on June 10th 1975 that Bob Marley And The Wailers performed their second of 2 nights at the Quiet Knight Club.
The Quiet Knight is now a hair salon. It’s hard to believe the list of bands that played there, not only Bob Marley but Tom Waits, R.E.M., Prince, Run D.M.C., The Cramps, Bauhaus, The Stray Cats, Psychedelic Furs. The first Smashing Pumpkins show was there. And before then it was a mainstay for Chicago Blues with many blues legends playing there. The Rolling Stones even showed up there after one of their shows to jam with Muddy Waters.
For me this show has been a treasured piece of history I have been enjoying for 3 decades now. Not only a wicked performance with Bob chanting back and forth with the crowd, but one of the best recordings in sound quality. So good Starbucks did release a CD called Live 1973-1975 that contains Trenchtown Rock and Natty Dread. Those are omitted here do to being officially released. One of the most notable parts of the show is Bob doing the band introductions and really getting into it during I Shot The Sheriff. Also the famous guy yelling from the crowd during Natty Dread is actually cool and enhances the feeling of being at a Bob live show. Below are notes from Bob Marley Concerts.com.
This Recording source below is from a PREFM tape, the best sounding source for this concert I have heard.
June 10, 1975
* Venue: Quiet Knight Club
* City: Chicago
* State/Province: Illinois
* Country: United States
* Recording Source Soundboard
Band lineup
* Bob Marley, vocals, rhythm guitar
* Aston Barrett, bass
* Carlton Barrett, drums
* Al Anderson, lead guitar
* Tyrone Downie, keyboards
* Alvin Patterson, percussion
* The I-Threes, backing vocals
* Lee Jaffe, harmonica
Setlist
1. “Slave Driver”
2. “Trenchtown Rock”
3. “Concrete Jungle”
4. “Midnight Raver”
5. “Talkin’ Blues”
6. “Rebel Music (3 O’Clock Roadblock)”
7. “I Shot The Sheriff”
Notes
* 2 songs are used on the Starbucks official release Live 73-75
* second night at the Quiet Knight Club.
* band intros done by Bob Marley during “I Shot The Sheriff”.
* various bootlegs of this show have been released, like
“Jah Joys And Rainbows”, “Live In Chicago” or “The Last Club Tour ’75″,
and has also been aired on various radio stations.
* it is possible that more songs have been performed that evening.
Youtube Clip of the whole set.
Another Classic From the Dubwise Garage Collection.
Bob Marley Concerts is a website livicated to the research, history, documentation, and preservation of those special moments, Bob Marley performing live. Each Bob Marley show was unique and as fans and historians we are blessed so many were recorded for generations and generations to enjoy. Why was Bob Marley the most important live performer ever? No other artist has used the power of music to bring his message and philosophy to the world like Bob Marley. At his peak performing live Bob was able to out-draw the Pope and blow headlines like the Commadores away with his shows.
The site features a list of most known Bob concerts, many with set lists and photographs. reviews, cover art, collectors information, and the only place on the web you can listen to various tracks from many different concert performances by Bob Marley. Most shows on Bob Marley Concerts are in their complete full form easy to listen to for the first time to the mass fans of the King of Reggae. Here is an example of a tribute page on Bob Marley Concerts about the Historic show in Milan, Italy 1980 which includes a setlist, review, and audio for all tracks > LINK Here
Here is War live from Milan 1980
The purpose of this site is to document the concerts for historical preservation and research. Bob Marley Concerts does not have any ads, it does not gain any monetary value from the site. The owner is only interested in sharing with the people of the world the works of one of the most influential figures in modern music. From the Beacon Th. in NYC, April 30th 1976 here is an amazing live version of 2. “Rastaman Chant” -> “Lion Of Judah” -> “Keep The Faith”
Click any photo to be taken to Bob Marley Concerts.com
