MARLEY The Movie Soundtrack Unofficial Collectors Edition By Dubwise Garage

MARLEY The Movie Soundtrack

Unofficial Collectors Edition By Dubwise Garage

Each CD features the same tracks titles used in the official movie release, but I used unreleased live tracks, demos, and Jamaican singles to compile this unofficial soundtrack.

CD 1

CD101 Bob Marley – Corner Stone Sweden 1971
CD102 JA01A Bob Marley – Judge not (first cut) (Beverleys 7” no matrix)
CD103 Bob Marley 1975-10-04 Simmer Down
CD104 Bob Marley 1973-11-27 Put It On
CD105. Bob Marley 1973-10-30 Small Axe
CD106. Bob Marley – Mellow Mood (horns and strings)
CD107. Bob Marley and the Wailers – Peel Sessions – Stir It Up
CD108 – Bob Marley – Concrete Jungle Madison, WS 1978
CD109.  Bob Marley – 1976.06.24 Stardust Club, Exeter, Crazy Baldhead
CD110  Bob Marley – Natty Dread Quiet Knight 1975
CD111. Bob Marley 7-7-1975 Trenchtown Rock
CD112. Bob Marley – 1976-04-23 Get Up, Stand Up
CD113.  Bob Marley – Work Paris 1980
CD114 Bonus Track Crazy Baldhead Dub
CD115 Bonus Track Bob Marley Natural Mystic Horn Mix
CD116 Bonus Track Knotty Dread Version
CD117 Bonus Track Natty Dread Out-Takes  I Know A Place

CD 2

CD201. Bob Marley  – Jammin’ – 1978-07-07 – Ahoy Club, Rotterdam
CD202- Bob Marley – Exodus Bahamas 1979
CD203. Bob Marley –  No Woman No Cry 1978-05-25 – Orpheum Theater, Madison, WI  Late Set
CD204. Bob Marley – War – 1976-04-23  Upper Darby, PA
CD205. Bob Marley – I shot the sheriff 1980.09.20.  MSG
CD206.  Bob Marley – Roots Rock Reggae Beacon, NYC 1976
CD207. Bob Marley – Three little birds Jamaican Mix
CD208. Bob Marley –  Real Situation Alt. Mix
CD209.  Bob Marley – Could You Be Loved 9-17-1980 Providence RI
CD210. The Wailers – One Love 1975-10-04 Kingston, JA
CD211. Bob Marley – Redemption Songs 1980-06-26  Milan
CD212  Bob Marley – High Tide Low Tide Demo
CD213 Bonus Track Bob Marley –  Jamming Dub
CD214 Bonus Track Bob Marley –  Roots Rock Reggae Dub
CD215 Bonus Track Bob Marley –  Wake up and live Amandla Fest. Soundcheck 1979
CD216 Bonus Track. Bob Marley and Wire Lindo – Redemption Song – Live on Jamaican TV 1980

All songs can be played from my player below or the one on the radio page

 

Vodpod videos no longer available.

 

 

You can also download these Lossless FLAC files

CD101 Bob Marley - Corner Stone Sweden 1971.flac CD101 Bob Marley – Corner Stone Sweden 1971.flac
Size : 9913.938 Kb
Type : flac
CD103 Bob Marley 1975-10-04 Simmer Down.flac CD103 Bob Marley 1975-10-04 Simmer Down.flac
Size : 17991.393 Kb
Type : flac
CD104 Bob Marley 1973-11-27 Put It On.flac CD104 Bob Marley 1973-11-27 Put It On.flac
Size : 14715.095 Kb
Type : flac
CD105. Bob Marley 1973-10-30 Small Axe.flac CD105. Bob Marley 1973-10-30 Small Axe.flac
Size : 29551.354 Kb
Type : flac
CD111. Bob Marley 7-7-1975 Trenchtown Rock.flac CD111. Bob Marley 7-7-1975 Trenchtown Rock.flac
Size : 27266.086 Kb
Type : flac
CD113.  Bob Marley - Work Paris 1980.flac CD113. Bob Marley – Work Paris 1980.flac
Size : 26193.147 Kb
Type : flac
CD114 Bonus Track Crazy Baldhead Dub.flac CD114 Bonus Track Crazy Baldhead Dub.flac
Size : 16132.593 Kb
Type : flac
CD116 Bonus Track Knotty Dread Version.flac CD116 Bonus Track Knotty Dread Version.flac
Size : 16184.972 Kb
Type : flac
CD202- Bob Marley - Exodus Bahamas 1979.flac CD202- Bob Marley – Exodus Bahamas 1979.flac
Size : 42042.202 Kb
Type : flac
CD208. Bob Marley -  Real Situation Alt. Mix.flac CD208. Bob Marley – Real Situation Alt. Mix.flac
Size : 24733.067 Kb
Type : flac

Peter Tosh – Reggae Sunsplash, July 1980 Ranny Williams Entertainment Center, Kingston, Jamaica Full Concert

Peter Tosh – Reggae Sunsplash, July 1980 Ranny Williams Entertainment Center, Kingston, Jamaica Full Concert

A wicked set from Peter Tosh.  He does some great songs like Hammer and Recruiting Soldiers.  A fairly good audience recording.  Many thanks as always to the tapers who help document these precious moments in music history.  And thanks to Johnny and Claude for help finally getting the venue and correct city.

1-Intro-Announce-400 Years
2-400 years
3-stteping razor
4-African
5-I, m the Toughest
6-Bush Doctor
7-Speech
8-Dont look back

CD2

1-Get up Stand up
2-Recruiting Soldiers
3-Hammer
4-Babylon Queendom – Talking for more –
5-Buck-in-Ham Palace

Peter Tosh – Glenn Miller Ballroom, Boulder, CO 2/13/79 Complete Soundboard Recording

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 with Al Anderson, The Ritz 1982 Plus Bonus Santa Cruz 1982

 

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

 

 

 

01 Drug Squad.flac 01 Drug Squad.flac
Size : 27338.762 Kb
Type : flac
02 Blues Dance Raid.flac 02 Blues Dance Raid.flac
Size : 36653.389 Kb
Type : flac
03 Ku Klux Klan.flac 03 Ku Klux Klan.flac
Size : 25301.906 Kb
Type : flac
04 Man No Sober.flac 04 Man No Sober.flac
Size : 34067.031 Kb
Type : flac
05 Ravers.flac 05 Ravers.flac
Size : 46431.198 Kb
Type : flac

Bob Marley & The Wailers – April 13th 1979 Festival Hall, Osaka, Japan Rare Recording


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

 

Bob Marley Documentary Distribution Update – Magnolia Pictures will premiere “Marley” April 20 and on VHI Rock Doc Series

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.

By Evelyn Diaz
Posted: 02/07/2012 06:15 AM EST

Bob Marley, Jamaica, Reggae, movies, Music Documentaries, Marley

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 and the Wailers – 2012 Birthday Special – Live from The Apollo, Harlem, NY 1979

 

 


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

Reggae Greats Perform Bob Marley- Birthday Countdown Special #5

 

When going through my garage and hard-drives to look for artists that have covered Bob Marley songs, I quickly figured out that 2 artists really enjoy doing his songs.  Albert Griffiths of the Gladiators and Lee Scratch Perry.  Both do a Bob song in every show I have by them, which out of 100’s of shows by various reggae artists those are the only 2 that I can say that about. Some artists have a closer connection to Bob like Judy Mowatt and Jacob Miller while others pay tribute to him during their shows.  All tracks are downloadable from the main site Radio page and for easy listening a youtube vid was made. Happy Birthday 2012 Robert Nesta Marley

01. Sly and Robbie Rastaman Chant

02. Jacob Miller I Shot The Sheriff San Fran.  7.22.75 featuring JOHN CIPOLLINA

03. Joe Higgs, Get Up Stand Up Reseda, CA, Country Club, 1981-10-27

04. Freddie McGreggor –  War –  Hopi Land Reservation, AZ,  July 1984 SDB

05. Freddie McGreggor – Crazy Baldheads Hopi Land Reservation, AZ,  July 1984 SDB

06. Forever loving Jah w BUNNY RUGS, CAT COORE & FREDDIE MC GREGOR reseda 81

07. One Drop w BUNNY RUGS, CAT COORE & FREDDIE MC GREGOR reseda 81

08. Ken Boothe – Long Beach Arena, Long Beach,CA 2-19-95 AUDM  No Woman , No Cry

09. The Gladiators – New Orleans, LA  6-29-83 SDB  Rude boy ska

10. The Gladiators – 1983-07-03 Wolfgangs, San Francisco, CA SBD Small Axe

11. Lee perry london 11-22-84  nice time

12. Mighty Diamonds – Keep On Moving Tokyo, Japan SBD -1985-05-12

13. Meditations 1999-04-24 Blackman Redemption

14  Jacob Miler – Talkin Blues San Fran.  7.22.75 featuring JOHN CIPOLLINA

15 . Joe Higgs – La Jolla, CA 1991-03-10 SBD – Sun Is Shinning

16. Sinead O’Connor NYC 12-09-2005  War

17  U-Roy California 1990 Soul Rebel

18  Gladiators – Dubby Conquer 2000_Marysville

19. Gladiatiors – Stand Alone Live Unreleased

20 Lee Scratch Perry 11 13 2006 Neumo’s Seattle Heathen

21. Dennis Brown – Kaisers Cafe, JA 1-5-91 SDB Heathen, War NMT, Get Up Stand Up

22. Big Youth – 1981-04-19 Santa Cruz, CA SBD Get Up, Stand Up

23. Judy Mowatt – SOB’s 1983-11 Concrete Jungle NYC

24 Judy Mowatt – One Love with Peter Tosh SOB’s 1983-11

25 Johnny Nash Stir it Up 1973-June-08

26. Skatalites 1990Feb7 Kuumbwa SBD Simmer Down

27. Redemption Song w BUNNY RUGS & IBO COOPER  Reseda, CA, Country Club, 1981-10-27

28. Monty Alexander –  Redemption Song  2008-11-15

 

 

 

 

 

Bob Marley & the Wailers: Birthday Countdown Special #3 Live from Hammersmith Odeon, London June 16th 1976

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:

Trenchtown Rock,

Burnin’ And Lootin’,

Them Belly Full,

Rebel Music,

Crazy Baldheads,

I Shot The Sheriff,

Want More,No More Trouble 

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

You can always view this post and many other post on specific Bob Marley shows at

Bob Marley and the Wailers – Birthday Countdown #2 Live from The Rainbow Alternative Night

Bob Marley and the Wailers

Rainbow Theatre, London, England

June 2nd, 1977  (rare unreleased date)

 

Review

Two of Bob Marley’s most famous live shows were performed in London. The 1975 shows from the Lyceum used to make the “Live” release and the

June 4th 1977 show from the Rainbow used for the “Live at the Rainbow” release. Here is a rare recording from a different night in the historic run of shows at the Lyceum.

 

This show is almost a instrumental only set. Bob’s vocals are so low in the mix you can’t really hear him.

* the SBD version sounds good, but the vocals are almost turned off, so it’s almost only instrumental.
* rare 1977 performance of “Concrete Jungle”.
* the date is not confirmed, but the show usually circulates by this date.
* the show was most likely filmed on video, as probably were all Rainbow 1977 dates.


Lineage:SBD>3rdgen

burnin’ and lootin’ with intro.
concrete jungle
i shot the sheriff
them belly full
rebel music
war> no more trouble
no woman no cry
positive vibration(cut)
get up stand up
exodus

transfer done 2006-08-03 by.T.Jones ( thanks Tim)  right click and save as to download, left click on a track to play it.

 

 

 

 

Below is an article by Vivien Goldman from Sounds June 11th, 1977 with her account of one of the nights in this historic run at the Rainbow

 

 

11 June 1977
Bob Marley & The Wailers: Rainbow Theatre, London
Vivien Goldman, Sounds, 11 June 1977
THE TENSION in the Rainbow was almost painful, the only relief the appearance of the Wallers.
And the curtain rises on a scene of splendour: two columns on either side of the stage soar the full height of the Rainbow, lions rampant on each one. The backdrop, painted by Tony Wright, is more atmospheric than I’d imagined it could be, warm reds and golds evoking Kingston at night, palms etched behind shantytown, lights blur in the distance.
It’s the first time the band’s played an Exodus-based set, (the European dates featured a range of classics) and there are a couple of loose edges in key and tempo. But any slight roughness is over-shadowed by the passion of Bob’s singing.
Tonight is a crucial night, the first presentation of his new material to the capital of reggae outside Jamaica itself. Each song builds and builds to heights of concentrated power. As ‘Natural Mystic’ opens the set, a tide of pure, high energy sings through the theatre.
It’s so satisfying, watching the Wailers. I love the way Family Man plays bass, planted firm, like a tree growing from sturdy roots – just the stolid set of his shoulders shouts that he’ll never give up the fight. Carly drums in crisp clockwork chops, every limb alert. Seeco calmly shifts through percussion parts, always adding oblique, unexpected emphasis. New guitarist Junior Marvin delights in showmanship, tantalising the audience with wheeling seagull swoops at his guitar, dancing vigorously back and forth, while Tyrone behind the banked keyboards bobs in smiling counterpoint. The I Three dip and sway, looking very exotic tonight in off-theshoulder white-ruffles, red gold and green turbans imperiously swathing their heads.


‘So Much Thing To Say’, merges into ‘Guiltiness’, my favourite track on the album, a disturbingly precise blend of remorselessness towards the guilty and remorse at the very existence of the downpressor… Bob shudders with passion while he sings, emotion squeezes through his voice as wine squeezes from grapes.
One of my favourite moments of the set is ‘Rastaman Vibration’, with a new keyboards part from Tyrone, a subtle alteration in the pulse that delicately flings the song into a new light. Tyrone stuns now, and Seeco performs amazing rhythm runs that flicker round the Carly/Famlly Man unit in a quicksilver outline. Positive.’No Woman No Cry’ moves you. It has to be that way.
‘Lively Up Yourself’ suddenly swirls into a new near-Latin texture, just like the title suggests, it shakes the audience into a more physical mood – revitalises the veins, brightens the bones, and boosts the blood. ‘Jamming’ is exuberant: exultant: joyous, again, just as it should be. Somewhere around that time, Junior delivered some sparse and bouncily imaginative guitar breaks, provocative and visual, and received extravagantly enthusiastic applause (Birth Of New Guitar Hero?)
Of course, there has to be an encore. ‘Get Up Stand Up’ is so perfect it seems unavoidable. That’s when Family Man’s bass seemed to roar, after a night of solid rumbling thunder. Now it’s an army of marching feet again, an imperturable onslaught on your whole body, battering you into submission. I discover that when my head droops in a parallel line to the floor, the bass bounces upwards and directly through the frontal lobes, controlling the pulse-rate, I’m certain, and the heart beat.


Again, there’s a classic inevitably to ‘Exodus’ as an encore. It’s so powerful, it grabs your soul and squeezes. Difficult to follow. Certainly at this point in time, when the song seems to tug just under the surface of Bob’s skin.Then the song gushes out from so deep inside him it hurts. For once, his eyes stare wide open, he’s in a transcendental state, anguish firing his wiry super-fit blue-denim’d body to a new stature. He grows before your eyes, and his voice swells and swells and swells, sounds as if they’re turning his vocals up so high, adding echoes and echoes till the board must explode.
Or maybe his voice is simply growing louder and louder till it threatens to vibrate the bolts fixing the roof to the building, the way Ella Fitzgerald’s voice shatters glass on the Memorex ads, and the roof will simply rise heavenwards on a bubbling hot geyser of Bob’s voice, pulsing it higher and higher each time he shouts MOVE. “We’re leaving Babylon,” he stresses ardently, “going to our FATHERS’ LAND”. Tyrone’s voicebox twists mysteriously round Bob’s singing.
And then it’s “We the generation, tried through great tribulation” over and over, round and round. Each time the anguish of the lament deepens, till it’s a cry against all wrong in the world, from the abundance of thievery going on in the audience even while he’s singing so passionately and explicitly of everything that’s right and true, to every other bitter idiocy that’s perpetrated on this planet. Higher and higher.
© Vivien Goldman, 1977

 

Thanks to Michael Watson for this article, you can check his blog here Midnight Raver

 

 

From the famous officially released night at the Rainbow Theater, The complete show from youtube.