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)



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.


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

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.






Bob Marley And The Wailers, Not A Quiet Night in Chicago 1975

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
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


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”

Band Intros
8. “Natty Dread”


    * 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.

Kevin MacDonald’s Bob Marley Film “Marley” Will World Premiere Next Month – Finally

Kevin MacDonald’s long anticipated Bob Marley Film Will World Premiere At The 62nd Berlin International Film Festival.

Titled “Marley” and set for its world premiere in February 2012 in Berlin, the film will examine “the life, legacy and global impact of a true legend,” said in a  statement from the producers, Tuff Gong Pictures, Shangri-La Entertainment and Cowboy Films. It will look at the life  Bob Marley by interviewing many of the figures in and around him as well as using rare archival material.  MacDonald (Touching the Void and The Last King of Scotland)  ended up directing the film after Jonathan Demme and Martin Scorsese failed to get it finished.  There is also a film by Esther Anderson and Gian Godoy that is showing at film festival currently called “Bob Marley: The Making Of A Legend”. I have been privileged to view rare collectors versions of some of Esther’s footage and I will do an in depth article on her movie in a future post.

MacDonald’s film is most anticipate especially to long time collectors of Marley material as it has permission to include rare material and  has been given unprecedented access to the Marley family’s private archives.  Supposedly the first time they have granted this access to a film maker.  Most documentaries on Marley in the last decade or more have used much of the same footage.  Hardcore fans are eagerly awaiting some fresh never before seen footage (myself included).  Hopefully this movie will finally do justice to the life of one of the biggest most influential figures in popular music.

From Bob

Ziggy says, ” Saw a rough version of new Bob Marley documentary, Marley, with director, Kevin MacDonald.  It is a very emotional. This is the most personal Bob film any one will ever see. You will cry and smile.  Kevin MacDonald directed “The Last King of Scotland” among others. He’s very good.  I am one of the producers, it is being done as a joint production between Shangrila Pictures and Tuff Gong Pictures. Tuff Gong is our family’s company, started by our father.  I hope it will be in theatres everywhere, it all depends if they want it. I am sure it will be in theatres not sure if everywhere. I hope so though. Jah willing.”

Peter Tosh – Rebel with a Cause, Reggae’s unsung Revolutionary.

Peter Tosh  – Rebel with a Cause, Reggae’s unsung Revolutionary.


To mention Peter Tosh in the same circle as Malcolm X, Che Guevara, or Nelson Mandela is not uncommon. Peter was a true revolutionary, activist, and a rebel witha cause.  To wake up peoples slumbering mentality as he would put it, toshake up the system with Truths and Rights, Peter Tosh was like no other rebel.  He used the power of reggae music to spread his messages.  Never underestimate the power of music.  His stance on the Legalization of Marijuana lead to him being beaten numerous times, but he  was not afraid to speak his mind and Get Up Stand Up for his and our rights.

In recent years many have wondered why someone who gave so much seem almost forgotten. As an original member of the Wailing Wailers (The Wailers & Bob Marley and the Wailers) Peter was an original driving force in Jamaican Music in the late 60’s, and onward tell his tragic death in 1987.  He, Bob Marley, and Bunny Wailer helpedbring reggae music to the world and influencing many worldwide to learn more about Rastafari and their African Heritage. Peter was the only Wailer who could play an instrument and is know to have taught Bob how to play.  He wrote and arranged manyof The Wailers early songs. In 1973, he left the group for a solo career and went onto create historic LP’s like Legalize It and Equal Rights.


Though perennially overshadowed by Marley, Peter’s militant style and views on life often appealed to many more than Marley’s more loveable friendly personality.  “In places like Africa, Peter is an even more respected star than Bob because of his militancy,” says reggae archivist Roger Steffens. “He was almost beaten to death on several occasions by Jamaican police because of his anti-establishment views. He didn’t just talk the talk, he walked the walk — and people respect that all over the word.”


Peter was a amazing person who not only influenced Jamaican musical history but through his music, words, and philosophy have impacted millions worldwide. I love Peters out-spoken militant personality that refused to be scared to speak his mind especially when it involved Truths and Rights and the Legalization of Herb.  Legalize It is more than an anthem, it is a whole Movement world-wide.  If still alive today, I know he would be at the forefront of the battle to Legalize It!  Peter’s music and messages have been a inspiration to myself and others and will continue to be for many generations.  People will always need to Get Up, Stand Up for their rights and Peter should be recognized for his contributions to the world just as  much as Bob Marley or any other freedom fighter that has received large media attention.  A true Rebel speaking for Equal Rights and Justice.

Visit the Peter Tosh Tribute Site for rare pictures, video, and music. HERE

By John DuBois (Dubwise Garage) Jan. 14th 2012


Bob Marley & The Wailers Reggae Sunsplash II July 7th, 1979


Bob Marley & The Wailers
Reggae Sunsplash II
July 7th, 1979

Reggae Sunsplash was a Jamaican original concert festival.  It attracted people from all of the globe to enjoy multiple days/nights of reggae music.  Bob Marley’s performance was priceless/epic/amazing/historic a true one of a kind performance.  It was his only appearance at Reggae Sunsplash and thankfully this epic set with all Bob’s energy and passion was captured on video and here the complete rare audio recording. This show featured the only
time live versions of “Hypocrites”, “Blackman Redemption”, “Rastaman Live Up”, and also played
for the first time live “Ambush in the Night”.  This how also features a Rare live “Who The Cap Fits” . Below is a brief history of Reggae Sunsplash and audio links.  You can also check the complete Tribute page here which features more pictures from the show.

Bob Marley Concerts Tribute SS 1979 Page

Disc 1 – 41:17
1. Intro > Positive Vibration – 5:29
2. Heathen – 4:47
3. Them Belly Full – 4:14
4. Rebel Music – 5:07
5. War – 2:57
6. No More Trouble – 1:40
7. Running Away – 4:11
8. Crazy Baldhead – 3:54
9. Who The Cap Fit – 5:10
10. Hypocrites – 3:46

Disc 2 – 50:42
1.Blackman Redemption – 3:33
2. Rastaman Live Up (cuts) – 1:22
3. No Woman No Cry – 6:46
4. Lively Up Yourself – 6:57
5. Jammin’ – 6:05
6. Encore – Natural Mystic – 7:26
7. Ambush in the Night – 5:37
8. Get Up Stand Up – 6:07
9. Exodus – 6:45

From the Soundboard with Interviews

Rebel Music

Rastaman Live Up with Interview

No Woman No Cry

Lively Up Yourself

Get Up Stand Up

Exodus with Interview

Interview 1

Interview 2

Interview 3

Interview 4


Positive Vibrations

History of Reggae Sunsplash from Wiki

The Reggae Sunsplash festival was the brainchild of four Jamaicans – Tony Johnson, Don Green, Ronnie Burke and John Wakeling. The four founding directors created a company called Synergy Productions Ltd, which was responsible for promoting and producing the Reggae Sunsplash festival.

The first Reggae Sunsplash festival was staged at Jarrett Park, Montego Bay, Jamaica in June 1978 and began at dusk and continued until dawn for seven days. It was billed as the “biggest Reggae festival in the history of the world”. The festival introduced the concept of music and travel as a boost to tourism in Jamaica.  Prior to the staging of Reggae Sunsplash, the hotels in Jamaica were traditionally closed during the summer period.The four founding partners staged the festival each year for a number of years and successfully created an annual summer tourist season in Jamaica. The success of Reggae Sunsplash led to a wave of annual music festivals in Jamaica and the Caribbean islands. The festivals popularity led to a shortage of hotel rooms and a tradition of camping out on local beaches.

From 1981 the festivals were filmed and recorded, with several videos and albums released, the first being Reggae Sunsplash ’81: Tribute to Bob Marley, released by Elektra Records. From 1987 the festival included a sound clash event, with finalists from a national sound system competition competing as a precursor to the rest of the festival.  The festival also expanded to include an ‘oldies night’ featuring stars from past eras of Jamaican music.   For many years the festival was emcee’s by Tommy Cowan.

In 1984 the Reggae Sunsplash festival also expanded into international events with a one day festival staged at the Crystal Palace in London, England. In 1985 the Reggae Sunsplash World tour was launched in the USA and Japan and subsequent years saw the Reggae Sunsplash festival touring extensively throughout North America, Europe, South America and the Far East. 1991 saw the introduction of a ‘Caribbean Night’ featuring other Caribbean music such as soca, and the following year the festival’s scope increased further with the addition of a ‘World Beat Night’.

While the festival had become hugely popular, opening new global tourist niche markets to Jamaica and attracting millions of dollars of foreign exchange into the country, it had not been a financial success, largely due to the lack of sponsorship or government support. In 1995 the Chairman of the Jamaica Tourist Board operating through a company called Radobar Holdings Ltd offered financial assistance in exchange for equity in Synergy Productions, the founders of Reggae Sunsplash. This initial offer was never consummated and in a disputed claim Radobar Holdings announced the formation of a company called Reggae Sunsplash International in Jamaica and proceeded with the hostile take over of the Reggae Sunsplash festival. The first attempt at staging Reggae Sunsplash without the original owners Synergy Productions in 1996 was a financial disaster for the new claimants. In 1997 the Reggae Sunsplash festival was postponed until 1998 when it was timed to coincide with celebrations of the birth of Bob Marley but more losses were incurred. More futile attempts at recapturing the original spirit of the Reggae Sunsplash festival were never replicated by the Radobar group.

The festival was re-established by the Johnson family in 2006, but it was not successful.  The international touring festival, however, has continued.

Two of the founding directors, John Wakeling and Tony Johnson died and with the passing of Tony Johnson a number of individuals have tried to claim the rights to the festival unsuccessfully and all have failed to recapture the spirit of the legendary Reggae Sunsplash. Don Green and Ronnie Burke are the two remaining Reggae Sunsplash founders alive.

Dates and venues

1978: June 23-30, Jarrett Park, Montego Bay
1979: July 3-7, Jarrett Park, Montego Bay
1980: July 2-5, Ranny Williams Entertainment Center, Kingston
1981: August 4-8, Jarrett Park, Montego Bay
1982: August 3-7, Jarrett Park, Montego Bay
1983: June 28-July 2, Bob Marley Center, Montego Bay
1984: August 7-11, Jarrett Park, Montego Bay
1985: August 6-10, Jarrett Park, Montego Bay
1986: August 26-30: Jarrett Park, Montego Bay
1987: August 18-22, Bob Marley Center, Montego Bay
1988: August 15-22, Bob Marley Center, Montego Bay
1989: August 14-19, Bob Marley Center, Montego Bay
1990: July 16-21, Bob Marley Center, Montego Bay
1991: July 26-31, Bob Marley Center, Montego Bay
1992: August 3-8, Bob Marley Center, Montego Bay
1993: August 3-7, Jamworld, Portmore
1994: August 1-6: Jamworld, Portmore
1995: July 12-14, Dover, St. Ann
1996: August 1-4, Chukka Cove, St. Ann
1998: February 5-8, Reggae Park, St. Ann

2006: August 3-6, Richmond Estate, Priory, St. Ann


Bob Marley and The Wailers Beacon Th. New York City 1976

Beacon 1976

Bob Marley and The Wailers Beacon Th. New York City ,NY 1976

Bob Marley and the Wailers performed 2 shows per night on April 30th, and May 1st 1976 AT The Beacon Th. in New York City. Below are tracks and pictures from that historic 2 nights.

The tour began at the Tower Theater in Upper Darby, Pennsylvania, on April 23, 1976, and ended in Manchester, England, on June 27, 1976. On the tour’s second leg Marley performed for the first time in continental Europe and premiered in Germany, Sweden, France and the Netherlands. After the tour Marley performed the Smile Jamaica Concert in his homeland Jamaica, after being shot a couple of days before. The album Live At the Roxy was recorded during this tour, on May 26.

These 4 sets from the Beacon Theater shows.Bob and his band in top form. They contain rare live performances of “Johnny Was” and “Night Shift” on May 1st was first show with the “Get Up, Stand Up”/”War”/”No More Trouble” medley

At the beginning of the tour, for example during the four shows at the Beacon Theater when Marley experimented and changed the setlist much more than later during the tour, a gospel-like medley of two Nyabinghi chants (“Rastaman Chant” and “Lion Of Judah”) and a brief reggae riff (“Keep The Faith”) had been performed at the beginning instead of “Trenchtown Rock”. Since the Nyabinghi chants were very meditative and slow until it segued into the lively reggae riff, it was decided to replace the long medley by the classic and instantly-lively “Trenchtown Rock” to better catch the audience from the beginning, as seen during the Natty Dread Tour in 1975 where “Trenchtown Rock” was the opening song as well

Now all can experience these shows on Bob Marley HERE

Beacon 1976

An example of a setlist here from the first night.

April 30, 1976 – early show

Band lineup

* Bob Marley, vocals, rhythm guitar
* Aston Barrett, bass
* Carlton Barrett, drums
* Donald Kinsey, lead guitar
* Earl “Chinna” Smith, lead guitar
* Tyrone Downie, keyboards
* Alvin Patterson, percussion
* The I-Threes, backing vocals

* Recording Source Soundboard


1. “Are You Ready?”
2. “Rastaman Chant” -> “Lion Of Judah” -> “Keep The Faith”
3. “Burnin’ And Lootin'”
4. “Them Belly Full (But We Hungry)”
5. “Rebel Music (3 O’Clock Roadblock)”
6. “Want More”
7. “Roots, Rock, Reggae”
8. “Johnny Was”
9. “Lively Up Yourself”

10. “Night Shift”

11. “Crazy Baldhead”
12. “Positive Vibration”
13. “Rat Race”

14 “War” > “Get Up Stand Up”


* encore break after “Crazy Baldhead”
* rare live performance of “Johnny Was” and “Night Shift”

Listen and Download the complete 4 shows here

Beacon 1976

Beacon 1976

Bob Marley & the Wailers – 1979-11-01 Maple Leaf Gardens, Toronto, Ontario, Canada

Bob Marley & Wailers
Maple Leaf Gardens
Toronto, Ontario, Canada
November 1, 1979


After playing at smaller cozy venues previously in Toronto, 1979 was totally different. The Wailers were now one of the world’s biggest live attractions, and despite the suspicion that may still have existed among the more conservative elements of Toronto society, their concert had to be at Maple Leaf Gardens. They returned to the Gardens on November 1 of 1979, this time in support of the Survival album — and no one, perhaps least of all Marley, had any inkling that this would be his last visit to Toronto.

* Carlton Barrett gives a raving psychedelic drum solo during the extended live rendition of “The Heathen”.

Source: AUD
Lineage: AUD > ? > FLAC

CD 1:
1. Positive Vibration (5:31)
2. Wake Up And Live (4:42)
3. Them Belly Full (But We Hungry) (4:04)
4. Concrete Jungle (6:03)
5. I Shot The Sheriff (4:45)
6. Ambush In The Night (4:11)
7. Running Away (1:54) ->
8. Crazy Baldhead (3:56)
9. The Heathen (6:18)

CD 2:
10. War (4:18) ->
11. No More Trouble (1:48)
12. One Drop (4:29)
13. No Woman, No Cry (5:58)
14. Africa Unite (3:14)
15. Exodus (7:18)
16. Jammin’ (5:27)
17. Get Up, Stand Up (5:16)
18. Is This Love? (4:37)

MP3 Files HERE

Lossless FLAC Files HERE