Black Uhuru – Buffalo, NY 9-16-1984 Soundboard Complete Show

Black Uhuru – Buffalo, NY 9-16-1984 Soundboard Complete Show
A really great recording from the massive Uhuru right before they would split and reform with Jr. Reid in 1985.  I really enjoy hearing live version of What is Life and Solidarity.

Shine eye gal
Plastic smile
I Love King Selassie
What is Life
Sponji Reggae
General Penitentiary
Guess Who’s Coming To Dinner
World is Africa
Sensimilla (labeled as track 1 but is beginning of round 2)

You can watch the youtube video below or Download the FLAC files here

This show is very under circulated, I have not seen it on any torrents sites over the last 6 years.

Who Killed Peter Tosh – Plus Bonus Island Zorro Boot Live at Roxy 1978


Below are 2 great pieces from my website Peter Tosh Tribute.  First is a great recording from the Roxy Th. in Los Angeles in July 1978.  2nd is an article from High Times Mag. called “Who Killed Peter Tosh”.
Pick myself up                                                    
I’m the Toughest
Bush Doctor
(You gotta walk) Don’t look back
Get up stand up
Legalize it
(Dangerous) Stepping Razor



Who Killed Peter Tosh by Eric Williams from High Times Jan. 1994

Rita Marley and the Melody Makers – November 27, 1982 Jamaica World Music Festival – Montego Bay, Jamaica

Rita Marley  and the Melody Makers

November 27, 1982
Jamaica World Music Festival – Montego Bay, Jamaica

Recording Info:
SBD -> Cassette Master (Sony TC-D5M/TDK MA-C90/Dolby B)

All Transfers and Mastering By Charlie Miller
April 19, 2011

— Thanks to Frank Streeter for lending me his masters

That’s The Way
A Jah Jah
Who Feels It Knows It
Thank You Jah
There Will Be Always Be Music
 No Woman No Cry
Sugar Pie
Children Playing In The Streets
What A Plot
One Love

One Draw  and One Draw Pt 2

The Jamaica World Music Festival in Montego Bay on Nov 27, 1982 was part of a 3 day event that combined rock, pop, soul and reggae artists. The festival never became the annual event it was hoped to become, but lucky for fans most of the show has become available to collectors.  Some of the other bands that played at the festival included The Clash, The Grateful Dead, Aretha Franklin, The Talking Head, The English Beat, Toots and The Maytals, Rita Marley and The Melody Makers, and the historic and controversial set from Peter Tosh. Here in its complete form is the wicked set from Black Uhuru who were in top form in 1982.  This recording comes from the master tape so it is as good as quality you can get without a studio remaster. I will feature other sets from some of the other artists in future posts. 

Most Blogged Bootleg Ever? The Clash at Bonds 1981 Soundboard

I love The Clash, I was lucky to see them perform as a youth and that show made a lasting impression on my musical life’s journey.  Having shared all the Bonds shows on DIME a few years back, I thought I would revisit the best quality recording  of the Bonds run. Not know as their best performance of the series of shows, but many of those recordings were below average audience captures. This is the one I listen to most. Below is info on the Bonds run from WIki.  You can also follow the link to my site to download the lossless FLAC files from the show.
The Clash played a series of 17 concerts at Bond’s International Casino in New York City in May and June 1981 in support of their album Sandinista!. Due to their wide publicity, the concerts became an important moment in the history of the band. Some of the nights were professionally recorded either for CBS records or for FM broadcast. The 9 June performance appears on countless bootleg records and several songs have appeared on From Here to Eternity: Live or other official Clash releases.
The site of the concerts was formerly Bonds department store which had been converted into a large second-floor hall. Promoters kept the name because there was a large Bonds sign on the outside of the building. As The Clash had not yet broken out into mass popularity, eight shows were originally scheduled: May 28, 29, 30, 31 and June 1, 2, 3, and 5, 1981. However, given the venue’s legal capacity limit of 3500, the series was blatantly oversold right from the first night, leading fire marshals for the New York Fire Department to cancel the Saturday, May 30 performance. In response, the band condemned the brazen greed of the promoters while demonstrating unprecedented integrity to each and every ticketholder by doubling the original booking with a total of 17 dates extending through June.
Strict interpretation of the fire laws meant that audiences were relatively small and resulting in a sense of intimacy between the band and the audience. Audience members clambered onto the stage to join in singalongs. New York musicians, including Pearl Harbor, assisted and overseen by Andy Dunkley, provided disc jockey services as the audience entered and gathered.
The concert captures The Clash on the cusp between being a cult band and their short-lived major market penetration. As always with The Clash, ticket prices were set relatively low.
Lossless FLAC files are posted on my website Dubwise Garage Collection

Stevie Ray Vaughan – 1985-06-19 – Red Rocks Amphitheater, Morrisoin, CO “Stilleto Rain” A+ Essential SRV

Stevie Ray Vaughan – 1985-06-19 – Red Rocks Amphitheater, Morrisoin, CO  “Stilleto Rain” A+ Essential SRV

This one of the best quality kick ass shows by Stevie Ray, one of my alltime favorite guitar players.  Here it is brought to you in lossless FLAC files.

My SRV Tribute Page

Stevie Ray Vaughan & Double Trouble
Red Rocks Amphitheater – Morrison, CO
June 19, 1985
‘Stilleto Rain’

Excellent SBD recording

Source: Silvers > EAC > WAV > SHN
EAC log included

1. Ain’t Gone N Give Up On Love (7:39)
2. Pride and Joy (5:09)
3. Voodoo Chile (Slight Return) (12:40)
4. Tin Pan Alley (12:01)
5. Look At Little Sister (4:08)
6. Texas Flood (9:20)
7. Come On (6:28)
8. Little Wing (7:44)
9. Third Stone From The Sun (8:21)

[Primadonna, PD109]


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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 


 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" 


 * 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

     * 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]
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.


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


* 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”
2. “I Shot The Sheriff”
3. “War” -> “No More Trouble”
4. “Exodus”
5. Call for encore
6. “No Woman, No Cry”
   7. “Jammin'”


* 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

Bob Marley and the Wailers – One Love Peace Concert Rehearsal – Strawberry Hill, Jamaica April 1978 2012 Birthday Countdown #6

Bob Marley and the Wailers – One Love Peace Concert Rehearsal –  Strawberry Hill Rehearsal, Jamaica April 1978

01 Exodus 
02 Horn Jam 
03 Natty Dread 
04 Natty Dread 
05 Natty Dread 
06 Natural Mystic 
07 Natural Mystic 
08 War 
09 War 
10 War
11 War
12 War
13 War 
14 Exodus 
15  Punky Reggae Party
16 Punky Reggae Party 
17 Punky Reggae Party 
18 Punky Reggae Party

click each track to listen, or left click and save as to download



Having just returned from exile in England after being shot before the Smile Jamaica Concert in 1976, this is probably the first music bob played after returning to Jamaica.  The audio is very rare, and I have never seen photographs or video of this rehearsal.  I have included pictures when Bob meet with Claudie and Bucky before the concert.   There is also the complete known audio recordings from all the artists that performed except Bob’s performance as it is officially released and I try to focus on unofficial documents. Also to clear up the confusion about the lightning that strikes during Bob’s performance, that didn’t actually happen, it was a special effect added by the production people at Island Records.  Very dramatic but not real.

Below is a brief history of the One Love Peace Concert from wiki. If you were there, you are more than blessed, super blessed.

The idea for the One Love Peace Concert came from two gangsters from rival political factions, who happened to be locked up in the same jail cell together and who both wanted to alleviate the violence. Claudius ‘Claudie’ Massop (JLP) and Aston ‘Bucky’ Marshall (PNP) decided that the best means to bring the country together was to use music as a uniting factor and organize a major concert. Quickly realizing that Bob Marley was a critical element upon which their success depended, Massop flew to London after being released from jail to convince Marley to perform at the event. Marley accepted the invitation, and the concert was Marley’s first performance in Jamaica since he was almost assassinated there in 1976.

The concert

The One Love Peace Concert brought together 16 of Reggae’s biggest acts, and was dubbed by the media as the “Third World Woodstock”, “Bob Marley plays for Peace” and simply, “Bob Marley Is Back.” The concert attracted more than 32,000 spectators with the proceeds of the show going towards “much needed sanitary facilities and housing for the sufferahs in West Kinston.” The concert was kicked off at exactly 5:00 PM with a message from Asfa Wossen, the crown prince of Ethiopia, praising the concert organizers’ efforts to restore peace in Jamaica. The concert was divided into two halves, with the first half devoted to showcasing some of Reggae’s newer talent, and the second half devoted to the more established artists.

Jacob Miller energetically launched the second half of the concert, during which time Edward Seaga and Michael Manley got to their seats. The highlight of Miller’s performance came when he “leaped onto the field with lighted spliff herb and offered it to a police man, donned the lawman’s helmet, jumped back onto the stage and continued the number as he paraded the herb.”

Alternatively, Peter Tosh took the opportunity during his performance to berate the two political leaders sitting directly in front of him for their positions against legalizing marijuana. His set lasted 66 minutes, and Tosh spent almost half of that time denouncing the problems prevalent in society. At around 12:30 AM, Bob Marley took the stage to perform some of his biggest hits. The climax came during his performance of Jammin’ when he called both Manley and Seaga to the stage, and in a symbolic gesture, the three held up their hands together to signify their unity.

Bob Marley said the following as he called the two politicians onstage, and while he held their hands above his head and said while improvising on “Jammin'”:

Just let me tell you something (yeah), to make everything come true, we gotta be together. (Yeah, yeah, yeah) and through the spirit of the Most High, His Imperial Majesty Emperor Haile Selassie I, we’re inviting a few leading people of the slaves to shake hands. . . To show the people that you love them right, to show the people that you gonna unite, show the people that you’re over bright, show the people that everything is all right. Watch, watch, watch, what you’re doing, because I wanna send a message right out there. I mean, I’m not so good at talking but I hope you understand what I’m trying to say. Well, I’m trying to say, could we have, could we have, up here onstage here the presence of Mr. Michael Manley and Mr. Edward Seaga. I just want to shake hands and show the people that we’re gonna make it right, we’re gonna unite, we’re gonna make it right, we’ve got to unite . The moon is right over my head, and I give my love instead. The moon was right above my head, and I give my love instead.

The impact of the concert

Unfortunately, the event did little to quell the political violence. The event’s two organizers, Massop and Marshall were both killed within two years after the concert. Manley’s critics argue that the he used his appearance at the concert to demonstrate the bond he shared with the Jamaican sufferahs and Rastafarians. Within a few weeks of his appearance, he called for an election and won with a significant margin, only further escalating the violence between the two major parties. It was not until Bob Marley’s funeral in 1981 that the two political figures met each other in person and once again shook hands.


The Meditations

“Life Is Not Easy”

“Woman Is Like A Shadow”                                          

Althea and Donna

“Uptown Top Ranking”


“Teeth And Tongue”

“The War Is Over”

“Eastman Skank”

The Mighty Diamonds

“Keep On Moving”

“There’s No Me Without You”

“I Need A Roof”


“Mrs Melody”


“Natty Never Get Weary”

“Natty Dread Taking Over”

“Stop This Fussing & Fighting”

Dennis Brown

“Children of Israel”

“Love Me Always”

“Milk & Honey”

“Whip Them Jah”

“How Could I Leave”


“Who Say They A Gone”


“Yabby You Sound”

Leroy Smart

“Ballistic Affair”

Jacob Miller and Inner Circle

“Forward Jah Jah Children”

“I’m A Natty”

“Discipline Child”

“Shakey Girl”

“Top Ranking Special”

“Tired Fe Lick Weed”

“Peace Treaty Special”

Big Youth

“I Pray Thee”

“Every Nigger Is A Star”

“In This Ya Time”

“House of Dreadlocks”

“Isiah The First Prophet Of Old”

“Peace At Last”

“Old Man River”

“Hit The Road Jack”

Beres Hammond


“I Miss You”

“One Step Ahead”

Peter Tosh


“400 Years”

“Stepping Razor”


“Equal Rights”

“Legalize It”

“Get Up, Stand Up”

Ras Michael and The Sons of Negus

“Ethiopian National Anthem”

“None A Jah Jah Children No Cry”

“Come Down”

“In A Amagideon”

“A New Name”

Bob Marley & The Wailers

“Lion of Judah”

“Natural Mystic”

“Trenchtown Rock”

“Natty Dread”

“Positive Vibration”



“One Love / People Get Ready”

“Jah Live”

Visit my site here for an exclusive playlist of the entire artists above audio.  ONE LOVE PEACE CONCERT AUDIO

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. 


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)



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 – Babylon By Bus Stops at the Paris Pavilion, Paris, France June 26, 1978

Bob Marley & The Wailers

A great show, not very common to collectors.  Some great intros to some of the songs like War. Bob is in a great mood, don’t miss this show.  Babylon By Bus is  a live album released by Bob Marley & The Wailers in 1978.  Most of the  tracks on that album are from  the 3 nights at the Pavillon de Paris from the  25-27th June 1978, during the Kaya Tour.   Bob did a great interview with Rock and Folk Magazine which is included here and also translated to English.
Paris Pavilion
Paris, France
June 26, 1978

aud > gen(x) > cdr(x) > eac (secure) > flacl (level 8)

01.Positive Vibration
02.Burnin and Lootin
03.Them Belly Full
04.Rebel Music
05.War > No More Trouble
06.Running Away > Crazy Baldheads
07.I Shot The Sheriff
08.No Woman No Cry
09.Is This Love?
11.Punky Reggae Party
12.Get Up Stand Up
13.Exodus (diagnose, gaps, abrupt end)

Thanks to Niteshift for this great show.

The tracks seem out of order. Burnin’ and Lootin’ sounds like the start of the show, with the crowd chanting for Marley. With the exception of some problems with Exodus, a fine show.

The pic directly above is not from Paris.

Rock & Folk’s Hervé Muller: Don’t you think the fact that you have spent a lot of time
away from Jamaica has changed your music?
Bob Marley: We are the ones who play it. It’s not Jamaica that plays
music for us (he bursts out laughing)
Hervé Muller: But you play for very different audiences, like the Paris one.
Bob: Yes but all these people want the music from Jamaica. Even in Paris
we can’t change the music we play. Do you see what I mean?

Hervé Muller: What about the presence of Junior (Marvin, the Wailers’ guitar
player)? Didn’t it stengthen the group?
Bob: Yes, Junior strengthened the group, Junior is easy

Hervé Muller: Do you mean as a man or as a musician?
Bob: Both. He is cool. We understand each other.

Hervé Muller: Do you think the Wailers line-up won’t change anymore?
Bob: Maybe that it will stay the same, maybe that it will change… I
think any change will be additional.

Hervé Muller: Horns?
Bob: (He suddenly laughs and gets excited) yeah mon! that’s it!

Hervé Muller: Would you like to have a horns rhythm section again, like in the
days of ska?
Bob: Yeah! Yeah mon! That would be great. Like in the days of ska. At
the time being, and since quite a long time, we have concentrated on the
rhythm. But now that everyone feels they are at the place in the rhythm,
we could use horns again… yeah.

Hervé Muller: The way your records are produced is rather different from most of
the Jamaican production. You have never really been into dub in particular.
Bob: Me? No, I have never really liked this dub stuff you know. Dub is
something else. We couldn’t follow the dub way because we prefer a music
that is like a message, you know. But dub is nice. I only start enjoying
it now.
Hervé Muller: Why are you recording again old songs like Kaya?
Bob: Mhh, Kaya, that’s a nice tune… the night we wrote it, Kaya, we were
in a remote part of the countryside. It was raining during the night and
we were in a very small house and… we didn’t have herb. That’s why we
sang : “gotta have kaya now for the rain is falling…”.
(“kaya” is one of the many names jamaicans use for marijuana).

Hervé Muller: When was it?
Bob: Around … 1970. Yes, 1970.

Hervé Muller: You have also recut much older songs, that date way back from the
ska days such as One Love. How does it feel to do a rendition of a tune
you wrote 10 or 15 years ago?
Bob: Sometimes it works, sometimes it doesn’t. it’s a matter
of vibrations. I couldn’t even know for One Love. Musically, I had never
felt it as good.
Hervé Muller: What about the lyrics?
Bob: It’s as if I understood them better now than the first time. The
first time is raw inspiration. The second time is comprehension… songs
evolve. I don’t know how or why. There are songs I don’t really
understand until I see the reactions they lead to in the street. Someone
else finds out their meaning, and I understand it in turn.
Hervé Muller: Do you consider the Wailers as now being Bob Marley’s band, or will
the other members contribute in a more active way?
Bob: Everybody is writing songs. Junior is writing an album. Tyrone
(Downie, the organ player) too…

Hervé Muller: Yes, but would they compose for the Wailers?*
Bob: Yes, if they want to. Everyone has to be free.

Hervé Muller: But the band’s line-up is different from the time when Bunny and
Peter were part of the Wailers, isn’t it?
Bob: Yeah mon, you can stay all your life in the same place you know.
Even trees grow (laughter)

Hervé Muller: Do you think you could work with them again one day?
Bob: Sure man, at any time…
Hervé Muller: Have you seen Peter (Tosh) since the problems he has experienced in
Jamaica (he was arrested and beaten by the police)?
Bob: Yes, it’s allright, cool.

*RF: What do you think when things like that happen?*
Bob: What happened to Peter? I think it’s nothing but ignorance…
ignorance on the police side.

Hervé Muller: You live again in Jamaica now, but you have been away for a long
time (after the shooting by the end of 1976)…*
Bob: Yes…

Hervé Muller: For too long?
Bob: No, just the right time.

Hervé Muller: The last time we met, you were about to go to Africa for the first
time. Did you finally go there?
Bob: No, not yet. But this time I will go (laughter)! No, this time it’s
true… I want to go to Nigeria, to Ghana, and one or two other places.
Hervé Muller: Here is again an old question: do you really think european
audiences understand all the rasta stuff?
Bob: I don’t know if they understand, but they have pretty good
reactions you know (he is laughing like a kid). That’s a reality, not a
joke or a dream. It may seem strange, but it’s not as strange as a
religion because rasta is a reality. It’s difficult for people who have
undergone and accepted brainwashing to understand what I and I, the
rastas, say. We are going beyond what we have taught you (…) To be rasta
is to live a life in which you are always happy. But rasta know
the whole world will fight them…

*RF: The last time we met, you told me that if reggae singers now sing
rasta songs, that’s because everybody loves rastas.*
Bob: Yes, but not EVERYbody. As far as I am concerned, the more people
talk about it, the better it is… people know there is a lot of fights in
the world, but they can’t explain why. Everybody fights, but at the same
time nobody wants to ackowledge any explanation. There is something bad
in it, psychologically. If we fight, we should be able to explain why.
Otherwise… (he has a little smile that concludes his speech)
Hervé Muller: Do you think people who like your songs understand all of this in
Bob: Many people can appreciate what we are trying to say. I never give
up believing in the people, because that’s all we have you know… when I
was born, I have been taught the same thing that everybody, until I
found by myself that there was something else. It happens at a different
time for each one of us.

Hervé Muller: Do you think jamaican musicians who have been raised in London,
like Steel Pulse, have a different approach of reggae?
Bob: They try… because reggae, out of any analysis or interview, is a
feeling. And anybody has that feeling you know, that timing… that’s
reggae: a very special feeling and timing. All reggae musicians have it.
It’s something very deep. When we (the Wailers) started to record songs
like Duppy Conqueror, we did it in a clean and professional way. The
feeling is there, but is professional. It couldn’t be accepted on the
worldwide record market without becoming professional. One or two of us
had to do it so that the world could appreciate it, do you see what I mean?

Hervé Muller: Do you mean reggae musicians have become more professional?
Bob: Yes, they didn’t have the choice.

Hervé Muller: But didn’t they lose something in that process?
Bob: I don’t see what they have lost in it (laughter). But I can see
what they have won!

Thank s to Bob Marley Magazine and my wife for translation help.