Toots And The Maytals – November 25, 1982 Jamaica World Music Festival – Montego Bay, Jamaica

 

Continuing with more great sets from the historic Jamaica World Music Festival, here is Toots and The Maytals.

Toots And The Maytals – November 25, 1982
Jamaica World Music Festival – Montego Bay, Jamaica

Setlist:
d1t01 – Pressure Drop
d1t02 – Get Up Stand Up
d1t03 – Beautiful Woman
d1t04 – Never Get Weary Yet
d1t05 – Going Away
d1t06 – All The Time
d1t07 – You Don’t Know
d1t08 – Reggae Got Soul

 

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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 & 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.

 

 

 

 

 

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 Concerts.com.
This Recording source below is from a PREFM tape, the best sounding source for this concert I have heard.

June 10, 1975

* Venue: Quiet Knight Club
* City: Chicago
* State/Province: Illinois
* Country: United States
* Recording Source Soundboard

Band lineup

* Bob Marley, vocals, rhythm guitar
* Aston Barrett, bass
* Carlton Barrett, drums
* Al Anderson, lead guitar
* Tyrone Downie, keyboards
* Alvin Patterson, percussion
* The I-Threes, backing vocals
* Lee Jaffe, harmonica

Setlist

1. “Slave Driver”
2. “Trenchtown Rock”
3. “Concrete Jungle”
4. “Midnight Raver”
5. “Talkin’ Blues”
6. “Rebel Music (3 O’Clock Roadblock)”
7. “I Shot The Sheriff”

Band Intros
8. “Natty Dread”


Notes

    * 2 songs are used on the Starbucks official release Live 73-75
* second night at the Quiet Knight Club.
* band intros done by Bob Marley during “I Shot The Sheriff”.
* various bootlegs of this show have been released, like
“Jah Joys And Rainbows”, “Live In Chicago” or “The Last Club Tour ’75”,
and has also been aired on various radio stations.
* it is possible that more songs have been performed that evening.


 

Youtube Clip of the whole set.

Another Classic From the Dubwise Garage Collection.

Bob Marley & 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?
10.Jammin’
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
them?
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.

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

Setlist:
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