Blue Riddim Band – Alive Jamaica and Restless Spirit Out of Print LP Rips

The Blue Riddim Band – Alive In Jamaica

Blue Riddim became the first American band to play Sunsplash in Jamaica. “We were voted co-‘Best Band’ of the entire festival,” McLane says. “It blew me away that we blew them away. I was expecting pineapples and cantaloupes thrown at us. We’re playing these old songs, and we’re also from America, and we’re also white. It’s five o’clock in the morning, and they’re going, ‘What in the … ?'”

Flying Fish LP #FISH 325 1984

Record date : 1984

Playlist :
Chariots Of Fire
Smile
Feeling Soul
Cuss Cuss
Tribute To Coxsone
Nancy Reagan
There’s A Law

Vodpod videos no longer available.

Blue Riddim Band – Restless Spirit

Record date : 1981

Playlist :
Come See About Me
Shoo Be Do
Restless Spirit
One Love, One Heart
Rock It Sister
Cuss Cuss
Twistin The Night Away
Oh Babe
Joke’s On You

Engineer : Prince Jammy
Vodpod videos no longer available.

 

 

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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
Solidarity
Darkness
What is Life
Sponji Reggae
Abortion
General Penitentiary
Guess Who’s Coming To Dinner
Happiness
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 http://dubwisegaragecollection.com/blackuhuru.php

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

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

 

Peter Tosh – Bethesda, MD 3/14/79 in the WHFS studio

Peter Tosh

Bethesda, MD  3/14/79 in the WHFS studio that afternoon, (7″ reel@ 3.75 ips)  Peter hangs out in the studio, gives interviews between songs, & plays a little acoustic guitar.  A great piece of Peter Tosh musical history. Thanks to the original taper.

Pick Myself Up (song is missing)
I am That  I am
Stand Firm
interview
Jah Is My King {Creation} (acoustic)
interview
Commercials
Ketchy Shubby
Stepping Razor
interview
Don”T Look Back (with Mick Jagger)
interview
Jah God
Get A Beaten
Get UP Stand Up
Interview
Commercials
interview
?
400 Years

All one track. this what it includes in order. Almost best to download and listen to instead of playing in your browser.

peter tosh1979-03-14.d2t.mp3 peter tosh1979-03-14.d2t.mp3
Size : 91898.733 Kb
Type : mp3

Peter and Donald Kindsey

 

 

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 & 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

Hypocrites

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 & 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