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Bob Marley was a hero figure, in the classic mythological sense. His departure from this planet came at a point when his vision of One World, One Love - inspired by his belief in Rastafari - was beginning to be heard and felt. The last Bob Marley and the Wailers tour in 1980 attracted the largest audiences at that time for any musical act in Europe. Bob's story is that of an original, which is why it continues to have such a powerful and ever-growing resonance: it embodies political repression, metaphysical and artistic insights, gangland warfare and various periods of mystical wilderness. And his audience continues to widen: to westerners Bob's apocalyptic truths prove inspirational and life-changing; in the Third World his impact goes much further. Not just among Jamaicans, but also the Hopi Indians of New Mexico and the Maoris of New Zealand, in Indonesia and India, and especially in those parts of West Africa from which slaves were plucked and taken to the New World, Bob is seen as a redeemer figure returning to lead this planet out of confusion.
In the clear Jamaican sunlight you can pick out the component parts of which the myth of Bob Marley is comprised: the sadness, the love, the understanding, the God given talent. Those are facts. And although it is sometimes said that there are no facts in Jamaica, there is one more thing of which we can be certain: Bob Marley never wrote a bad song. He left behind the most remarkable body of recorded work. "The reservoir of music he has left behind is like an encyclopedia, " says Judy Matt of the I-Threes. "When you need to refer to a certain situation or crisis, there will always be a Bob Marley song that will relate to it. Bob was a musical prophet. " The tiny Third World country of Jamaica has produced an artist who has transcended all categories, classes, and creeds through a combination of innate modesty and profound wisdom. Bob Marley, the Natural Mystic, may yet prove to be the most significant musical artist of the twentieth century.
Bob Marley gave the world brilliant and evocative music; his work stretched across nearly two decades and yet still remains timeless and universal. Bob Marley & the Wailers worked their way into the very fabric of our lives. "He's taken his place alongside James Brown and Sly Stone as a pervasive influence on R& B", says the American critic Timothy White, author of the acclaimed Bob Marley biography 'Catch A Fire'. "His music was pure rock, in the sense that it was a public expression of a private truth. " It is important to consider the roots of this legend: the first superstar from the Third World, Bob Marley was one of the most charismatic and challenging performers of our time and his music could have been created from only one source: the street culture of Jamaica. The days of slavery are a recent folk memory on the island. They have permeated the very essence of Jamaica's culture, from the plantation of the mid-nineteenth century to the popular music of our own times. Although slavery was abolished in 1834, the Africans and their descendants developed their own culture with half-remembered African traditions mingled with the customs of the British.
This hybrid culture, of course, had parallels with the emerging black society in America. Jamaica, however, remained a rural community which, without the industrialization of its northern neighbor, was more closely rooted to its African legacy. By the start of the twentieth century that African heritage was given political expression by Marcus Garvey, a shrewd Jamaican preacher and entrepreneur who founded the Universal Negro Improvement Association (UNIA). The organization advocated the creation of a new black state in Africa, free from white domination.
As the first step in this dream, Garvey founded the Black Star Line, a steamship company which, in popular imagination at least, was to take the black population from America and the Caribbean back to their homeland of Africa. A few years later, in 1930, Ras Tafari Makonnen was crowned Emperor of Ethiopia and took a new name, Haile Selassie, The Emperor claimed to be the 225 th ruler in a line that stretched back to Menelik, the son of Solomon and Sheba. The Marcus Garvey followers in Jamaica, consulting their New Testaments for a sign, believed Haile Selassie was the black king whom Garvey had prophesied would deliver the Negro race. It was the start of a new religion called Rastafari. Fifteen years later, in Rhoden Hall to the north of Jamaica, Bob Marley was born. His mother was an eighteen-year-old black girl called Cedella Booker while his father was Captain Norval Marley, a 50 -year-old white quartermaster attached to the British West Indian Regiment.
The couple married in 1944 and Robert Nesta Marley was born on February 6, 1945. Norval Marley's family, however, applied constant pressure and, although he provided financial support, the Captain seldom saw his son who grew up in the rural surroundings of St. Ann to the north of the island. For country people in Jamaica, the capital Kingston was the city of their dreams, the land of opportunity. The reality was that Kingston had little work to offer, yet through the Fifties and Sixties, people flooded to the city.
The newcomers, despite their rapid disillusion with the capital, seldom returned to the rural parishes. Instead, they squatted in the shanty towns that grew up in western Kingston, the most notorious of which was Trench town (so named because it was built over a ditch that drained the sewage of old Kingston). Bob Marley, barely into his teens, moved to Kingston in the late Fifties. Like many before them, Marley and his mother eventually settled in Trenchtown. His friends were other street youths, also impatient with their place in Jamaican society.
One friend in particular was Neville O'Riley Livingston, known as Bunny, with whom Bob took his first hesitant musical steps. The two youths were fascinated by the extraordinary music they could pick up from American radio stations. In particular there was one New Orleans station broadcasting the latest tunes by such artists as Ray Charles, Fats Domino, Curtis Mayfield and Brook Benton. Bob and Bunny also paid close attention to the black vocal groups, such as the Drifters, who were extremely popular in Jamaica. When Bob quit school he seemed to have but one ambition: music.
Although he took a job in a welding shop, Bob spent all his free time with Bunny, perfecting their vocal abilities. They were helped by one of Trench Town's famous residents, the singer Joe Higgs who held informal lessons for aspiring vocalists in the tenement yards. It was at one of those sessions that Bob and Bunny met Peter McIntosh, another youth with big musical ambitions. In 1962 Bob Marley auditioned for a local music entrepreneur called Leslie Kong.
Impressed by the quality of Bob's vocals, Kong took the young singer into the studio to cut some tracks, the first of which, called "Judge Not", was released on Beverley's label. It was Marley's first record. Judge Not The other tunes - including "Terror" and "One Cup of Coffee" - received no airplay and attracted little attention. At the very least, however, they confirmed Marley's ambition to be a singer. By the following year Bob had decided the way forward was with a group. He linked up with Bunny and Peter to form The Wailing Wailers.
The new group had a mentor, a Rastafarian hand drummer called Alvin Patterson, who introduced the youths to Clement Dodd, , a record producer in Kingston. In the summer of 1963 Dodd auditioned The Wailing Wailers and, pleased with the results, agreed to record the group. It was the time of ska music, the hot new dance floor music with a pronounced back-beat. Its origins incorporated influences from Jamaica's African traditions but, more immediately, from the heady beats of New Orleans' rhythm & blues disseminated from American radio stations and the burgeoning sound systems on the streets of Kingston. Clement - Sir Coxsone - Dodd was one of the city's finest sound system men. The Wailing Wailers released their first single, "Simmer Down", on the Coxsone label during the last weeks of 1963.
By the following January it was number one in the Jamaican charts, a position it held for the next two months. The group - Bob, Bunny and Peter together with Junior Braithwaite and two back-up singers, Beverly Kelso and Cherry Smith - were big news. "Simmer Down" caused a sensation in Jamaica and The Wailing Wailers began recording regularly for Coxsone Dodd's Studio One Company. The groups' music also found new themes, identifying with the Rude Boy street rebels in the Kingston slums. Jamaican music had found a tough, urban stance.
Over the next few years The Wailing Wailers put out some thirty sides that properly established the group. Despite their popularity, the economics of keeping the group together proved too much and the three other members - Junior Braithwaite, Beverly Kelso and Cherry Smith - quit. Bob's mother, Cedella, had remarried and moved to Delaware in the United States where she had saved sufficient money to send her son an air ticket. The intention was for Bob to start a new life. But before he moved to America, Bob met a young girl called Rita Anderson and, on February 10, 1966, they were married. Marley's stay in America was short-lived.
He worked just enough to finance his real ambition: music. In October 1966 Bob Marley, after eight months in America, returned to Jamaica. It was a formative period in his life. The Emperor Haile Selassie had made a state visit to Jamaica in April that year. By the time Bob re-settled in Kingston the Rastafarian movement had gained new credence. Marley was increasingly drawn towards Rastafari.
In 1967 Bob's music reflected his new beliefs. Gone were the Rude Boy anthems; in their place was a growing commitment to spiritual and social issues, the cornerstone of his real legacy. Marley joined up with Bunny and Peter to re-form the group, now known as The Wailers. Rita, too, had started a singing career, having a big hit with "Pied Piper", a cover of an English pop song. Jamaican music, however, was changing.
The bouncy ska beat had been replaced by a slower, more sensual rhythm called rock steady. The Wailers new commitment to Rastafarianism brought them into conflict with Coxsone Dodd and, determined to control their own destiny, the group formed their own record label, Wail 'N's of. Despite a few early successes, however, the Wailers' business naivete proved too much and the label folded in late 1967. Stir It Up Small Axe The group survived, however, initially as songwriters for a company associated with the American singer Johnny Nash who, the following decade, was to have an international smash with Marley's "Stir It Up." The Wailers also met up with Lee Perry, whose production genius had transformed recording studio techniques into an art form. The Perry/Wailers combination resulted in some of the finest music the band ever made. Such tracks as "Soul Rebel", "Duppy Conqueror", " 400 Years" and "Small Axe" were not only classics, but they defined the future direction of reggae.
Aston "Family Man" Barrett describes how he started playing with the Wailers. (910 K AIFF FILE) In 1970 Aston 'Family Man' Barrett and his brother Carlton (bass and drums respectively) joined the Wailers. They had been the rhythm nucleus of Perry's studio band, working with the Wailers on those ground-breaking sessions. They were also unchallenged as Jamaica's hardest rhythm section, a status that was to remain undiminished during the following decade. The band's reputation was, at the start of the Seventies, an extraordinary one throughout the Caribbean.
But internationally the Wailers were still unknown. In the summer of 1971 Bob accepted an invitation from Johnny Nash to accompany him to Sweden where the American singer had taken a film score commission. While in Europe Bob secured a recording...
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