The Wailers "Catch A Fire" (1973)
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It is nearly impossible to imagine a time when reggae was not part of the cultural currency. Though Bob Marley and the Wailers cannot be said to have invented the style, they certainly brought it to the world stage, and this album was the torch that lit the way. CATCH A FIRE hit with the force of a revelation when it was released in 1973, and though Chris Blackwell tailored its sound with a rock audience in mind, the album was still unlike anything that had ever come down the pike. Ironically, even given its relatively full production and electric guitar solos, CATCH A FIRE sounds more organic and rootsy than any of the Wailers' subsequent releases.
While the percolating rhythms and burbling bass lines of the Barrett brothers, and the sweet, impeccable harmonies of Peter Tosh and Bunny Wailer soothe and move, CATCH A FIRE also introduces the conscious, politically minded themes that would remain at the center of Marley's songwriting for the rest of his career. "Concrete Jungle," one of the towering standout tracks, addresses the trap of inner cities, while "Slave Driver" and "400 Years" take on racial/historical issues. Yet Marley's penchant for gorgeous love songs is evident here too on his all-time classic "Stir It Up." Even after everything that followed, and the cult of idolatry that formed around Marley, this remains soulful, message-driven music that goes straight to the blood. Utterly essential.
For a majority of the world, Catch a Fire was not only the introduction to Bob Marley & the Wailers, but to reggae as well. The intimate and organic nature of the band's compositions coupled with its trademark mantra-like rhythms attracted the attention of producer and musical entrepreneur Chris Blackwell. So smitten was Blackwell that he commissioned the band to record for his primarily rock-oriented Island Records label. Although greatly encouraged by the Wailers' efforts, Blackwell was likewise cognizant of creating a fuller and more polished effort aimed specifically for the ears of the burgeoning "album rock" consumer. His idea was to "flesh out" the sonic atmosphere that supported and drove Marley and company's otherwise stark and unadorned folk songs. With the blessings of Marley and under the direction of Blackwell, sporadic instrumental augmentations were made, featuring Wayne Perkins (guitar), John "Rabbit" Bundrick (keyboards), Robbie Shakespeare (bass), and Tyrone Downie (organ). Although Catch a Fire was their international debut, Marley and fellow Wailer Peter Tosh used the medium to conjure and translate universal themes of love ("High Tide or Low Tide") and hope ("Stir It Up"), as well as the pain ("400 Years") and fear ("Slave Driver") of not only Jamaicans, but all humanity. Like Bob Dylan and John Lennon before him, Marley could project not only for his people and time, but also for those who would come before and after. The 2001 remastered version also com.."
Concrete Jungle
Slave Driver
Kinky Reggae
400 years