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Natty DreadFeatures Original Artwork
Natty Dread is Bob Marley's finest album, the ultimate reggae recording of all time. This was Marley's first album without former bandmates Peter Tosh and Bunny Livingston, and the first released as Bob Marley & the Wailers. The Wailers' rhythm section of bassist Aston Family Man Barrett and drummer Carlton Carlie Barrett remained in place and even contributed to the songwriting, while Marley added a female vocal trio, the I-Threes (which included his wife Rita Marley), and additional instrumentation to flesh out the sound. The material presented here defines what reggae was originally all about, with political and social commentary mixed with religious paeans to Jah.
The celebratory Lively Up Yourself falls in the same vein as Get Up, Stand Up from Burnin'. No Woman, No Cry is one of the band's best-known ballads. Them Belly Full (But We Hungry) is a powerful warning that a hungry mob is an angry mob. Rebel Music (3 O'Clock Road Block) and Revolution continue in that spirit, as Marley assumes the mantle of prophet abandoned by '60s forebears like Bob Dylan.
In addition to the lyrical strengths, the music itself is full of emotion and playfulness, with the players locked into a solid groove on each number. Considering that popular rock music was entering the somnambulant disco era as Natty Dread was released, the lyrical and musical potency is especially striking. Marley was taking on discrimination, greed, poverty, and hopelessness while simultaneously rallying the troops as no other musical performer was attempting to do in the mid-'70s.1. Lively Up Yourself
2. No Woman No Cry
3. Them Belly Full (But We Hungry)
4. Rebel Music (3 O'Clock Roadblock)
5. So Jah S'eh
6. Natty Dread
7. Bend Down Low
8. Talkin' Blues
9. Revolution$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Bush DoctorRemastered Audio
Bush Doctor is the third studio album by Jamaican reggae musician Peter Tosh. Along with Bob Marley and Bunny Wailer he was one of the core members of the band The Wailers (1963-1974). Tosh also established himself as a successful solo artist. In 1978 he was contracted by Rolling Stones Records and the album Bush Doctor was released in the same year, introducing Tosh to a larger audience.
The single from the album, a cover version of The Temptations song Don't Look Back, performed as a duet with Mick Jagger, made Tosh one of the best-known reggae artists. Rolling Stones guitarist Keith Richards is also featured on the album, playing guitar on Bush Doctor and Stand Firm.
The re-issue with remastered audio is pressed on 180 gram audiophile vinyl.1. (You Gotta Walk) Don't Look Back
2. Pick Myself Up
3. I'm The Toughest
4. Soon Come
5. Moses - The Prophet
6. Bush Doctor
7. Stand Firm
8. Dem Ha Fe Get A Beatin
9. Creation$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Wailers' fourth album overall, Burnin', was their second for Island Records, released only six months after its predecessor, Catch a Fire. Given that speed, it's not surprising that several tracks -- Put It On, Small Axe, and Duppy Conqueror -- are re-recordings of songs dating back a few years. But they fit in seamlessly with the newer material, matching its religious militancy and anthemic style.
The confrontational nature of the group's message is apparent immediately in the opening track, Get Up, Stand Up, as stirring a song as any that emerged from the American Civil Rights movement a decade before. The Wailers are explicit in their call to violence, a complete reversal from their own 1960s Simmer Down philosophy. Here, on Burnin' and Lootin', they take issue with fellow Jamaican Jimmy Cliff's song of the previous year, Many Rivers to Cross, asking impatiently, How many rivers do we have to cross/Before we can talk to the boss? I Shot the Sheriff, the album's most celebrated song, which became a number one hit in the hands of Eric Clapton in 1974, claims self-defense, admits consequences (If I am guilty I will pay), and emphasizes the isolated nature of the killing (I didn't shoot no deputy), but its central image is violent.
Such songs illuminated the desperation of poor Jamaican life, but they also looked forward to religious salvation, their themes accentuated by the compelling rhythms and the alternating vocals of the three singers. Bob Marley was a first among equals, of course, and after this album his partners, Peter Tosh and Bunny Wailer, quit the group, which thereafter was renamed Bob Marley and the Wailers.1. Get Up, Stand Up
2. Hallelujah Time
3. I Shot The Sheriff
4. Burnin' And Lootin'
5. Put It On
6. Small Axe
7. Pass It On
8. Duppy Conqueror
9. One Foundation
10. Rastaman Chant$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Rastaman VibrationFeatures Original Artwork
For Bob Marley, 1975 was a triumphant year. The singer's Natty Dread album featured one of his strongest batches of original material (the first compiled after the departure of Peter Tosh and Bunny Wailer) and delivered Top 40 hit No Woman No Cry. The follow-up Live set, a document of Marley's appearance at London's Lyceum, found the singer conquering England as well. Upon completing the tour, Marley and his band returned to Jamaica, laying down the tracks for Rastaman Vibration (1976) at legendary studios run by Harry Johnson and Joe Gibbs.
At the mixing board for the sessions were Sylvan Morris and Errol Thompson, Jamaican engineers of the highest caliber. Though none of these cuts would show up on Legend, Marley's massively popular, posthumous best-of, some of the finest reality numbers would surface on the compilation's more militant equivalent, 1986's Rebel Music set. War, for one, remains one of the most stunning statements of the singer's career. Though it is essentially a straight reading of one of Haile Selassie's speeches, Marley phrases the text exquisitely to fit a musical setting, a quiet intensity lying just below the surface. Equally strong are the likes of Rat Race, Crazy Baldhead, and Want More.
These songs are tempered by buoyant, lighthearted material like Cry to Me, Night Shift, and Positive Vibration. Not quite as strong as some of the love songs Marley would score hits with on subsequent albums, Cry to Me still seems like an obvious choice for a single and remains underrated. Though record buyers may not have found any single song to be as strong on those terms as No Woman No Cry, Rastaman Vibration still reached the Top Ten in the United States.
.1. Positive Vibration
2. Roots Rock, Reggae
3. Johnny Was
4. Cry To Me
5. Want More
6. Crazy Baldhead
7. Who The Cap Fit
8. Night Shift
10. Rat Race$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Legalize ItThe first two solo albums by Peter Tosh on Columbia Records were cornerstones of the roots-rock-reggae movement: 'Legalize It' (1976) and 'Equal Rights' (1977).
Thirty-five years have passed since the release of 'Legalize It' , Tosh's first album as a solo artist after more than a decade in the Wailers with Bob Marley and Bunny Livingston.
During that time, the Marley-Tosh signature began to achieve a worldwide notoriety that would have seriously rivaled the likes of Lennon-McCartney and Jagger-Richards, if the original Wailers had been able to stay together past 1975.
Both 'Legalize It' and 'Equal Rights (MOVLP341)' will be commemorated with the release of Expanded Vinyl Editions.
Each double LP package will contain fully remastered audio and Dub versions that were previously available on very limited edition Jamaican dub plates.
Both releases will include 2 detailed inserts.
• 180 grams audiophile vinyl
• Remastered Audio
• 6 Bonus Dub tracks
• Including 2 insert sheetsA1 Legalize It
A3 Whatcha Gonna Do
A4 No Sympathy
A5 Why Must I Cry
B1 Igziabeher (Let Jah Be Praised)
B2 Ketchy Shuby
B3 Till Your Well Runs Dry
B4 Brand New Second Hand
C1 Burial (Dub Version)
C2 Whatcha Gonna Do (ShaJahShoka Dub Plate)
C3 Igziabeher (Let Jah Be Praised) (ShaJahShoka Dub Plate)
D1 Second Hand (ShaJahShoka Dub Plate)
D2 Burial (Dub Version)
D3 Legalize It (Dub Version)$39.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
DreamlandNatalie Bergman has had her picture taken on countless occasions -- hundreds of studio portraits and live shots and backstage festival snaps. But the simple, gorgeous black & white photo of Bergman on the cover of Wild Belle's Dreamland that she describes as just me and this sort of abyss That one was lensed by the person who best knows how to capture her essence on celluloid: Her older brother and bandmate, Elliot Bergman. Besides being Wild Belle's multi-instrumentalist extraordinaire, Elliot has an equally impressive flair for visual arts, from painting and sculpture to bronzemaking and photography. An avid collector of vintage cameras, Elliot brought along a recently acquired Polaroid Land Camera to a show Wild Belle played in Denver this summer: The duo grabbed a quick moment at their hotel to take the portraits of each other that grace the front and back of their new record. The pictures Elliot takes of me are always really beautiful and it's because he knows me better than anyone else on this Earth, says Natalie. Adds Elliot: I like that it's a photo of Natalie just being Natalie. And the stark contrast of her in the foreground with the dark background really fit with these collages she has been doing. Natalie is in the light but the shadows are pretty heavy and you can't really tell where she is or what's back there.
Recorded at studios in their native Chicago, Natalie's new home of Los Angeles, Nashville and Toronto, Dreamland -- Wild Belle's bold, evolutionary new album -- derives from an era in the singer's life when she was struggling to get control of what she describes as the anger and deep sorrow that plagued her at the end of her most recent romantic relationship. For a woman whose music has always been inspired by her desire to translate her complicated feelings into immediately relatable songs, there was certainly plenty of grist for the mill. Dreamland tracks such as Losing You and It Was You (Baby Come Back) offer glimpses of the darkness that Natalie battled during the early months writing for the duo's sophomore full-length. But there are also genuine moments of lightness and ecstatic triumph, like Giving Up On You -- an irresistibly kinetic, punk number Wild Belle recorded with TV On The Radio's Dave Sitek producing.
I was very heated when we were making this record. My body, my heart and my soul were filled with a flame, which sounds very dramatic but it's the truth, says Natalie. I had a healing moment when I moved to LA earlier this year, because I was far away from my ex and I felt like I was getting rid of a lot of baggage. That was the redemptive, triumphant time for my lyrics. On 'Giving Up On You,' I sing: 'Now I smile so bright, you can see me from outer space, look at me shine. Baby it's about time, I was so miserable and now I feel so alive.' All the songs I wrote near the end of making the album have that sentiment: 'Now look at where I am, after all the turmoil that was inside of me, I'm here and I'm happy and I'm ready for whatever comes my way.'
The follow-up to 2013's Isles, Dreamland expands the band's ambitions in every way. It's deeper, it's more fun, it's more haunting, it's got more grooves, Elliot says. There's sorrow and pain but there's also hope and joy -- all those things can coexist in the songs because they coexist in life. He continues: Dreamland, that's not some kind of idealized notion of where we live and I hope people hear that as a question: What is the Dreamland What is our dream here The album doesn't get overtly political, but we're dealing with a lot of the things that are dark about what's happening now. 'Throw Down Your Guns' is about a relationship but is also kind of about the messed up situation that we're in right now. The chorus, 'Throw down your guns / In the name of love, I put my hands up,' to me can be heard in a number of ways, including as a prayer for peace or a cry out against violence.
Importantly, the album also shares its name with one of the first songs Natalie remembers Elliot introducing her to: Bunny Wailer's 1970 reggae classic, Dreamland. One year for Christmas, he gave her a compilation of female artists who recorded at Jamaica's legendary Studio One, and it included Della Humphrey's version of the song. Natalie listened to it over and over and over again. I was so in love with it, she says. From there, I started my exploration of rocksteady and ska and lovers rock and anything that had to do with Jamaican music from the Fifties onward.
The duo started writing music together several years ago, after Elliot took a sixteen year-old Natalie on tour to play percussion with his acclaimed Afrobeat ensemble, NOMO. I can present a song to Elliot and he has this foresight -- he can see things further than I see them, and he helps me realize things, she says. I'd been writing very simple melodic love songs since I was fifteen years old. I definitely have a pop sensibility in my style, and that's a great platform for Elliot to work from, because it's fun for him to have a cool little pop song and combine it with more eccentric sounds and make it into a weird, unique percussive jam. Sometimes he'll bring the jam to me and because we've got this routine together, we can write a song together wherever we are.
Work on the album began in early 2014, in Chicago. The song that opens Dreamland -- Mississippi River -- was also the first one to come together in the studio. It was sparked by a moment of musical serendipity: The record starts with this pulsing ARP drone, says Elliot, which is a very expensive esoteric nerdy synthesizer that's complicated to program. Natalie and I had this weird, symbiotic thing where I was playing three chords off the ARP and she started playing different three chords on this out-of-tune autoharp she brought over. They were both completely in the wrong key, and yet perfectly in tune with each other. That was like the new bar for the record. It was like, 'Yeah, we're going to put synthesizers and saxophone and kalimbas on these songs, and we're going to have lavish string arrangements if we want to. We were getting comfortable with all of the materials that we love, and being like, 'I love this, so let's do it.
They tracked several songs at home in Chicago last year, and then at the start of 2015, Natalie packed all of her belongings into the Wild Belle van and drove from Chicago to Venice, California. She rented a house where Elliot joined her a couple weeks later. When I had my place in Venice, Elliot would wake up earlier than I would and start making dope beats, says Natalie. One day he made this ridiculous song, 'The One That Got Away,' and the beat and underlying track were so exciting that it didn't take very long to write. Our friends came over and were jumping on the tabletops, dancing, getting naked because they loved the song so much.
Playing the new songs at Lollapalooza for the first time with an eight-piece band, says Elliot, I had a feeling onstage that I'd never had before with Wild Belle, where you're part of a sound that's much bigger than you could make on your own. It's this charged-up badass feeling. It's about a groove and rhythmic energy and force and momentum and making a big, dark, deep sound -- something that moves people and makes you want to dance and makes you want to shout. It's tapping into a deeper musicality that I've always been looking for.1. Mississippi River
2. Losing You
6. Giving Up On You
7. It Was You
8. Throw Down Your Guns
9. The One That Got Away
10. Our Love Will Survive
11. Rock & Roll Angel$19.99Vinyl LP - Sealed Buy Now