it's also the chronicle of a crossover dream that worked. The Blackwell version of
Catch a Fire introduced reggae to hundreds of thousands of British and American ears; its production is a tale of canny studio sweetening that managed to preserve, and actually enhance, the essential character of the music. When they set out to bring the Wailers to the world, Blackwell and Marley started with a big advantage: tracks that were exceedingly crisp and open enough to accommodate additional instrumentation. Employing session musicians such as keyboardist John "Rabbit" Bundrick and guitarist Wayne Perkins, they added squabbling, soloistic organ and electric guitars that strayed a bit from the conventional chinking offbeats ("Stir It Up" blossoms under Perkins' spangly steel-guitar line). Then, using the sweeping filters and other effects common to rock and R&B records of the day, they created a spacious, welcoming atmosphere - a realm of interlocking rhythms and shimmering reverb, an ethereal mix unlike anything else happening in reggae.
The first disc includes two songs not on the international Catch a Fire - Marley's gorgeously sung appeal for Jah guidance, "High Tide or Low Tide," and "All Day All Night" - and reflects the order in which the songs were originally completed. Many listeners will no doubt still prefer the familiar mix, but the original is important not just as a point-of-origin artifact but because its stark clarity takes us straight to the heart of Marley and the Wailers - into the calming, hymnlike melodies, the impassioned voices, the sense of hope and faith that gave these songs the resonance of evangelical crusades. (RS 868 -- May 10, 2001)
TOM MOON
The Wailers are a group from Jamaica who have been influenced as much by white rock & roll and, apparently, country and western, as the Encino aristocrats have been influenced by the blues. The result is a blend: Lilting tunes of hypnotic character headed by super-progressive lead guitar work, Motown variations, and cowboy nuances, all backed by the tricky Jamaican beat that serves to keep the decibel level in a moderate range, thereby forcing the audience to be seduced by the charms of the music, rather than overwhelmed by the relentless force of most rock.
The result is a mature, fully realized sound with a beautiful lyric sensibility that turns well known stylistics into fresh, vibrant music. The reggae beat has the capacity to lend direction to the Wailers' music, and force limits on their sound. But it is not a mere gimmick, although it could develop into one should it become the rage. It is a valid impression of American mainstream rock and blues, altered with the originality that can only come from a fresh viewpoint.
"Concrete Jungle" is graced with guitar straight out of the first flush of Kaukonen's early work. "400 Years" and "Stir It Up" are the soft and hard edges of their range, which is natural, and never strains for effect. As a group, the Wailers show remarkable polish on record, and personal appearances should prove most interesting to watch. They display fantastic breadth in what would seem to be a restrictive format. But then, isn't that what was always so great about rock & roll? (RS 132)
ROB HOUGHTON
This 2001 re-release of the Wailers' seminal 1973 album includes both the original takes (disc one) and the final, released album (disc two). No surprises on disc two, but the first disc is a revelation: minus producer Chris Blackwell's guitar and keyboard additions, the songs find a plain-spoken simplicity that weathers very well and arguably bests the final product.
