CD1 
01 Bob Marley & The Wailers - Greetings 
02 Bob Marley & The Wailers - Natural Mystic 
03 Bob Marley & The Wailers - Positive Vibration 
04 Bob Marley & The Wailers - Burnin Lootin 
05 Bob Marley & The Wailers - Them Belly Full 
06 Bob Marley & The Wailers - The Heathen 
07 Bob Marley & The Wailers - Running Away 
08 Bob Marley & The Wailers - Crazy Baldhead 
09 Bob Marley & The Wailers - War / No More Trouble 
10 Bob Marley & The Wailers - Zimbabwe 
11 Bob Marley & The Wailers - Zion Train 
12 Bob Marley & The Wailers - Get Up Stand Up 

CD2 
01 Bob Marley & The Wailers - Jamming 
02 Bob Marley & The Wailers - Exodus 
03 Bob Marley & The Wailers - Redemption Song 
04 Bob Marley & The Wailers - Coming In From The Cold 
05 Bob Marley & The Wailers - Could You Be Loved 
06 Bob Marley & The Wailers - Is This Love 
07 Bob Marley & The Wailers - Work 
08 Bob Marley & The Wailers - Get Up Stand Up 

Personnel:
* Bob Marley – lead vocal, rhythm guitar, acoustic guitar
* Aston "Family Man" Barrett – bass, piano, guitar, percussion
* Carlton Barrett – drums, percussion
* Tyrone Downie – keyboards, backing vocal
* Alvin Patterson – percussion
* Junior Marvin – lead guitar, backing vocal
* Earl Lindo – keyboards

The Stanley Theatre, Pittsburgh, PA, September 23, 1980

Recently released for the first time, Live Forever is a two-disc set that documents Bob Marley’s last concert before cancer took his life eight months later. Marley was already in pain, but he was in top form, musically. Supporting the Uprising album, the show’s set list played heavily on Marley’s religious roots-based material. Guitarists will note Junior Marvin’s, Al Anderson’s, and Bob Marley’s studio-tight guitar tapestries on songs like “Coming in from the Cold” and “Could You Be Loved.” Their skanks and galloping lines are woven together almost imperceptibly in their song-serving mission. The effects-laden accents in songs like “Get Up, Stand Up” and the gritty rock tones in the solos for “Is This Love” and “Them Heathen” are also worth noting, as they foreshadow where reggae guitar was heading. Live Forever is a fascinating time capsule that serves as the missing bookend to any Marley fan’s collection or a fitting live recording for the casual reggae listener who is finally ready to dig deeper than Legend.

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01. Positive Vibration
02. Roots Rock Reggae
03. Johnny Was
04. Cry To Me
05. Want More
06. Crazy Baldhead
07. Who The Cap Fit
08. Night Shift
09. War
10. Rat Race

Musicians:
Bob Marley - Guitars, Percussion, Producer, Vocals
Al Anderson - Guitar, Guitar (Electric)
Aston Barrett - Guitar (Bass), Mixing, Percussion
Carlton "Carly" Barrett - Drums, Percussion
Tyrone Downie 	- Bass, Keyboards, Percussion, Vocals (Background)
Marcia Griffiths - Vocals
I-Threes - Vocals (Background)
Donald Kinsey - Guitar
Rita Marley - Vocals
Judy Mowatt  - Vocals
Alvin Patterson 	- Percussion
Earl "Chinna" Smith - Guitar, Guitar (Electric), Guitar (Rhythm), Percussion

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. --- Nathan Bush, Rovi

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01. Trench Town (3:12) 
02. Blackman Redemption (3:33) 
03. Buffalo Soldier (4:17) 
04. Chant Down Babylon (2:34) 
05. Jump Nyabinghi (3:43) 
06. Rastaman Live Up!. (5:21) 
07. Stiff Necked Fools (3:25) 
08. Mix Up, Mix Up (5:02) 
09. Give Thanks And Praises (3:15) 
10. I Know (3:21)

Aston Barrett - Bass, Guitar, Guitar (Bass), Percussion
Carlton "Carly" Barrett - Akete, Drums
Glen DaCosta - Sax (Tenor)
Tyrone Downie - Keyboards, Vocals (Background)
Devon Evans - Percussion
Marcia Griffiths - Vocals (Background)
Earl Lindo - Drums, Keyboards
David Madden - Trumpet
Bob Marley - Guitar, Guitar (Rhythm), Vocals, Vocals (Background)
Rita Marley - Vocals (Background)
Julian Marvin - Guitar, Vocals (Background)
Junior Marvin - Guitar, Guitar (Electric), Vocals (Background)
Judy Mowatt - Vocals (Background)
Nambo - Trombone
Alvin Patterson - Percussion
Santa - Drums 

A posthumous collection produced by Rita Marley, based on work left behind by Bob upon his death. Some of his best post-Wailers work is here, with songs like "Buffalo Soldier," "Chant Down Babylon," and "Blackman Redemption." Given that he wasn't alive to do the production that he usually helped in, this album seems remarkably true to the general vision of Bob Marley's albums. Other somewhat lesser-known tracks also help to fill in all of the cracks with some remarkable material. Case in point: "Jump Nyabinghi," a nice danceable groove with perhaps less of the usual politics mixed in, but with just as much musicality. Overall, any Bob Marley fan ought to own this album. For the uninitiated, Legend is always the starting point, but, after that, this may not be such a bad choice for additions to the collection. ---Adam Greenberg, Rovi

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01. Natural Mystic - 3:28
02. So Much Things To Say - 3:08
03. Guiltiness - 3:19
04. The Heathen - 2:32				play
05. Exodus - 7:40
06. Jamming - 3:31
07. Waiting In Vain - 4:15
08. Turn Your Lights Down Low - 3:39
09. Three Little Birds - 3:00
10. One Love / People Get Ready (Bob Marley/Curtis Mayfield) - 2:51		play

Personnel:
- Bob Marley - lead vocals, rhythm guitar, acoustic guitar, percussion, producer
- Ashton "Familyman" Barrett - fender bass, guitar, percussion
- Carlton Barrett - drums, percussion
- Tyrone Downie - keyboards, percussion, backing vocals
- Alvin "Seeco" Patterson - percussion
- Julian (Junior) Marvin - lead guitar
- I Threes (Rita Marley, Marcia Griffiths, Judy Mowatt) - backing vocals

Recorded in London following an attempt on his life, Exodus shows Bob Marley mellowing a bit. Despite some powerful political tracks, Marley adopts a less fiery, more reflective approach than his previous outings. Still, it's hard to find reggae as good as this. Exodus has all one would expect from a Bob Marley album: rumbling statements like "Exodus" and "The Heathen" as well as poetic love songs like "Turn Your Lights Down Low." Considering how good these tracks are, Exodus does not stop here. Marley also unleashed the huge international hits "Jamming," "Waiting in Vain," and "One Love/People Get Ready." These inspired tracks, perhaps more than any others, came to define Marley around the world. They are irresistible no matter how many times they are played. Never one to dodge innovation, "Exodus" hints that Marley was taking cues from the emerging dub scene. Exodus, even though it contains some of Marley's best work, has an underlying nostalgic feel to it, hinting that Marley was getting a little formulaic. --- Matthew Hilburn, allmusic.com

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CD1
01. Iron Lion Zion (3:15)
02. Could You Be loved (4:00)
03. Is This Love (3:53)
04. I Shot The Sheriff (4:43)
05. Jamming (3:35)
06. One Love (2:55)
07. No Woman, No Cry (3:48)
08. Get Up Stand Up (3:21)
09. Buffalo Soldier (4:20)
10. Exodus (7:42)
11. Sun Is Shining (5:00)
12. Roots Rock Reggae (3:33)
13. So Much Trouble in The World (4:02)
14. Waiting In Vain (4:19)
15. Three Little Birds (3:03)
16. Stir It Up (5:36)
17. Satisfy My Soul (4:35)
18. Punky Reggae Party (6:51)

2 CD:
01. Positive Vibration (5:37)
02. Survival (3:52)
03. Kaya (3:12)
04. Keep On Moving (4:20)
05. Lively Up Yourself (5:08)
06. Concrete Jungle (5:34)
07. Africa Unite (2:55)
08. Easy Skanking (2:57)
09. Chant Down Babylon (2:35)
10. Kinky Regae (7:35)
11. Natural Music (3:26)
12. Put It On (3:59)
13. Ride Natty Ride (3:52)
14. Them Belly Full (But We Hungry) (3:10)
15. Zion Train (3:32)
16. One Drop (3:49)
17. Duppy Conqueror (3:41)
18. Rebel Music (3 O'Clock Road Block) (6:42)
19. Zimbabwe (3:44)

Bob Marley & The Wailers: 
Bob Marley (vocals, acoustic & electric guitar, percussion); 
Peter McIntosh (vocals, guitar, piano, organ); 
Bunny Livingston (vocals, bongos, congas); 
Earl "Chinna" Smith (guitar, percussion); 
Julian "Junior" Marvin (guitar, background vocals); 
Donald Kinsey, Al Anderson (guitar); 
Bernard "Touter" Harvey (piano, organ); 
Tyrone Downie, Earl "Way" Lindo (keyboards, percussion, background vocals); 
Aston "Family Man" Barrett (bass, percussion); 
Carlton Barrett (drums, percussion); 
Alvin "Seeco" Patterson (percussion).

Robert Nesta "Bob" Marley (6to February 1945-11 May 1981) was a Jamaican singer, songwriter and musician. He was the singer, songwriter and guitarist for the ska, rocksteady and reggae band The Wailers (1964-1974) and Bob Marley & The Wailers (1974-1981). Marley remains the most famous and respected performer of reggae music and is credited with helping spread the music of Jamaica and the Rastafarian movement for a worldwide audience. Marley is best known hits "I Shot the Sheriff", "No Woman, No Cry," "Could You Be Loved," "Stir It Up," "Jamming," "Redemption Song", "One Love" and The Wailers , "Three Little Birds" and the posthumous releases "Buffalo Soldier" and "Iron Lion Zion". The compilation album, Legend (1984), published three years after his death, is the best reggae album sales, 10 times platinum (diamond) in the United States and sold 20 million copies worldwide. Although Marley has acknowledged his mixed ancestry, throughout his life and because of their beliefs, is identified as a black African. In songs like "Babylon System" and "Blackman Redemption", Marley sings about the struggles of blacks and Africans against Western oppression or "Babylon".

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1. Lively up Yourself
2. No Woman No Cry 
3. Them Belly Full (But We Hungry) 
4. Rebel Music (3 O'Clock Road Block) 
5. So Jah Seh 
6. Natty Dread 
7. Bend Down Low 
8. Talkin' Blues 
9. Revolution 
10. Am-a-Do

Bob Marley - lead vocals, rhythm guitar
Aston Barrett - bass guitar
Carlton Barrett - drums, percussion
Bernard "Touter" Harvey - piano, organ
Jean Roussel - Hammond Organ, Keyboards
Al Anderson - lead guitar
The I-Threes (Rita Marley, Judy Mowatt, Marcia Griffiths) - backing vocals

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. ---Jim Newsom, Rovi

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01. Coming In From The Cold - 4:31
02. Real Situation - 3:08
03. Bad Card - 2:48				play
04. We And Dem - 3:12			play
05. Work - 3:39
06. Zion Train – 3:34
07. Pimper's Paradise – 3:27
08. Could You Be Loved – 3:55
09. Forever Loving Jah – 3:51
10. Redemption Song – 3:47
+
11. Redemption Song (band version, b-side, 1980) – 4:47
12. Could You Be Loved (12" mix, single, 1980) – 5:24

Personnel:
- Bob Marley - lead vocals, rhythm & acoustic guitar
- Aston "Family Man" Barrett - bass, piano, guitar, percussion
- Carlton Barrett - drums, percussion
- Tyrone Downie - keyboards, backing vocals
- Alvin Patterson - percussion
- Junior Marvin - lead guitar, backing vocals
- Earl Lindo - keyboards
- Al Anderson - lead guitar
- I Threes (Rita Marley, Marcia Griffiths, Judy Mowatt) - backing vocals

Uprising would be the final studio album featuring Bob Marley & the Wailers to be released during Marley's lifetime. Prophetically, it also contains some of the band's finest crafted material, as if they were cogent that this would be their final outing. The album's blend of religious and secular themes likewise creates a very powerful and singular quest for spirituality in a material world. Although it is argued that an album's graphic design rarely captures the essence of the work inside, the powerful rebirthing image of a rock solid Marley emerging with his arms raised in triumph could not be a more accurate visual description of the musical jubilation within. Musically, the somewhat staid rhythms often synonymous with reggae have been completely turned around to include slinky and liquid syncopation. "Work," "Pimper's Paradise," and the lead-off track "Coming in From the Cold" are all significant variations on the lolloping Rasta beat. The major difference is the sonic textures that manipulate and fill those patterns. The inventive and unique guitar work of Al Anderson -- the only American member of the original Wailers -- once again redefines the role of the lead electric guitar outside of its standard rock & roll setting. "Zion Train" is awash in wah-wah-driven patterns creating an eerie, almost ethereal backdrop against Marley's lyrics, which recollect images from Peter Tosh's "Stop That Train" all the way back on Marley & the Wailers' international debut Catch a Fire. The final track on the original pressing of Uprising is "Redemption Song." Never has an artist unknowingly written such a beautiful and apropos living epitaph. The stark contrast from the decidedly electric and group-oriented album to this hauntingly beautiful solo acoustic composition is as dramatic as it is visionary. Less than a year after the release of Uprising, Marley would succumb to cancer. The 2001 "Definitive Remaster" version of Uprising contains the band version of "Redemption Song" and the 12" mix of "Could You Be Loved." --- Lindsay Planer, AMG

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