Bob marley ganja gun lirik
Its contemporary role as jolly soundtrack to umpteen Jamaican tourist ads overlooks the fire and brimstone aspect of the lyrics. Marley recorded several versions of One Love – it began life as a ska track in 1965 – but the version on Exodus, interpolated with People Get Ready, is definitive. The music exists as an austere backdrop for words taken from a Haile Selassie speech: “Until the philosophy which holds one race superior and another inferior is finally and permanently discredited and abandoned, everywhere is war.” 19. War (1976)Īs stark and potent as late 70s Marley got, War dispenses with standard verse-chorus structure and any semblance of lyrical poetry. Recorded at the first Wailers session following Marley’s return to Jamaica from his mid-60s sojourn in America, Freedom Time is audibly influenced by the music he heard in the US – there’s a distinct hint of the Impressions’ civil rights anthem People Get Ready about the lyric – and a total delight: piano-led rocksteady with a beautiful descending melody. It’s tempting to suggest the track itself is oddly prescient: despite the title, there’s something brooding and overcast about its sound, as if Marley didn’t quite have faith in the sentiment the lyrics were supposed to be espousing.
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Smile Jamaica was the theme song for the Kingston concert that almost got Marley killed – he was shot by gunmen two days before the gig. It’s tempting to call Johnny Was his answer to Mayfield’s Freddie’s Dead: an empathic examination of an accidental death (“from a stray bullet”) that nevertheless has wider implications, the lushness of the harmonies at odds with the lyrics. Marley’s great musical inspiration was Curtis Mayfield – the young Wailers even copied the Impressions’ poses in photos. Marley’s pre-Island discography can be baffling – umpteen releases, umpteen labels – but the 00s box sets Fy-ah Fy-ah, Man to Man and Grooving Kingston 12 do a good job of sorting through it, revealing gems such as Caution: an odd, tremulous lead guitar, eerie harmonies on the chorus and a winning refrain of “hit me from the top, you crazy mother-funky”. Could You Be Loved?, meanwhile, allied Marley’s sharp pop instinct to disco, with backing vocalists the I-Threes on particularly fine form. The Wailers were always musically open-minded – in the 60s they covered everything from Bacharach and David to the Archies’ Sugar Sugar, while 1971’s Lick Samba dabbled in Latin-American music. Photograph: Michael Ochs Archives/Getty Images 25. (from left) Peter Tosh, Aston ‘Family Man’ Barrett, Bob Marley, Earl Lindo, Carlton Barrett and Bunny Wailer. Marley was not initially convinced by punk, but eventually recognised the denizens of the Roxy as kindred spirits – “rejected by society” – and threw in his lot on the exuberant Punky Reggae Party, which namechecks the Clash and the Damned and promises “no boring old farts will be there” at the titular event. It is set to a lo-fi backing consisting of noticeably out-of-tune guitar and drums, which only serves to make the Wailers’ high harmonies more powerful. Selassie Is the Chapel is like nothing else Marley recorded, in effect a doo-wop song given a Rastafarian twist.
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Tellingly, given the socio-political songs that lay ahead of him, Marley focuses on the deprived circumstances that birthed the phenomenon: “Want it want it – can’t get it, get it get it – no want it.” The ska-era Wailers launch themselves into the 60s Jamaican vogue for singles either praising or condemning the violent Kingston “rude boy” youth cult.