Post by Deleted on Aug 7, 2013 21:25:46 GMT
The Wailers: 'Catch A Fire' (Island)
With The Wailers presently heralded as the reggae band by music acclaimants, I expect to see 'Catch A Fire' amongst those record collections where Eddie Cochran and someone or other's 'Golden Decade' are included, by concession, with a wealth of Kinney country rock and "New Age" timeserver albums.
Aware that inluential white ears, those outside of discotheques and the masonic working class underground, are opening to West Indian sounds, Island have released this disc on its own label; smart, difficult to handle packaging, carefully produced and with all the promo normally reserved for hippie art rock. Consequently, 'Catch A Fire' is, to quote Mr Marley, "a nice one".
Effects of such marketing are double edged. On the hopeful side, people may awake from their flippant, dismissive attitude towards reggae and furthermore Bob Marley, singer and credited songwriter on seven of the nine tracks, may benefit financially; setting, perhaps, a precedent for the whole ripped-off Jamaican scene. While on the obverse is the creeping commercialism so manifest on this record, as well as avenues for more insidious and obscene exploitation.
Early Wailers material in the ska mould were tight, funky expressions of frustration, raucous and rude-boy lauding. This set is slick production, over refined backbeats admonishing each number, while the vocalising of Marley has been incoporated into the central sound. A saving grace, the lyrical content is surer, awarer.
'Slave Driver' is the great track, softly reggaing with chorus insisting "Slave driver, catch a fire", because "the table is turned". Bob Marley recalls, "Every time I hear the crack of a whip (clap clap) my blood runs cold". Mine does too hearing Bob express it thus, as it forces home the sorry hatred a white face must evoke in third world hearts. "Today they say we are free, only to keep us bound in poverty. Aagh! Slave driver, the table is turned." Yes!
'400 Years, metaphorically early Wailers, chugs along, despite the cloying horns, on a similarly revolutionary kick, while the horrendous 'Kinky Reggae' mars the album while actually increasing its statement. The rest is interesting.
'Stop That Train', 'Stir It Up', written by Bob Marley for Johnny Nash, and 'Baby, We've Got A Date' all make for good listening.
Penny Reel - Originally published in International Times, Number 155, May 31, 1973
With The Wailers presently heralded as the reggae band by music acclaimants, I expect to see 'Catch A Fire' amongst those record collections where Eddie Cochran and someone or other's 'Golden Decade' are included, by concession, with a wealth of Kinney country rock and "New Age" timeserver albums.
Aware that inluential white ears, those outside of discotheques and the masonic working class underground, are opening to West Indian sounds, Island have released this disc on its own label; smart, difficult to handle packaging, carefully produced and with all the promo normally reserved for hippie art rock. Consequently, 'Catch A Fire' is, to quote Mr Marley, "a nice one".
Effects of such marketing are double edged. On the hopeful side, people may awake from their flippant, dismissive attitude towards reggae and furthermore Bob Marley, singer and credited songwriter on seven of the nine tracks, may benefit financially; setting, perhaps, a precedent for the whole ripped-off Jamaican scene. While on the obverse is the creeping commercialism so manifest on this record, as well as avenues for more insidious and obscene exploitation.
Early Wailers material in the ska mould were tight, funky expressions of frustration, raucous and rude-boy lauding. This set is slick production, over refined backbeats admonishing each number, while the vocalising of Marley has been incoporated into the central sound. A saving grace, the lyrical content is surer, awarer.
'Slave Driver' is the great track, softly reggaing with chorus insisting "Slave driver, catch a fire", because "the table is turned". Bob Marley recalls, "Every time I hear the crack of a whip (clap clap) my blood runs cold". Mine does too hearing Bob express it thus, as it forces home the sorry hatred a white face must evoke in third world hearts. "Today they say we are free, only to keep us bound in poverty. Aagh! Slave driver, the table is turned." Yes!
'400 Years, metaphorically early Wailers, chugs along, despite the cloying horns, on a similarly revolutionary kick, while the horrendous 'Kinky Reggae' mars the album while actually increasing its statement. The rest is interesting.
'Stop That Train', 'Stir It Up', written by Bob Marley for Johnny Nash, and 'Baby, We've Got A Date' all make for good listening.
Penny Reel - Originally published in International Times, Number 155, May 31, 1973