Bob Marley & Wailers - Exodus
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CD Details
Artist: Bob Marley & WailersEdition: Music CD
Audio: German (Unknown)
Format: Extra tracks, Import, Original recording remastered
CD Release Date: 2001-11-13
Music Label: Island
Soundtracks:
- Natural Mystic
- So Much Things To Say
- Guiltiness
- The Heathen
- Exodus
- Jamming
- Waiting In Vain
- Turn Your Lights Down Low
- Three Little Birds
- One Love/People Get Ready
- Jamming (Long Version)
- Punky Reggae Party (Long Version)
Music reviews of Exodus
Music Review: Marley's Finest
Rating: 5 Stars
It is always interesting to follow Bob Marley's career from his early rude boy years, to the rock steady years, to the ska years, to reggae, to the roots, rock, reggae which this set shows itself. As so many other reviewers have said this has to be Bob Marley and the Wailers at their absolute tightest. Tight because of how tightly compacted and densely thick the drum lines are, delivered with startling accuracy. Tight because the guitars, and organs, and instruments have never sounded so heavy and so right before. Tight because there's no longer the dense weed smoke hanging in the air that clouded up some parts of Catch a Fire and earlier recordings. Instead now, now Marley is clear on, leaving no lyric to chance, and leaving no sound to the inspiration of the atmosphere: rather he's MAKING the atmosphere with his sound. Tight because his vocals have never been so right on before. If I had to stack all the records Bob and the Wailers (Peter Tosh and Bunny included) ever made, this would be the singular one I would choose. This is the best album Robert Nesta Marley, O.M. ever made, uniting world styles of music with the dreams of a little boy from St. Ann's Parish who on this record, has become a man of startling musical and lyrical power.
The album opens with Natural Mystic, a remake. Many times you will find that Bob remade some of the hits that he, Bunny Wailer and Peter Tosh recorded back in their ska and rude boy years. This is one of them. Natural Mystic was recorded in a ska (a folkish jazzy sort of form of reggae) a few years earlier completely with trumpets, and orchestraic instruments. This time, Marley choose a more straight-forward and blunt delivery, his voice quiet, more mournful than it was in the ska version. While the trumpets are still here their last boastful as they were in the earlier version. Marley gives the song a hint of fatality that makes it quite profound.
So Much Things to Say follows next. This song was redone by his daughter-in-law, Grammy winning singer/songstress/philosopher Lauryn Hill some years later on her classic Unplugged 2.0 collection, and one can see why a songwriter of her caliber chose to do this as a remake. It has a classical no b.s. attitute towards the things people say. Marley acknowldeges that old axiom "Sticks and stones can break my bones but words can never hurt me" is a complete lie. He says that words can hurt you, but only if you stop to listen. But if you know who you are, you know what you believe, and you know what you represent, it doesn't matter. This message is delivered over a rapturous accompaniment with joyful doo-wop style of vocals by the I-Threes
Guiltiness is next. He talks about hypocrites, liars, and backstabbers in this song, aknowledging that even they have a heart, but that that heart is filled with guiltiness. Unless they turn from their ways "Woe to the downpressers, for they shall eat the bread of sorry" he cries over a darker background than the earlier music.
Heathen is a sort of chanting kind of mantra against the Spiritual Enemy, as Marley and the I-Threes cry: Jah put dah heathen back deh, pon deh wall, or in American english: God, put the heathen back there against the wall, requesting that God help him fight the battle against the Heathen both spiritual, mental, and physical.
The album's title track comes in next. It's called Exodus. It's suprisingly long. In the Wailers (Bob, Peter, and Neville "Bunny") ska years they usually wrote songs that were about 2 minutes long, so it's a big jump to see him writing a 7-plus minute track. This is a very politically minded song, and it's not entirely catchy except for it's chorus Exodus movement of Jah people, which itself is not that catchy. It's more a political dictation that you really have to listen to. It fit well in the 70's, but now, it's more something you'll want to listen, and because of how heavy he made the beat and instruments it's more something you march to than dance to.
Next has got to be one of Marley's tightest dance tracks, Jammin. The beat says it all. This is Carlton Barret at his best, proving himself one of the most exceptional drummers in the known world with tight dense delivery and transcendent ability in regards to reggae. The way he switches rhythms in the middle of the drum line without ever disrupting the flow, constantly back and forth to some three to five different rhythms is absolutely amazing. Marley delivers lyrics about dancing in the name of the Lord, a righteous party here.
Waiting in Vain is a sweet love song over a sweeter accompaniment. Here the Wailers, usually hard up on rhythm and power, deliver a sweet as honey background to Marley's declaration that he will knock on her door for as long as she wants, and he'll wait for her love for as long as she says, but he just wants to know that he isn't waiting in vain. He'll wait forever, but he needs a promise that one days he'll get some reciprocity. It's a beautiful sentiment, and Bob as usual delivers it with shocking honesty and sentiment.
Next is one of Bob's, or maybe it IS Bob's best love song. For me it's his best, and what he brings to it is emotional. It has the feeling of new love, young love, passionate, full of light and emotion. His daughter-in-law, Grammy winning singer Lauryn Hill did a duet of this song with his voice, using computer technolongy. The duet made Natalie Cole and Nat King Cole's technology-aided duet seem tame, and makes you believe that if she had married his son while he was still alive, they might have actually done this duet together. They have the same views, and their voices so well together, his Marley's rough, and Hill's so smooth that it works. Check Chant Down Babylon, an album made by Marley's son Stephen, for this duet. But the original version is by far the best. The accompaniment is trance like and Marley's vocals are admirable. Here that feeing of smoke hanging in the air returns, but this time it's a more organic, natural vibe, and sensual sort of trance-like rapture, that transcends time and space, titanic yet captured at the same time. It's a great love song.
Three Little Birds is nice feel good song, and it works well. Enjoyable.
The monster hit One Love is next. This song has been played so much that it's self explanatory.
The two bonus tracks are great. The long version of Jammin lets Carlton Barrett give a transcendental execution of drumplay. If you don't marvel at how Barrett handles those drums, and how ridiculously wonderful that bass line is, then hand over your heart and your musical taste, because you have no need for them in regards to modern music. The next track Punky Reggae Party is insatiable and irrepressable. I dare you not to start jumping around your bedroom or living room as if you're in a Jamaican basement party. If your feet are not at least tapping uncontrollably, then again, hand over your heart and musical taste.
This is Bob at his ABSOLUTE FINEST. THe ska years saw Bob discovering his style. The ska years have their own feeling and are just as enjoyable as the reggae years, this is back when folk and jazz music from New Orleans pervaded Jamaica, and the Wailers (who were then Bob Marley, Peter McIntosh (Peter Tosh) and Neville "Bunny Wailer" Livingston) were ample exponents of that style, brilliantly delivering it. The rude boy years saw a young teenage Bob ascending from the ghetto's of Trenchtown with a fierce attitude, a courageous heart, and a raw talent as he was discovering his voice. The early Island recordings saw Bob consumating it. But it is Exodus that pushes Bob into a realm of superstardom so spectacular that Time was forced to declare this the album of the Century. That decision has got to be unanimous.
-Terrence Craft
Description of Exodus
Limited Edition Japanese pressing of this album comes housed in a miniature LP sleeve. Universal. 2006.In 1999, Exodus was rightfully voted by the most important album of the 20th century by Time magazine. This is the visionary Bob Marley's masterpiece, a concept album that distills the myriad experiences of both our daily lives and collective unconsciousness into 46 minutes of aural perfection.
Exodus has been flawlessly remastered from the original recordings and showcases what is probably the Wailers' tightest recorded performance. The initial notes of the album's opening track, "Natural Mystic," fade up from a deep silence, giving the listener the impression that the music generates from within a continuum of the past, present, and future. The first half of Exodus bears witness to Marley's shift in focus away from the mundane problems of Babylon existence and toward a greater understanding of vital universal truths. The second half features songs such as "Jamming" and "Waiting in Vain," which take a gently wistful look at the more interpersonal aspects of human relations. --Rebecca Levine
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