Live! (Deluxe Edition - Remastered) Bob Marley & The Wailers

• 1 Trenchtown Rock (Live At The Lyceum, London/July 17,1975) 05:10
• 2 Burning And Looting (Live At The Lyceum, London/July 17,1975) 05:09
• 3 Them Belly Full (But We Hungry) (Live At The Lyceum, London/July 17,1975) 04:36
• 4 Rebel Music (3 O'Clock Roadblock) (Live At The Lyceum, London/July 17,1975) 05:31
• 5 Stir It Up (Live At The Lyceum, London/July 17,1975) 05:16
• 6 No Woman, No Cry (Live At The Lyceum, London/July 17,1975) 07:40
• 7 Natty Dread (Live At The Lyceum, London/July 17,1975) 05:28
• 8 Kinky Reggae (Live At The Lyceum, London/July 17,1975) 07:58
• 9 I Shot The Sheriff (Live At The Lyceum, London/July 17,1975) 05:16
• 10 Get Up Stand Up (Live At The Lyceum, London/July 17,1975) 10:20
• 11 Trenchtown Rock (Live At The Lyceum, London/July 18,1975) 04:24
• 12 Slave Driver (Live At The Lyceum, London/July 18,1975) 04:02
• 13 Burning And Looting (Live At The Lyceum, London/July 18,1975) 04:57
• 14 Them Belly Full (But We Hungry) (Live At The Lyceum, London/July 18,1975) 03:54
• 15 Rebel Music (3 O'Clock Roadblock) (Live At The Lyceum, London/July 18,1975) 05:19
• 16 No Woman, No Cry (Live At The Lyceum, London/July 18,1975) 07:07
• 17 Kinky Reggae (Live At The Lyceum, London/July 18,1975) 06:42
• 18 Natty Dread (Live At The Lyceum, London/July 18,1975) 04:34
• 19 Stir It Up (Live At The Lyceum, London/July 18,1975) 04:46
• 20 Lively Up Yourself (Live At The Lyceum, London/July 18,1975) 07:45
• 21 I Shot The Sheriff (Live At The Lyceum, London/July 18,1975) 07:09
• 22 Get Up Stand Up (Live At The Lyceum, London/July 18,1975) 10:18
• Total Runtime 02:13:21

Info zu Live! (Deluxe Edition - Remastered)

Bob Marley & the Wailers were at the peak of their artistic powers when they arrived at the Lyceum London for two shows on July 17 and 18, 1975, having just released Natty Dread the year before and about to unleash Rastaman Vibration on the world. The Rolling Stones mobile studio was on hand to record both shows, with seven songs from the second released as Live!, in December of that same year. The recording was subsequently broadcast as part of the syndicated radio program King Biscuit Flower Hour in 1976.

The Marley Family will now release for the first time the complete sets from both shows, Bob Marley & the Wailers - Live!, as a three-album High-Res-remaster set edition that also includes a reproduction of the tour program from the band’s historic 1975 U.K. tour.

Marley and the Wailers’ classic line-up included bassist Aston “Family Man” Barrett, drummer Carlton “Carly” Barrett, guitarist Al Anderson, keyboardist Tyrone Downie, percussionist Alvin “Seeco” Patterson and the I-Threes - backing vocalists Rita Marley, Judy Mowatt and Marcia Griffiths. The group was fresh off its legendary five-night stint at the Roxy Theatre in Los Angeles from July 9 through July 13, when they stepped on the stage at London’s Lyceum Theatre for an abbreviated U.K. tour which would also include dates at The Odeon in Birmingham on July 19 and The Hard Rock in Manchester on July 20. Marley was in top form during the two Lyceum shows, animatedly interacting with the crowd, who sang along to what most consider the definitive version of No Woman, No Cry.

The BBC’s Chris Jones wrote about the album in 2009: “This seminal live document captures almost exactly the point where both roots reggae and Rastafarianism finally entered popular culture… Capturing the band at the peak of their powers with a set list that held absolutely no low points… this was a Wailers that could more than handle the lusher, fuller rock reggae that transformed Marley’s Rastaman diatribes into pop gold. No one before this had combined both roots and R&B in this way… uniting both working and middle classes with his songs of universal struggle and religious metaphor.”

Bob Marley, vocals, guitar
Al Anderson, guitar
Tyrone Downie, keyboards
Aston “Family Man” Barrett, bass
Carlton “Carly” Barrett, drums
Alvin “Seeco” Patterson, percussion
Rita Marley, backing vocals
Judy Mowatt, backing vocals
Marcia Griffiths, backing vocals

Digitally remastered

Bob Marley
b. Robert Nesta Marley, 6 February 1945, St. Anns, Jamaica, West Indies, d. 11 May 1981, Miami, Florida, USA. This legendary singer's vocal group, the Wailers, originally comprised six members: Marley, Bunny Wailer, Peter Tosh, Junior Braithwaite, Beverley Kelso and Cherry Smith. Bob Marley And The Wailers are the sole Jamaican group to have achieved global superstar status, together with genuine penetration of world markets. The original group was formed during 1963. After extensive tuition with the great vocalist Joe Higgs, they began their recording career later that year for Coxsone Dodd, although Marley had made two singles for producer Leslie Kong in 1962 - "Judge Not" and "One Cup Of Coffee". Their first record, "Simmer Down", released just before Christmas 1963 under the group name Bob Marley And The Wailers, went to number 1 on the JBC Radio chart in January 1964, holding that position for the ensuing two months and reputedly selling over 80,000 copies. This big local hit was followed by "It Hurts To Be Alone", featuring Junior Braithwaite on lead vocal, and "Lonesome Feeling", with lead vocal by Bunny Wailer. During the period 1963-66, the Wailers made over 70 tracks for Dodd, over 20 of which were local hits, covering a wide stylistic base - from cover versions of US soul and doo-wop with ska backing, to the newer, less frantic "rude-boy" sounds that presaged the development of rocksteady, and including many songs that Marley re-recorded in the 70s.

In late 1965, Braithwaite left to go to America, and Kelso and Smith also departed that year. On 10 February 1966, Marley married Rita Anderson, at the time a member of the Soulettes, later to become one of the I-Threes and a solo vocalist in her own right. The next day he left to join his mother in Wilmington, Delaware, USA returning to Jamaica in October 1966; the Wailers were now a vocal trio. They recorded the local hit "Bend Down Low" at Studio One late in 1967 (though it was actually self-produced and released on their own label, Wail 'N' Soul "M"). This and other self-produced output of the time is among the rarest, least reissued Wailers music, and catches the group on the brink of a new maturity; for the first time there were overtly Rasta songs. By the end of that year, following Bunny Wailer's release from prison, they were making demos for Danny Sims, the manager of soft-soul singer Johnny Nash, who hit the UK charts in April 1972 with the 1968 Marley composition, "Stir It Up". This association proved incapable of supporting them, and they began recording for producer Leslie Kong, who had already enjoyed international success with Desmond Dekker, the Pioneers and Jimmy Cliff.

Kong released several singles and an album called The Best Of The Wailers in 1970. By the end of 1969, wider commercial success still eluded them. Marley, who had spent the summer of 1969 working at the Chrysler car factory in Wilmington, returned to Jamaica, and the trio began a collaboration with Lee Perry that proved crucially important to their future development. Not only did Perry help to focus more effectively the trio's rebel stance, but they worked with the bass and drum team of brothers, Aston "Familyman" Barrett and Carlton Barrett (b. 17 December 1950, Kingston, Jamaica, d. 1987, Kingston, Jamaica), who became an integral part of the Wailers' sound.

The music Bob Marley And The Wailers made with Perry during 1969-71 represents possibly the height of their collective powers. Combining brilliant new songs such as "Duppy Conqueror", "Small Axe" and "Sun Is Shining' with definitive reworkings of old material, backed by the innovative rhythms of the Upsetters and the equally innovative influence of Perry, this body of work stands as a zenith in Jamaican music. It was also the blueprint for Bob Marley's international success. The group continued to record for their own Tuff Gong label after the Perry sessions and came to the attention of Chris Blackwell, then owner of Island Records. Island had released much of the Wailers' early music from the Studio One period, although the label had concentrated on the rock market since the late 60s. Their first album for the company, 1973's Catch A Fire, was packaged like a rock album, and targeted at the album market in which Island had been very successful. The band arrived in the UK in April 1973 to tour and appear on television. In July 1973 they supported Bruce Springsteen at Max's Kansas City club in New York. Backed by an astute promotional campaign, Catch A Fire sold well enough to warrant the issue of Burnin", adding Earl Lindo to the group, which signalled a return to a militant, rootsy approach, unencumbered by any rock production values.

The rock/blues guitarist Eric Clapton covered "I Shot The Sheriff" from this album, taking the tune to the number 9 position in the UK chart during the autumn of 1974, and reinforcing the impact of the Wailers in the process.

Just as the band was poised on the brink of wider success, internal differences caused Tosh and Bunny Wailer to depart, both embarking on substantial solo careers, and Lindo left to join Taj Mahal. The new Wailers band, formed in mid-1974, included Marley, the Barrett brothers and Bernard "Touter" Harvey on keyboards, with vocal harmonies by the I-Threes, comprising Marcia Griffiths, Rita Marley and Judy Mowatt.

This line-up, with later additions, would come to define the so-called "international" reggae sound that Bob Marley And The Wailers played until Marley's death in 1981. In establishing that form, not only on the series of albums recorded for Island but also by extensive touring, the band moved from the mainstream of Jamaican music into the global market. As the influence of Bob Marley spread, not only as a musician but also as a symbol of success from the so-called "Third World", the music made locally pursued its own distinct course. 1975 was the year in which the group consolidated their position, with the release of the massively successful Natty Dread and rapturously received concerts at the London Lyceum. These concerts attracted both black and white patrons - the crossover had begun. At the end of the year Marley achieved his first UK chart hit, the autobiographical "No Woman No Cry". His first live album, comprising material from the Lyceum concerts, was also released in that year. He continued to release an album a year until his death, at which time a spokesman for Island Records estimated worldwide sales of $190 million. Marley survived an assassination attempt on 3 December 1976, leaving Jamaica for 18 months in early 1977.

In July, following a harmless incident when he stubbed his foot during a game of football, he had an operation in Miami to remove cancer cells from his right toe.

His albums Exodus and Kaya enjoyed massive international sales. In April 1978, he played the One Love Peace Concert in Kingston, bringing the two leaders of the violently warring Jamaican political parties (Michael Manley and Edward Seaga) together in a largely symbolic peacemaking gesture. The band then undertook a huge worldwide tour that took in the USA, Canada, Japan, Australia and New Zealand. His own label, Tuff Gong, was expanding its interests, developing new talent. The album Survival was released to the usual acclaim, being particularly successful in Africa. The song "Zimbabwe" was subsequently covered many times by African artists. In 1980, Marley and the Wailers played a momentous concert in the newly liberated Zimbabwe to an audience of 40,000. In the summer of 1980, his cancer began to spread; he collapsed at Madison Square Garden during a concert. Late in 1980 he began treatment with the controversial cancer specialist Dr. Josef Issels. By 3 May, the doctor had given up. Marley flew to Miami, Florida, where he died on 11 May.

Marley was rightly celebrated in 1992 with the release of an outstanding CD box set chronicling his entire career, although his discography remains cluttered due to the legal ramifications of his estate. His global success had been an inspiration to all Jamaican artists; his name became synonymous with Jamaican music, of which he had been the first authentic superstar. His contribution is thus immense: his career did much to focus the attention of the world on Jamaican music and to establish credibility for it. In addition, he was a charismatic performer, a great singer and superb songwriter - an impossible act to follow for other Jamaican artists.

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