Splendid Versions and Oddities, so much unchartered gems in the Marley Musical Journey....I have an awesome quality mix of the 'Thompson Sessions' for me, the Production is way better than what was released....Bless up Jesse....Another Gem, you're on a lifetime roll Bredren...
Hi Jesse... I'm trying from a computer, but the link doesn't seem to work. This is the second time I can't download it. Could you help me??? Thanks for the reply
”No Woman, No Cry" Studio Trickery: The hit version of “No Woman, No Cry” is labeled as “live,” but it’s a studio track with crowd noise overdubbed to sound like a live performance.”
This ☝️seems strange. The song appears on the “Live” album and appears on the video from the Lyceum concert. Is’n it more likely that
some minor post-production enhancements (like mixing or possibly sweetening crowd noise) may have been applied, which was common practice. However, I find it hard to believe it is a studio track with fake crowd noise.
Thanks for your feedback Niclas. I remember learning about KISS Alive - it was the reverse, the kept the crowd noise and pretty much re-did most of the parts one at a time in the studio due to how the "live" performance was with mixing issues, mistakes etc..
All due respect to Dubmatix - but Marley recordings have been subjected, ever since the Blackwell intervention, to all sorts of trixery. A lot (as in all) of the early recordings featured on this (quite enjoyable) link are not as they were. Overdubs, underdubs, drum tracks, stereo repeoductions of recordings from mono only studios... Anyway, to the point - the whole "Live" album was "enhanced", re-recorded, partly because it didn't suit Blackwell's taste, and partly beceause it was awful (muddy). Blackwell's thing was to want things faster (see how he f-ed up Burning Spear's LP) to appeal to a US "rock" audience. What he ended up with, as evidenced on some of these overdubbed tracks, was a hybrid reggae/ electric C&W sound. Enjoyable though many of these tracks may be, the vocal tracks are often the only genuine ingredient.
Hey Mike - that's exactly what they did. Chris shaped the Wailers music for a rock audience in order to break them. At that time people were not familiar with reggae on a global scale. He brought in all manner of additional musicians to polish the sound and mix. Thanks for your comment and sharing.
Some of the pre-Blackwell material on this cast are also "enhanced". The US recorded material during his sojourn there. TBH, Blackwell figures more in my "didslike" of what he did with Jack Ruby's Burning Spear material and failure to respect/recognise Lee Perry's excursions into more souldful/jazzy areas after the success of Super Ape, eg Roast Fish & Corn Bread etc. which didn't fit the frame. Anyway, reggae was never really intended for stereo, as I and Striker (and most sound operators) always concurred.
That's good info, glad you shared that. I wasn't aware of the Spear polishing as their debut album always felt more raw - it was almost opposite to the Wailers with the slickness of Kaya.
I've got a Bunny mix / story coming out next week legend.
If you get hold of a Wolf or Fox pressing of Ruby's Marcus Garvey LP, pror to licensing to Island it's slower, denser and has one less later added track. Also the singles from 1975 onWolf/Fox (Ja. & US) reveal this, and have much better dubs than the "Garvey's Ghost"versions.
Splendid Versions and Oddities, so much unchartered gems in the Marley Musical Journey....I have an awesome quality mix of the 'Thompson Sessions' for me, the Production is way better than what was released....Bless up Jesse....Another Gem, you're on a lifetime roll Bredren...
that's a great bit of history to have re: thompson sessions. nice.
Thanks Rob, always appreciate your feedback.
Such a nice selection, thanks as always for always expanding my appreciation
Much appreciated Colin. Glad you enjoyed the mix.
Thank you so much for this! I haven't heard many of these before. The "disco" version of Could You Be Loved is absolute fire!
Thanks Donald, same for me. Many were new. Glad you discovered some new gems.
My name is: Lau da Costa, I´m Brazilian man. Hello Man... I can't download it in MP3, this is the second link you sent me and I can't download it. Could you send me the link please??? The link is here: https://bassculture.substack.com/p/bob-marley-and-the-wailers-rare-unreleased
Greetings Lau
Thanks for your message.
If you're on a phone, you can only stream it. To Download it onto a computer, look for the 3 Dots next to the Fast-Forward icon.
I hope that helps.
Cheers
Jesse
Hi Jesse... I'm trying from a computer, but the link doesn't seem to work. This is the second time I can't download it. Could you help me??? Thanks for the reply
The 3 Dots don't work?
I've made it available as a download here
https://www.transfernow.net/dl/20250430NmdCJ0Ih/aV9ZLLEX
Thanks... Positive Vibration !!!
”No Woman, No Cry" Studio Trickery: The hit version of “No Woman, No Cry” is labeled as “live,” but it’s a studio track with crowd noise overdubbed to sound like a live performance.”
This ☝️seems strange. The song appears on the “Live” album and appears on the video from the Lyceum concert. Is’n it more likely that
some minor post-production enhancements (like mixing or possibly sweetening crowd noise) may have been applied, which was common practice. However, I find it hard to believe it is a studio track with fake crowd noise.
Thanks for your feedback Niclas. I remember learning about KISS Alive - it was the reverse, the kept the crowd noise and pretty much re-did most of the parts one at a time in the studio due to how the "live" performance was with mixing issues, mistakes etc..
All due respect to Dubmatix - but Marley recordings have been subjected, ever since the Blackwell intervention, to all sorts of trixery. A lot (as in all) of the early recordings featured on this (quite enjoyable) link are not as they were. Overdubs, underdubs, drum tracks, stereo repeoductions of recordings from mono only studios... Anyway, to the point - the whole "Live" album was "enhanced", re-recorded, partly because it didn't suit Blackwell's taste, and partly beceause it was awful (muddy). Blackwell's thing was to want things faster (see how he f-ed up Burning Spear's LP) to appeal to a US "rock" audience. What he ended up with, as evidenced on some of these overdubbed tracks, was a hybrid reggae/ electric C&W sound. Enjoyable though many of these tracks may be, the vocal tracks are often the only genuine ingredient.
Hey Mike - that's exactly what they did. Chris shaped the Wailers music for a rock audience in order to break them. At that time people were not familiar with reggae on a global scale. He brought in all manner of additional musicians to polish the sound and mix. Thanks for your comment and sharing.
Some of the pre-Blackwell material on this cast are also "enhanced". The US recorded material during his sojourn there. TBH, Blackwell figures more in my "didslike" of what he did with Jack Ruby's Burning Spear material and failure to respect/recognise Lee Perry's excursions into more souldful/jazzy areas after the success of Super Ape, eg Roast Fish & Corn Bread etc. which didn't fit the frame. Anyway, reggae was never really intended for stereo, as I and Striker (and most sound operators) always concurred.
That's good info, glad you shared that. I wasn't aware of the Spear polishing as their debut album always felt more raw - it was almost opposite to the Wailers with the slickness of Kaya.
I've got a Bunny mix / story coming out next week legend.
If you get hold of a Wolf or Fox pressing of Ruby's Marcus Garvey LP, pror to licensing to Island it's slower, denser and has one less later added track. Also the singles from 1975 onWolf/Fox (Ja. & US) reveal this, and have much better dubs than the "Garvey's Ghost"versions.
Great info