Catch A Fire (Remastered 50th Anniversary ) Bob Marley & The Wailers

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Album-Release:
2023

HRA-Release:
04.11.2023

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  • 1Concrete Jungle04:12
  • 2Slave Driver02:54
  • 3400 Years02:45
  • 4Stop That Train03:55
  • 5Baby We've Got A Date (Rock It Baby)03:59
  • 6Stir It Up05:30
  • 7Kinky Reggae03:36
  • 8No More Trouble03:59
  • 9Midnight Ravers05:08
  • 10Slave Driver (Jamaican Extended Version / 2023)03:04
  • 11400 Years (Jamaican Extended Version / 2023)03:07
  • 12High Tide Or Low Tide (Jamaican Alternate Version / 2023)05:13
  • 13Stir It Up (Jamaican Alternate Version / Take 1 / 2023)03:20
  • 14No More Trouble (Jamaican Extended Instrumental / 2023)06:46
  • 15Stir It Up (Jamaican Extra Organ Version) 48kHz03:48
  • 16No More Trouble (Jamaican Extended Version / 2023) 48kHz05:42
  • 17Stop That Train (Working Mono Version) 48kHz02:33
  • 18Slave Driver (Live At The Sundown Theatre, Edmonton, UK / May 1973) 48kHz04:01
  • 19Get Up, Stand Up (Live At The Sundown Theatre, Edmonton, UK / May 1973) 48kHz06:22
  • 20Stop That Train (Live At The Sundown Theatre, Edmonton, UK / May 1973) 48kHz03:57
  • Total Runtime01:23:51

Info for Catch A Fire (Remastered 50th Anniversary )



Catch a Fire is the fifth studio album by the reggae band The Wailers (aka Bob Marley and the Wailers), released in April 1973. It was their first album released by Island Records.[4] After finishing a UK tour with Johnny Nash, they had started laying down tracks for JAD Records when a disputed CBS contract with Danny Sims created tensions. The band did not have enough money to return to Jamaica, so their road manager Brent Clarke approached producer Chris Blackwell, who agreed to advance The Wailers money for an album. They instead used this money to pay their fares back home, where they completed the recordings that constitute Catch a Fire. The album has nine songs, two of which were written and composed by Peter Tosh; the remaining seven were by Bob Marley. While Bunny Wailer is not credited as a writer, the group's writing style was a collective process. For the immediate follow-up album, Burnin', also released in 1973, he contributed four songs. After Marley returned with the tapes to London, Blackwell reworked the tracks at Island Studios, with contributions by Muscle Shoals session musician Wayne Perkins, who played guitar on three overdubbed tracks. The album had a limited original release under the name The Wailers in a sleeve depicting a Zippo lighter, designed by graphic artists Rod Dyer and Bob Weiner; subsequent releases had an alternative cover designed by John Bonis, featuring an Esther Anderson portrait of Marley smoking a "spliff", and crediting the band as Bob Marley and the Wailers.

The Catch a Fire Tour, which covered England and the United States, helped generate international interest in the band. Catch a Fire peaked at number 171 on the Billboard 200 and number 51 on the Billboard Black Albums charts. Critical acclaim has included the album being listed at number 126 on Rolling Stone's 500 Greatest Albums of All Time, second only to Legend among five Bob Marley albums on the list. It is regarded as one of the top reggae albums of all time.

The group title Bob Marley and the Wailers being used on Bob Marley solo albums has created a lot of marketing and identity confusion for The Wailers' catalog. This follows the confusion generated by their company Tuff Gong Records (registered in 1973) and the similarly-named Tuff Gong International (registered by the Bob Marley Estate in 1991); this resulted in the 1999 Tuff Gong Settlement Agreement, which sought to separate the group's catalog from Bob Marley's solo catalog. The dual releases of Catch a Fire under both group names is where this marketing confusion began.

Critical acclaim has included the album being listed at number 126 on Rolling Stone’s 500 Greatest Albums of All Time, It is regarded as one of the top reggae albums of all time.

"Catch a Fire was the major label debut for Bob Marley and the Wailers, and it was an international success upon its release in 1973. Although Bob Marley may have been the main voice, every member of the Wailers made valuable contributions and they were never more united in their vision and sound. All the songs were originals, and the instrumentation was minimalistic in order to bring out the passionate, often politically charged lyrics. Much of the appeal of the album lies in its sincerity and sense of purpose -- these are streetwise yet disarmingly idealistic young men who look around themselves and believe they might help change the world through music. Marley sings about the current state of urban poverty ("Concrete Jungle") and connects the present to past injustices ("Slave Driver"), but he is a not a one-trick pony. He is a versatile songwriter who also excels at singing love songs such as his classic "Stir It Up." Peter Tosh sings the lead vocal on two of his own compositions -- his powerful presence and immense talent hint that he would eventually leave for his own successful solo career. More than anything else, however, this marks the emergence of Bob Marley and the international debut of reggae music. Marley would continue to achieve great critical and commercial success during the 1970s, but Catch a Fire is one of the finest reggae albums ever. This album is essential for any music collection." (Vik Iyengar, AMG)

Bob Marley, guitar, vocals
Peter Tosh, organ, guitar, piano, vocals
Bunny Wailer, bongos, conga, vocals
Aston "Family Man" Barrett, bass
Carlton "Carlie" Barrett, drums
Rita Marley, backing vocals
Marcia Griffiths, backing vocals
Additional musicians:
John "Rabbit" Bundrick, keyboards, synthesizer, clavinet
Wayne Perkins, guitar ("Concrete Jungle", "Baby We've Got a Date (Rock It Baby)", "Stir it Up")
Robbie Shakespeare, bass ("Concrete Jungle")
Tommy McCook, flute
Jean Alain Roussel, piano, keyboards
Winston Wright, organ
Francisco Willie Pep, percussion
Chris Karan, percussion

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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