Bob Marley And The Wailers-Talkin Blues-(TGLCD12)-CD-FLAC-1991-LEB
Description :
Bob Marley & The Wailers – Talkin’ Blues
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| Artist ….. : Bob Marley & The Wailer |
| Album …… : Talkin’ Blues |
| Year ……. : 1991 |
| Label …… : Island Records/Tuff Gong |
| Cat.No ….. : TGLCD 12 (848 243-2) |
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| Genere ….. : Reggae |
| Tracks ….. : 21 |
| Duration … : 61:43 min |
| Source ….. : CDDA |
| Street Date : 1991-00-00 |
| URL …….. : http://www.discogs.com/release/375117 |
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| Release Size : 342.2MB |
| Ripping Tool : EAC |
| Encoder …. : FLAC 1.2.1 |
| Quality …. : 615 kbps / Avg 44.1kHz / 2 channels |
| Rip Date … : 2014-04-03 |
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+——————————–[Track List]——————————–+
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| 01. Bob Marley – Talkin’ 00:17 |
| 02. Bob Marley & The Wailers – Talkin’ Blues 04:37 |
| 03. Bob Marley – Talkin’ 00:26 |
| 04. Bob Marley & The Wailers – Burnin’ And Lootin’ 06:36 |
| 05. Bob Marley – Talkin’ 00:48 |
| 06. Bob Marley & The Wailers – Kinky Reggae 05:07 |
| 07. Bob Marley & The Wailers – Get Up, Stand Up 04:44 |
| 08. Bob Marley – Talkin’ 00:56 |
| 09. Bob Marley & The Wailers – Slave Driver 03:47 |
| 10. Bob Marley – Talkin’ 01:30 |
| 11. Bob Marley & The Wailers – Walk The Proud Land 03:28 |
| 12. Bob Marley – Talkin’ 00:51 |
| 13. Peter Tosh & The Wailers – You Can’t Blame The Youth 04:06 |
| 14. Bob Marley – Talkin’ 00:35 |
| 15. Bob Marley & The Wailers – Rastaman Chant 06:22 |
| 16. Bob Marley – Talkin’ 01:43 |
| 17. Bob Marley & The Wailers – Am-A-Do 03:06 |
| 18. Bob Marley – Talkin’ 01:00 |
| 19. Bob Marley & The Wailers – Bend Down Low 02:40 |
| 20. Bob Marley – Talkin’ 01:51 |
| 21. Bob Marley & The Wailers – I Shot The Sheriff 07:13 |
| —– |
| Total: 61:43 |
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+——————————-[Release Notes]——————————+
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| Talkin’ Blues is a crucial addition to Bob Marley’s legacy. Like many |
| posthumous collections, the album is a motley assemblage of previously |
| unissued concert recordings & studio outtakes linked by short excerpts |
| from a 1975 Marley interview conducted by Jamaican journalist Dermot |
| Hussey. But the live material’s uncompromised physical kick and the |
| narrative unity provided by the interview segments belie the album’s |
| patchwork makeup. Actually, the seven tracks taken from the Wailers’ |
| legendary October 1973 radio broadcast on KSAN, in San Francisco, are |
| sufficient cause to celebrate. These vintage, deliciously raw |
| performances, which feature Tosh and noted Jamaican vocalist Joe Higgs |
| (subbing for Bunny Wailer, who had just quit the band) are as vital as |
| those on the epochal 1975 album “Live!” and capture Marley’s riddim |
| rebellion at a critical juncture, just as he began to take Babylon by |
| storm. |
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| The light, scattered applause on the KSAN tracks (there are only half |
| a dozen people in the studio audience) lends an air of poignant, |
| familial intimacy to the proceedings. The haunting clarity with which |
| Tosh and Higgs raise their voices in tortured harmony on the “weepin’ |
| and a-wailin’” chorus of “Burnin’ and Lootin’” evokes images of a |
| destitute family crying in the darkness of a Kingston tenement yard. |
| On that tune, and on ferocious readings of “Slave Driver” and “Get Up |
| Stand Up” from the same session, Marley’s voice shivers with tangible |
| fear and wounded defiance, echoed by the argumentative chatter of Tosh |
| rhythm guitar, keyboardist Earl “Wire” Lindo percolating clavinet and |
| the angry drive of the sibling bass-drums backfield, Aston “Familyman” |
| Barrett and his brother Carlton. |
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| The result is 100-proof rebel music bristling with the same aggressive |
| spirit and embattled dignity that distinguished the original Wailers’ |
| classic Jamaican singles of the late Sixties and early Seventies. One |
| Talkin’ Blues number, “Walk the Proud Land,” dates back even further. |
| First issued in the mid-Sixties as “Rude Boy,” a brisk ska street-punk |
| anthem, the song is slowed down and torched Chicago-soul-style here, |
| with Marley, Tosh and Higgs singing like a rougher, Trenchtown version |
| of the Impressions. Higgs, who was the Wailers’ harmony coach in their |
| schoolyard days lends a strong Smokey Robinson flavor to “Slave Driver |
| with his powerful falsetto while Tosh takes a smoldering vocal turn of |
| his own on “You Can’t Blame the Youth,” a sardonic black man’s view of |
| revisionist white history (“You teach the youths about the pirate |
| Morgan / And you said he was a very great man”). |
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| The KSAN recordings effectively marked the end of Marley and Wailers’ |
| first golden era. Within weeks Tosh and Higgs were gone and Marley hit |
| the crossover trail enriching his sound with bluesy lead guitar fuller |
| keyboards and the I-Threes’ hearty female hosannas – all elements that |
| characterized later albums like Natty Dread, from 1974. The alternate |
| takes of “Talkin’ Blues” and “Bend Down Low” that appear on the album |
| are a little less polished than the versions on “Natty Dread” but no |
| less fun. More interesting, though, is an unfinished song from those |
| sessions, “Ama-Do,” a racy love song that juxtaposes corny lovey-dovey |
| cliches with the I-Threes’ saucy rejoinder “Do it with your bad self!” |
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| The final track on “Talkin’ Blues” – a searing and previously unissued |
| version of “I Shot the Sheriff,” recorded during the historic 1975 |
| London shows that yielded the Live! album -simply reaffirms everything |
| that’s already been said and written about Marley’s mid-1970′s concert |
| prowess. He is in full warrior vocal rapture here the band stoking the |
| rhythm fire underneath him with hardened aplomb. Though not as |
| revelatory as the KSAN material, it is a fitting finale to this album, |
| vivid proof not only of Marley’s commanding stage presence but of the |
| long distance he’d come in so short a time. In less than 2 years, Bob |
| Marley had changed the face and future of reggae. Talkin’ Blues is the |
| sound of those changes in motion. It is also a tribute befitting king. |
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