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Channel: Bob Marley and the Wailers – MIDNIGHT RAVER
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Babylon By Bus

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Babylon by Bus is probably the most well-known and influential live reggae album.  Unlike Kaya, ‘Babylon By Bus’ is aggressive – very aggressive, in fact.  The tunes are played with a passion, fervor, and speed that reminds me of The Wailers earlier performances at Sundown, Edmonton and Leeds Polytechnic.  On “Punky Reggae Party” Tyrone Downie goes progressive funk, expertly placing the percussive clavinet notes so that they vibe perfectly with Family Man’s bassline to create a sound and vibe that is more Parliament/Funkadelic than Bob Marley and the Wailers.

I believe “Punky Reggae Party” was recorded live in Paris, France, 1977.

Amazing album, especially if you are new to Bob Marley and the Wailers.  Here is the original poster album insert, which I still have in near mint condition.

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Shot after Shot! UPRISING Released! Twenty One Top Ranking Reggae Rockers of the Week all in Midnight Dread #30

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“At the crack of midnight the past is eclipsed” wrote Michael Fairchild of the Jimi Hendrix song “Midnight” in his 1995 liner notes for the Jimi simulated THE FIRST RAY OF THE NEW RISING SUN release VOODOO SOUP, the supposed follow-up to ELECTRIC LADYLAND some 25 years later. Meanwhile 33 years ahead on July 28th, 1980 Midnight Dread begins the sun shadow by providing the burning daylight of new Bob Marley tracks by starting the radio program the week UPRISING was first issued with the brand skankin’ new Jamaican single version of “Bad Card:

Propaganda spreading over my name;
Say you wanna bring another life to shame.
Oh, man, you just a-playing a game
And then you draw bad card…

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I want to disturb my neighbour,
‘Cause I’m feelin’ so right;
I want to turn up my disco,
Blow them to full watts tonight, eh! -
In a rub-a-dub style!

In a matter of weeks Bob would collapse in New York City. The game was about to get colted big time and UPRISING was filled with many lyrical premonitions. “The road of life is rocky and you may stumble too… Stay alive! Eh! Could you be love and be loved?” However in late July 1980 classic progressive roots rock reggae was still in top form & full force, sleng teng & shame t’ing just a distant foreboding. So I & I count up the vital 21 KTIM Reggae Rockers picks of the week, tunes that were getting play all week long when ‘the last freeform’ classic progressive commercial rock station waved reggae’s freedom flag high 24/7 365. Jah Jah power endureth for-Iver:

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Dreadcasting & streaming smokin’ audio selections with daily 21st Century Midnight Dread programs at 12am including repeat plays often heard in Wendt’s Best of All Worlds slot when noon is high. Wake up with the indigenous sounds of Native Son Rising curated by Doug everyday at 6am (all Pacific Times). Explore more Midnight Dreadness here and with MD on Raver.


Cramp & Paralyze All Weak Heart Conception in Midnight Dread #31

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This week’s 33 years ahead Midnight Dread begins with the superior Matumbi version of “Brother Louie”, an unusual interracial love song that went number one in 1973 both by its UK originator Hot Chocolate and as covered by Stories in the states. It’s followed by the Monday morning five-days-to-go of “Work” from the just released Bob Marley album UPRISING and later a fresh lp title selection from Black Uhuru chanting “Stalk of Sinsemilla” premieres. Keith Hudson gets red, Slim Smith converses melodic unity, Andy Capp pops his top, Niney The Observer lets it burn before Lincoln Thompson impresses his wild stylee as Joe Jackson taps keys, and soon Joseph Hill reminds us The Arawak Indians got here first. Listen up as Pipecock Jackxon unleashes a vital untitled riddim, LKJ frees George Lindo, an innocent man, and Freddie McKay frees himself on behalf of all of us. Got Gladiators, Soul Syndicate, G.T.Moore, Ethiopians, English Beat, Creation Rebel… another chock full night of chunes & dread delight with music ringing in the new day, August 4th 1980.

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Dreadcasting & streaming smokin’ audio selections with daily 21st Century Midnight Dread programs at 12am including repeat plays often heard in Wendt’s Best of All Worlds slot when noon is high. Wake up with the indigenous sounds of Native Son Rising curated by Doug everyday at 6am (all Pacific Times). Explore more Midnight Dreadness here and with MD on Raver.

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Rocky Mountain ‘Reggae Is The Rage!’ May 1976 Boulder, Colorado news magazine

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Bob Marley makes the cover of the 16 page Volume 1 Number 6 monthly edition of the Rocky Mountain Musical Express, ‘The Rockies’ Largest Selling Music Newspaper’, because “Colorado & Texas, two states seemingly forever caught in a country western rut, are due to receive a jolt as Jamaica’s most charismatic performers visit Houston May 20 and Denver May 22.” Local Poet & reggae enthusiast Mark Campbell marks the occasion by penning an overall overview of the ‘high energy’ sounds in the accompanying article located inside on page 6 where the San Francisco Bay Area’s *Shakers also get a nice nod. Nothing like sharing the front page with The hugely ‘smells like teen spirit’ Bay City Rollers to know you’ve made it big time in 1976! Paraphrasing the great George Gershwin, “In time the Rockies may crumble, Gibralter may tumble, They’re only made of clay, But One Love is here to stay.”

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*The Shakers’ Ron Rhoades (far right in their picture) added this very interesting observation today when seeing this article: “Boulder was the first stop on our ‘Yankee Reggae’ tour in 1976….I’m pretty sure you’ll find the Billboard magazine with us on the cover too!! We had a connection to The Wailers thru the ABC booking agency back then and Bob Marley had agreed to produce our next record (if we did a few of his original songs) but Elektra/Asylum didn’t know who he was and didn’t really care because he ‘didn’t have any hit singles’ and E/A was ALL about singles. I wish I could find a way to write about our E/A recordings…it was a nightmare for us as musicians and especially reggae musicians….they took away any roughness we had which was a huge part of the feeling of that music for us and they wouldn’t let us do any dubs which was another crucial part of our sound…they turned us into shiny happy sounding white kids and when tried to fight back they said we could leave. Ugh……!”


“Correction For Bob Marley” Entertainment Eyes June 1981

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In the spring of 1981 many printed journals were bordering on, if not outright, exploitative as “So Much Things To Say” rumors about Bob Marley’s health spread far and wide whether largely inaccurate or not. A prime example is this New Jersey based June 1981 edition of Entertainment Eyes. They put Bob on the cover for a tiny one line ‘story’ then in haste quickly stapled a “With Deepest Sympathy CORRECTION for BOB MARLEY Story on Page 22″ after his death on May 11th. LEGEND wouldn’t be out for a couple more years and kick BMW through the roof here but in ’81 concern for his well-being was already garnering more USA attention than normal.

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The Wailers Live at Sundown, Edmonton, 1973 (Concert Review)

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MELODY MAKER, DECEMBER 1, 1973

While the biggest news item here is the fact that Sha Na Na was saved from being cancelled as an American television show, there is a short review of The Wailers performance at the Sundown, Edmonton charity concert.  For more on this show, including audio and video, CLICK HERE and HERE.

I have also included two adverts which appeared in MELODY MAKER in 1973.

Melody Maker wailers (Dec 1, 1973)

MELODY MAKER, OCTOBER 20, 1973

Melody Maker wailers warwick (Oct 20, 1973)

MELODY MAKER, MAY 19, 1973

Melody Maker advert (May 19, 1973)


Natty Dread Uptown Love Fire Cancelled? Midnight Dread #32 Fights Back Uncorked

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33 years ahead Midnight Dread has just learned its station KTIM is being sold. What to do? Produce the finest program ever as if it’s the last. Hit the airwaves hard and ask for calls where truth can be told more privately, where freedom of speech still resides. Management has made clear there’s no show next week so The Pioneers blast MD off with a scarce and smokin’ stepper “Allright On The Night”, still alive Bob Marley and recently gone-a-Zion Jacob Miller wait in the wings with their best live performances, Twinkle Bros offer the upwardly mobile uptempo 1975 rocker “Natty Dread Up Town”, Princess Buster lays down the law to her Prince, Rita Marley makes known the perfection of “The Beauty Of God’s Plan”, Bunny Wailer’s got a burnin’ “Love Fire” goin’ brighter with Culture, Tony Tuff does the opening number from the unreleased soundtrack to WORD SOUND AND POWER, and The Iranian Students hoist “Khomeni Skank” high with Ken Boothe as President Carter tries to free the U.S. hostages. The behind-the-scenes drama unfolds like a Ray Gun just nominated for Prez or a commercial radio regular reggae show, both popular and sponsored, but that ain’t the way they play the game inna Babylon. Mental slavery infects the owners as much as the owned. Hate needs oxygen. Love’s on fire! On August 11th 1980 it’s Bunny to the rescue:

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In reality Midnight Dread survives the changeover and is back broadcasting in two weeks. In big news a lot is going on. Ronald Reagan’s fresh Republican campaign is out there striving for votes following his late July 1980 GOP Convention acceptance speech. On the air I’m ignoring the whole phenom as did many who knew Gov. Reagan very well, not believing for a moment that the country would possibly elect such a man to become its leader. Many boomers enjoyed the actor when he hosted the dramatic GE THEATRE TV show in the 1950s with the sponsor’s slogan “Progress Is Our Most Important Product” but he’d changed a lot since then. I personally witnessed when the “if it takes a bloodbath, let’s get it over with” helicopter he ordered flew over UC Berkeley spraying tear gas that wafted uphill into old folks’ homes causing major health issues and death. Later I saw his troops surround scores of random peaceful folks on Berkeley’s University Ave. just going about their business who were then loaded onto buses and imprisoned for days in Santa Rita without charges. Reagan made his bloodbath comment three weeks before unarmed students were ceremoniously gunned down at Kent State and then Jackson State in May 1970 effectively using the intimidation of violence to stop progress. The former liberal head of the Screen Actor’s union now primes the reactionary pump. When the full truth about Alzheimer’s comes out we’ll probably learn the damage starts a lot earlier than imagined. Mental slavery may also be a physical condition. Listen to the antidote from the love perspective Princess:

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So outside the joy of hearing this program’s great Jamaican music singing with flair and passion to many chronic conditions and issues, in another real world it’s the precious middle class that’s about to be cancelled. To be poor is not a crime but to make a decent living is on the way out. “Voodoo economics”, George H. Bush’s 1980 portrayal of Reagan’s policies, will soon run things for decades. In August of 1980 Ronald’s ‘handlers’ are about to make a secret deal outside proper channels with Iranian officials over the long festering US embassy hostages. President Jimmy Carter, who’d have continued to make alternate energy a major program and may have quasi-legalized herb in his second term, was being sabotaged. The GOP promise to foreign government reps to wait until their guy is U.S. President to get a better deal is a replay of how they undermined the already completed 1968 Paris Vietnam/U.S. Peace Agreement to get Nixon in. Subsequently the carnage of that undeclared war needlessly lasted 5 more years. Meanwhile commercial radio’s another rough business where cash dictates desires. Government’s neither a business or a family despite Reagan’s proclivities. Its job is to provide justice, defense, and promote the well-being of all. Dollars can distort motives. Elect those who want to re-define Public Service as Profit Service and you’ll get similar leaders who don’t even know what government is for. People Power needs to take flight. As Sugar Minott sings so beautifully here in “Dreader Than Dread”, “People dem a worship material things, some of them don’t even want to let Jah in… back weh this here mood with your ism”, Rita Marley later echoes with her well-charged love analogy “she is a bird, he is the sky, he loves the space, she loves to fly”. Stop cheating, launch freedom, let it uplift:

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Dreadcasting & streaming steamin’ musical hotcakes with daily 21st Century Midnight Dread programs at 12am including replays often heard in Wendt’s Best of All Worlds high noon slot. Become conscious at 6am with the indigenous sounds of Native Son Rising curated by Doug everyday (all Pacific Times). Explore more Midnight Dread sights & sounds here.


33 Years Ahead #33 Midnight Dread Debuts Mikey Dread’s World War III & much more

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Triumphantly back on the air 2 weeks after gloom hung over the last program Midnight Dread soldiers on, invigorated by an earlier time slot and a seemingly never ending supply of crucial new roots music plus fresh wrapped dub, ska & rock steady. Midnight is now the actual center of the show and therefore takes on an even dreader than dread position. Mikey Dread has just issued his masterpiece World War III which gets plenty play for decades and kingdom come. Still steamin’ Bob Marley’s Uprising “Could You Be Loved’ gets its first ever MD spin, Desmond Dekker gets Rumored, a Prince gets natural wild radio mixin’, I Roy goes with his given name Roy Reid, Big Youth deeply ruminates on New York City, USA, UK & beyond, & Light Of Saba create perfection with “Words Of Wisdom”. “Israel Stylee” off Mikey Dread’s World War III booms atomic sound barriers in warning of musical attack:

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Strictly Rockers, Crisp Like Crackers, In California, In Mississippi, In Canada, Scat & Spread out all over the world:

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Dreadcasting & streamin’ rhythmic flow with daily 21st Century Midnight Dread programs at 12am including replays often heard in Wendt’s Best of All Worlds high noon slot. Become conscious at 6am with the indigenous sounds of Native Son Rising curated by Doug everyday (all Pacific Times). Explore more Midnight Dread sights & sounds here.



Pumpin’ Joy Through Midnight Years Ahead Dread Labor Day 1980

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Want it, want it
Can’t get it
Get it, get it
Want more

There’s enough in the world
for everyone’s needs,
but not enough in the world
for everyone’s greed

So have no fear
The Lion of Judah is here…
Satan and His Queendom
Fall, fall, fall:

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In this forwarding time capsule artifact from the past, a present unto the future, ska, dub & fresh reggae music rings true while politricks heats up a fiery Labor Day in late summer 1980 as Contender Reagan & President Carter cock fists for their fall campaign clashes. Midnight Dread showers the spectacle with THTC & PT. Bob Marley’s about to draw a bad card come Sept. 21st so it’s Uprising and Jamaica Ska time all copasetic and t’ing on the airwaves with a wicked 7″ version from Living Truth. Jimmy Cliff’s got a brand new baggin’ single mashin’ up Satan System while the Zodiac News Service reports mid-program the dying U.S. Selective Service System has record of now felonious no-shows by the millions showing how wide spread civil disobedience easily overwhelms the shitstem’s facade of fraud. The draft ain’t got no mojo no more.

Then it’s “Coolie Baby” with Toots. King Tubby pre-fracks with deepening echo the chronic “Oil Crisis”. Errol Scorcher portends dance hall’s coming rise with his infectious “Dance All Style” before The Tamlins twist Randy Newman’s “Baltimore” into the just-issued Sly & Robbie saw-dust-up dub dynamite ‘Cause the city’s dyin’ and they don’t know why’ devolutionary anthem worthy of even better title music for The Wire. But wait, there’s more. At midnight, now that Midnight Dread starts at 11pm, things always get dreader and better. It’s the mystical heavy manners of The Black Eagles “Pumpin’ Joy” and laying down the law for The Meditation’s “Ram Jam Session” into a Rudy double-play pitting The Specials message up with Gregory:

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The youths them don’t want
no pinball machine…

What they need
is cultivation,
to feed up
Imanity and Iration

Word,
Word:

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Dreadcasting over the air and online daily 21st Century Midnight Dread programs at 12am including replays often heard in his Best of All Worlds high noon slot and where one can also become conscious at 6am with the indigenous sounds of Native Son Rising, all curated by Doug everyday, all times Pacific. Many more Midnight Dread sights & sounds here and on this blog’s Midnight Dread page. Go deh. All of dem.


Bob Marley Tour & Ras Michael Info in REGGAE NEWS Vol. 2 No. 3 & 4 late 1979

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Following in the footsteps of former REGGAE NEWS North America’s Strictly Reggae News Service Editor Scott Piering, who was instrumental in first bringing Bob Marley & The Wailers live to San Francisco in Oct. 1973, I took the helm of the fledgling 17 by 11 1/2 inch Northern California based newspaper and chocked it full of text and thunder. Here’s the cover page with PENETRATION (Contents), the start of an amazing Tosh interview with Hank Holmes & Roger Steffens, Tabby Diamond in Monterey Tribal Stomp photo from Eugenia Polos and more plus a close-up scan of the back page with detailed news on tours from Bob Marley as well as a picture and description of the drums used by The Sons of Negus and other grounation groups. Cover also features article on JA, USA, UK, Holland and Canada reggae runnings i.e. World-Wide Rockers with a general statement on MUSIC from Selassie I Son A. Doeman and a photo by Robert Fineman of The Reggae Regulars live in Amsterdam. I’ve offered a few remaining mint copies I recently uncovered of this on eBay. Please purchase one to help fund the archive works often seen online here and at midnightdread.com if you’re interested. Give thanks.

The Ras Michael article ends with this personal message to his prospective American audiences from the man himself: “To all roots lovers irrespective of color, class, or creed, wadada, that means love, and try to keep your roots more firm in the ground that you may be supported by Mother Nature and Father Time.”

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Earl “Wya” Lindo Interview, Black Echoes, July 24, 1976

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Outstanding rare print interview with Earl “Wya” Lindo of The Wailers.  Almost unheard of for Wya to speak so candidly.  Many thanks to Glen Lockley for digging this one up!

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Mikey Ras Starr, Bob Marley, and The Wailers

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Michael G. Ashley (AKA Mikey Ras Starr AKA Haile Maskel AKA Jah AKA Mango Moonlight Lover) was a member of the critically-acclaimed Rastafari outfit Light of Saba, which was formed by former Count Ossie & The Mystic Revelation of Rastafari saxman Cedric IM Brooks in 1974.  Also known as The Divine Light, Light of Saba recorded their first album in 1974 for the Institute of Jamaica, From Mento to Reggae to Third World Music, a collection exploring the history of Jamaican music, incorporating mento, junkanoo, ska, rocksteady, and reggae.  The band made two further albums of jazz-influenced Rastafarian reggae, The Light of Saba and The Light of Saba in Reggae before Brooks moved forward to join the Skatalites.  Upon the break, Mikey Ras Starr spent most of his time in studio sessions with The Wailers and Bob Marley and the Wailers, as he was a close friend and running partner of Peter Tosh.  His debut single “Got To Say Love” was produced by Bob Marley in 1975 and features many foundation roots musicians including Carlton Barrett, Tyrone Downey, Robbie Shakespeare, Peter Tosh on piano, and Bunny Wailer and Shakaman on percussion.  The single was released on 7″ in 1975 on Tommy Cowan’s Top Ranking label.

Starr continued as a session musician throughout most of the 1970s playing bass on several groundbreaking Rastafari-influenced albums including Israel Vibration’s The Same Song [1978] and Kiddus I’s Graduation In Zion [1978] while recording many songs which were not initially released under the name Mikey Ras Starr. In 1981, Starr moved to the US and founded The Rastafarians, who released their only album, titled Orthodox, in 1981. He later recorded several albums under the name Haile Maskel.

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In 2008 the Makasound label finally released an album by Starr titled Fire & Rain, which is comprised of songs recorded during 1975-1984.

Here are some excerpts from a fantastic interview conducted by Benjamin Peronne for United Reggae in 2010.

On his first recording session…

“It was the heaviest, man. It was like 50 Rasta man singing on Ras Michael’s song “Run Come Rally Rally Round”. Bob Marley, the Wailers, the Gaylords, Jacob Miller, Inner Circle, Kiddus I. I know they have to remember that session… you know, 50 dreads. And they were all singing “Run Come Rally Rally Round” all in Randy’s Studio and he was like, “how the hell we gonna hold all these people in the studio?!” and Ras Michael said “that’s how it’s gonna have to be; the whole Niyabhingi nation – this is an anthem!” And every man came in. I remember 50. Fifty rastaman. And that’s when everybody discovered “the voice”. When I started singing, the engineer kept saying that there’s one voice too loud, man. They kept saying that there’s one voice too loud and they kept thinking it was Jacob Miller so they moved him back so they thought it was Ras Michael and it wasn’t him and when they realized it was me, the kept putting me back in the back and my voice was still blazing and the engineer said, “it’s still too loud, put him back some more.” And everybody now – Bob, Jacob Miller and everyone started looking back at me and was like, “man, what a voice!” And that’s when Jacob Miller and all of them came up to me and said, “man, you’ve got the best voice”. Every one of them said I got the strongest and the best voice out of all of us. That was an exciting first experience.”

On his favorite recording sessions…

“Israel Vibration. When I recorded “Same Song”. It was a new sound, new style of bass line, and no one ever heard the bass line been played like that. And they wanted to know how I came up with a bass line like that, you know, and they wanted to know how the hell I came up with an idea like that, you know, (hums bass line for Same Song). It’s like an African drum. And that’s when Sting came to look for me and everything, I think, was because of that song. Um, Same Song cuz they said he came to look for the “Conga Bass Player”; the bass player who plays like a conga drum (scats bass line again). And that was the song. And Sting came to look for me and I was up in the mountain getting melancholy, you know, just vibin’, just praying and getting spiritual and learning more music. And that’s when I missed Sting. And when I came back down, Tommy come and say, “You know who was looking for you? The Police!” and I said, “which police, what did I do?” and he said, “no, not the police, police, the band The Police – the guy Sting. He wanted the ‘congo player’ and we never knew where you were; we looked everywhere”. “Oh, I was up in the hill”, so that was a missed opportunity there, you know?”

On Peter Tosh…

“We used to work out. Drink ‘nuff ganja tea and eat steamed fish every morning for a minute. Yeah. Peter Tosh is one of my spiritual church brethren, you know? I know him well enough to can sing any song like Peter.”

On Bob Marley…

“Bob Marley same. Ran with him too. Same with Bob but Bob is truly… he is different from Peter Tosh… and Bunny Wailer. Good experience with Peter and with Bob. They were like my big brothers. Cuz I never had a big brother. I’m the big brother to my brothers. Peter Tosh and Bunny Wailer were my big brothers who gave me a lot of guidance in the music and encouraged me. Bob was really, especially Bob, he really encouraged me and told me a lot of things that is to come in my life still. Bob told me things that still haven’t happened yet. Like going to Africa.”

“Often times Bob used to check me and my father. 22 Alexander Road. And he and I used to walk down to Greenwich Farm down the road down to the fisherman down by the sea. To see a natty dread – the fish man. I forgot the fisherman’s name; my brethren, but we used to go down there all the while. Get some fish, you know. Eat some roast fish.”

“When Bob died, cuz he died before my dad and that was like my dad died. It was like my whole world died when Bob Marley died. It just fell apart. I was already in the states but my whole world still fell apart. I could never believe bob could every pass that much. cuz he was never ready. Until this day now I stil feel that way. I talk to Bob every day, I think about Bob every day about if he were here now how different my life would be. My life would be totally something different. Totally. Totally different if Bob was alive. You know, he was like… though Ras Michael was my first band and everything… me and Ras Michael never had the connection that me and Bob had. Though Ras Michael and I have a connection, Bob and I just had a different type of connection. Ras Michael was kinda like a father figure relation though he never treated me like he was my father, but he and my father were closer, you know? But Bob was like a big brother and everything he was like a teacher, big brother to me, a prophet, you know? Cuz I looked up to Bob for everything really. Cuz he always told me that when he’s around me he was just relaxed and everything nice and he loved being around me. It was just cool. You know? He get something from me and I get something from him. And we were just cool with each other.”

On The Wailers…

“And so when Bob sent me to go check Peter and check Bunny to go see what they say if they wanted to join back the group cuz he well wanted that. And that’s how me and Peter became cool cuz Bob sent me over to feel out Peter. Feel him out, ya know? Check him, ask him questions. But don’t tell him it was Bob really asking. And all this time Peter never knew that Bob had me around him, you know? So after Bob told me that, he never had to tell me anything again about the Wailers. Cuz as a little youth, that was on of my dreams – not to let that group mash up; to get them back together. So ooh, I tried everything, man. All the peace concerts, I tried EVERYTHING, and Bob knew and he used to laugh when Peter used to go check him. They were just the best 3 people that should be together. They would’ve done great things for everybody. Those three spirits were special together. You know? Wailers should never have broke up. Those Rastaman should be still living, guiding every nation but then you know… the Trinity, man. It was just a Trinity. Everything was Bless. And they should have come back together. But, not saying who never get it back together but money play a big role on the Wailers not being back together. You can put that shit down. Money. Play a BIG role on them not being back together. All that bullshit is over money. Not on Bob’s part. You can say that for me, I don’t give a shit. It was money why the Wailers never get back together and it’s NOT on Bob’s part. Not on Bob’s part. So them can put it between the lines and know who’s part it was. Bunny Wailer and bloodclot Peter. Them did want the money until this day.”

This exclusive MIDNIGHT RAVER Mikey Ras Starr Mix features many tracks featured on the album, including the Marley-produced “Got To Say Love” (opening track).  It also includes several tracks recorded as Haile Maskel.  I considered including some Light of Saba tracks but decided that the band deserves its own mix.

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Mikey Ras Starr – Got To Say Love
Mikey Ras Starr – Got To Say Love (Version)
Mikey Ras Starr – Porgy
Mikey Ras Starr – The Time Has Come
Mikey Ras Starr – Coomaya (African Herbsman)
Mikey Ras Starr – Some Say That
Mikey Ras Starr – Jah Man of Calvary
Mikey Ras Starr – Jah Man of Calvary (Version)
Mikey Ras Starr – Market Place Revolution
Mikey Ras Starr – Jah Higher High
Mikey Ras Starr – Shango
Mikey Ras Starr – All Unto Jah
Mikey Ras Starr – Roll Call
Mikey Ras Starr – Old Time Religion
Mikey Ras Starr – Come Back Sunday
Mikey Ras Starr – Fire & Rain


The Tragic Case of Carlton Barrett

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Story by Sybil E Hibbert

Sybil E Hibbert is a veteran journalist and retired court reporting specialist. She is also the wife of Retired ACP Isadore ‘Dick’ Hibbert, rated among the top Jamaican detectives of his time.

ALBERTINE Barrett, widow of Carlton Barrett, a former drummer in Bob Marley’s Wailers Band, was on October 18, 1991, jailed for seven years along with the two men charged with her for conspiracy to murder her husband.

Carlton Barrett was a well-known musician on the dancehall circuit at the time of his death. He was gunned down at his gate at 12 Bridgemount Park Avenue, Kingston 8 about 9:30 pm on April 17, 1987.

The late Justice Ellis (retired senior puisne judge) in passing the seven-year prison term on Barrett and the other two accused, remarked at the time that the case raised the frightening spectre of contract murder.

He said that a contract murder was very difficult to solve because the contractor was a stranger to the victim and police investigators therefore had little to go on to find the killer.

“You were the author of the plot,” the judge told Barrett as she stood in the prisoner’s dock awaiting her fate. She had been recently married, the court was told, and was seven months pregnant.

His Lordship added before imposing the sentence on her: “Your attorney, Tavares-Finson, in eloquence and sincerity, mentioned that you had lived a life of living hell with your husband, but it is my view that you could have (with)drawn from that without resorting to what you did.”

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56 Hope Road (Photo by Lindsay Donald)

Sentenced with her were Glenroy Carter, 39, her reputed lover and taxi operator of 15 Grayden Avenue, Kingston 10, and Junior Neil, 39, also called “Bang”, a mason, of 19 Seaward Drive, Kingston 11, whom the prosecution alleged was responsible for snuffing out the life of the deceased.

But by 1994, after hearing evidence and legal submissions for 12 days — following two previous trials and a successful appeal to the Jamaican Court of Appeal — a jury retired for 25 minutes and returned a not-guilty verdict in favour of all three accused. They were then acquitted.

Justice Bingham (later judge of appeal now retired) presided at this trial in the Home Circuit Court.

The Crown had alleged that the three accused conspired in 1987 to kill Carlton Barrett. Cautioned statements were allegedly given by the three accused to the police in which they were alleged to have said that there was an agreement to kill him for a payment of $20,000. These statements were tendered in evidence.

It was also part of the Crown’s case that prior to the murder, Carter, a Jamaican who resided in the USA, was on vacation here when he met the accused Albertine Barrett and they became lovers. It was further alleged that the accused, Junior Neil, was contracted to carry out the killing.

In their defence, the three accused denied giving the statements voluntarily to the police. They claimed they were beaten and forced to do so.

Barrett and Carter were tried twice for the murder.

In the first trial, the jury failed to arrive at a verdict. In the second, Justice Panton (later president of the Court of Appeal) ruled that Barrett’s cautioned statement was inadmissible, as the prosecution had not proven that coersion played no part in the taking of her statement.

The judge said then that he laid no blame on Detective Superindent Donald Brown (later ACP retired), who had testified. Carter’s statement was admitted into evidence and he was freed by the jury.

Barrett was defended by attorneys Tom Tavares-Finson and Dr Paul Ashley; and variously by attorneys K D Knight, QC (later government minister), Bert Samuels and Norman Harrison. Neil was represented by attorneys C J Mitchell and Gayle Nelson.

CBParis77

Paris 1977

The Crown’s case was presented at various times by Lloyd Hibbert, deputy director of public prosecutions (now judge of the Supreme Court); Yvette Sibble, assistant director of public prosecutions; Lancelot Clarke, assistant director of public prosecutions; and Crown Counsel Cheryl Richards.

A Home Circuit Court judge and jury later heard from Detective Superintendent Brown that a team of detectives headed by him began carrying out intensive investigations immediately after the murder.

Brown had given evidence later, at an ‘in camera’ trial, that the investigations led to the arrest of the three accused and they each gave cautioned statements admitting that they were involved in a plot to kill Barrett.

Giving evidence in the hearings was Oswald Brown, a justice of the peace (JP), who testified for the Crown. He said he was present when Barrett and Carter gave cautioned statements to the police.

Harold Nembhard, also a JP, said he witnessed a cautioned statement given by Neil.

In these statements, which were tendered in evidence and read to the jury, the three accused allegedly admitted conspiring to murder Barrett.

Carter and Albertine Barrett were alleged to have said in their statements that they went to the corner of Seaward Drive and Molynes Road where they saw Neil, o/c “Bang”, and asked him if he knew of anyone who could ‘bump off’ a man.

Albertine Barrett is alleged in the statement to have given “Bang” a photograph of her husband, as well as the licence number and make of the car he drove.

Carlton Barret at Hope Road

56 Hope Road

All this evidence was revealed at a subsequent trial, the result of Justice Patterson ordering a retrial.

All three accused were this time convicted for conspiracy to murder Barrett, a jury having failed to arrive at a unanimous verdict in respect of murder against Barrett and Carter.

At that first trial in 1988, when the case was called, Deputy DPP Hibbert had informed the court that there was a new indictment — conspiracy to murder Carlton Barrett — in respect of Neil, who would be tried at a later date.

Neil was remanded in custody pending the outcome of the murder charge filed against the other two accused.

The retrial took place in 1990 when Carter and Barrett were freed by a jury of the murder charge.

But by 1991, after the conviction of all three for conspiracy to murder resulted, an appeal to the Court of Appeal succeeded. Again, a new trial was ordered.

Finally, in November 1994, a Home Circuit Court jury, after hours of deliberation, returned not-guilty verdicts in favour of all three accused persons and they walked free.

Testifying in his defence, during the period, Neil told the judge and jury that he was beaten by the police and then given a statement to sign. He said that a piece of concrete with wires was tied to his testicles and he was told to walk.

“It feel like it was drawing down my belly, drawing down inside of me. I could not take it anymore and so I signed,” Neil told the court.

He added that Superintendent Brown showed him where to sign.

Barrett wept as she told the court, in sworn testimony, that her husband, who had been a drug addict, used to beat her.

She related several acts of cruelty done to her by him over an extended period, but she denied plotting with anyone to kill him. She admitted that she had been engaged in an affair with Carter while living with her husband but claimed she knew nothing at all about how he met his death.

Carter, who also gave sworn testimony in his defence said that he had heard that the police were looking for him, and on April 22, 1987, he went to the Constant Spring Police Station. There, he gave a statement to the police, denying that he knew anything about the murder of Carlton Barrett. He was also questioned about his family, he stated.

He said that after he was questioned, he was taken to Red Hills police station and on April 24, he was given a statement to sign. He said he signed it because he thought it was the statement which he had given to the police on April 22.

Sweden 1977 (www.bob-marley.es

Sweden 1977 (www.bob-marley.es)

Carter further told the court that he could not read and denied that he had given any cautioned statement to the police.

He said he met Albertine Barrett in January 1987 and they had a relationship. But he insisted that he did not know anything about the murder of her husband.

The two accused said the police forced them to sign the cautioned statements and both said they were beaten by the police.

They were cross-examined by Deputy DPP Hibbert, and Assistant DPP Sibble.

Carter also called a witness to support his claim that he was at home at the time when Carlton Barrett was killed.

However, there was an interesting turn of events in this torturous trial when, in June 1990, Bert Samuels, appearing for Carter, sought and was granted permission to withdraw from the case on the grounds that he was not properly instructed by his client and so could no longer appear for him.

Samuels also pointed out at the time to Senior Puisne Judge Chester Orr (now retired) that Carter was languishing in custody because he could not take up his $100,000 bail and that, too, affected the possibility of counsel getting proper instructions.

Tavares-Finson, counsel for Albertine Barrett, told the court then that he was ready to proceed with the retrial, whereupon the case was set for mention in the Home Circuit Court on June 25, 1990 so that a lawyer could be assigned to represent Carter.

But by December 1990, when the matter next came before the court for trial, Samuels was vigorously making a no-case submission on behalf of Carter, after such a submission by Tavares-Finson and Dr Ashley had been earlier upheld by the trial judge on Albertine Barrett’s behalf.

Justice Panton had earlier ruled that there was a case for Carter to answer. But after giving evidence on his own behalf, supported by a witness, Carter as found not guilty of Carlton Barrett’s death.

Four years later, all three accused successfully appealed their conspiracy to murder charge, and were finally set free.

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Bob Marley Interview, Oui, June 1981 (published posthumously)

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The following interview piece by Stephen Davis appeared in the June 1981 issue of Oui magazine.

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Bob Marley and the Wailers Live at the Quiet Knight, Chicago, 1975

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Here, once again, is a re-up of Marley’s greatest recorded concert.  Live at the Quiet Knight, Chicago, June 10, 1975 features the band on the Natty Dread tour through the U.S.  The show is notable for many reasons.  It features former Wailer Lee Jaffe playing harmonica on “Talkin’ Blues” and “Rebel Music (3 O’clock Road Block),” a raucous crowd who feeds Marley enormous energy throughout the show, and an exhausted Marley – voice cracking throughout the show – who grinds through one of the grittiest, grimiest, live performances you will ever hear.

Here is Marley’s performance of “Midnight Ravers” from the show:

Click HERE to download the complete show in lossless (FLAC) audio.

Preview from Chicago Defender, June 8, 1975:

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Review of the show from the Chicago Tribune, June 11, 1975

QuietKnight1975

 



New Bob Marley Live Re-Ups!

Junior Marvin’s first jam session with Bob Marley

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The date was February 14, 1977.  Valentines Day.  Junior Marvin is introduced to Bob Marley at a London flat.  Here is a rare recording of their first few minutes jamming on “Waiting In Vain.”  Bob Marley on vocal and acoustic guitar.  Junior Marvin on lead guitar.  Tyrone Downie on bass.

Give thanks to Junior Marvin for sharing this piece of history.

Click to view slideshow.

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The art of the Jamaican drummer

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Richard Williams examines the roots of reggae drumming in this article from the April 24, 1976 issue of MELODY MAKER.

Melody Maker (Archive- 1926-2000)51.17 (Apr 24, 1976)- 32. drumbeat

Melody Maker (Archive- 1926-2000)51.17 (Apr 24, 1976)- 32. drumbeat

 


Rare Wailers 7s from the MIDNIGHT RAVER archives

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Here are a few 7″ singles from my collection…

The first 7″ I’m sharing is Roots feat. Wailers Band “Evil That You Do” with a flip of “Don Won Dub” performed by the Wailers Band. The original 7″ was produced by C. Chin and P. Shirley for Above Rock. Both tracks are extraordinarily solid roots tracks masterfully recorded by Chin. Notice the strength of Carol Nelson’s vocal in “Evil That You Do”, never getting lost in the heavy mix, which features the mighty Barrett brothers on the drum and bass. The Barrett brothers’ mastery and command of the riddim is what stands out on “Don Won Dub”. Their playing is flawless.

 

Here is an excellent 1970 version of “Small Axe” on a 7″ Upsetter-Pre backed with The Upsetters “Down The Road.”

 

Here is the Intel Diplo 7″ single of the best tune on the best reggae album ever recorded, “Burial” (formerly “Funeral”), which is featured on the Legalize It album.  Killer version on this one too…This single is credited to Peter Tosh and The Wailers.

 

Here is an interesting version of “Trenchtown Rock” featuring an additional two verses at the end of the track.  On a G&C bright yellow-labelled 7″.

 

 

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Bob Marley Interview, Nashville, 1979

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