Bob Marley

Robert Nesta Marley, OM (6 February 1945 – 11 May 1981) was a Jamaican singer and songwriter. Considered one of the pioneers of reggae, his musical career was marked by blending elements of reggae, ska, and rocksteady, as well as forging a smooth and distinctive vocal and songwriting style.[2][3] Marley's contributions to music increased the visibility of Jamaican music worldwide, and made him a g...

Robert Nesta Marley, OM (6 February 1945 – 11 May 1981) was a Jamaican singer and songwriter. Considered one of the pioneers of reggae, his musical career was marked by blending elements of reggae, ska, and rocksteady, as well as forging a smooth and distinctive vocal and songwriting style.[2][3] Marley's contributions to music increased the visibility of Jamaican music worldwide, and made him a global figure in popular culture for over a decade.[4][5]

Born in Nine Mile, British Jamaica, Marley began his professional musical career in 1963, after forming Bob Marley and the Wailers. The group released its debut studio album The Wailing Wailers in 1965, which contained the single "One Love/People Get Ready"; the song was immensely popular, peaking in the top five on worldwide music charts, and established the group as a rising figure in reggae.[6] The Wailers subsequently released eleven further studio albums; while initially employing louder instrumentation and singing, the group began engaging in rhythmic-based song construction in the late 1960s and early 1970s, which coincided with the singer's conversion to Rastafarianism. During this period Marley relocated to London, and the group typified their musical shift with the release of the album The Best of The Wailers (1971).[7]

The group attained international success after the release of the albums Catch a Fire and Burnin' (both 1973), and forged a reputation as touring artists. A year later the Wailers disbanded, and Marley went on to release his solo material under the band's name.[8] His debut studio album Natty Dread (1974) received positive reception, as did its follow-up Rastaman Vibration (1976). A few months after the album's release Marley survived an assassination attempt at his home in Jamaica, which prompted him to permanently relocate to London soon afterward. There he recorded the album Exodus (1977); it incorporated elements of blues, soul, and British rock, enjoyed widespread commercial success, and is widely considered one of the best albums of all time.

Over the course of his career Marley became known as a Rastafari icon, and the singer sought to infuse his music with a sense of spirituality.[9] He is also considered a global symbol of Jamaican culture and identity, and was controversial in his outspoken support for the legalization of marijuana, while he also advocated for Pan-Africanism.[10]

In 1977, Marley was diagnosed with acral lentiginous melanoma; he died as a result of the illness in 1981. His fans around the world expressed their grief, and he received a state funeral in Jamaica. The greatest hits album Legend was released in 1984, and subsequently became the best-selling reggae album of all-time.[11] Marley also ranks as one of the best-selling music artists of all-time, with estimated sales of more than 75 million records worldwide,[12] while his sound and style have influenced artists of various genres. He was posthumously honored by Jamaica soon after his death, as he was designated the nation's Order of Merit award.

 

Early life and career

Bob Marley was born on 6 February 1945 at the farm of his maternal grandfather in Nine Mile, Saint Ann Parish, Jamaica, to Norval Sinclair Marley (1885–1955) and Cedella Booker (1926–2008).[13] Norval Marley was a white Jamaican originally from Sussex, who claimed to have been a captain in the Royal Marines;[14] at the time of his marriage to Cedella Booker, an Afro-Jamaican then 18 years old, he was employed as a plantation overseer.[14][15] Bob Marley's full name is Robert Nesta Marley, though some sources give his birth name as Nesta Robert Marley, with a story that when Marley was still a boy a Jamaican passport official reversed his first and middle names because Nesta sounded like a girl's name.[16][17] Norval provided financial support for his wife and child but seldom saw them as he was often away. Bob Marley attended Stepney Primary and Junior High School which serves the catchment area of Saint Ann.[18][19] In 1955, when Bob Marley was 10 years old, his father died of a heart attack at the age of 70.[20] Marley's mother went on to marry Edward Booker, a civil servant from the United States, giving Marley two step-brothers: Richard and Anthony.[21][22]

Marley and Neville Livingston (later known as Bunny Wailer) had been childhood friends in Nine Mile. They had started to play music together while at Stepney Primary and Junior High School.[23] Marley left Nine Mile with his mother when he was 12 and moved to Trenchtown, Kingston. Cedella Booker and Thadeus Livingston (Bunny Wailer's father) had a daughter together whom they named Claudette Pearl,[24] who was a younger sister to both Bob and Bunny. Now that Marley and Livingston were living together in the same house in Trenchtown, their musical explorations deepened to include the latest R&B from United States radio stations whose broadcasts reached Jamaica, and the new ska music.[25] The move to Trenchtown was proving to be fortuitous, and Marley soon found himself in a vocal group with Bunny Wailer, Peter Tosh, Beverley Kelso and Junior Braithwaite. Joe Higgs, who was part of the successful vocal act Higgs and Wilson, resided on 3rd St., and his singing partner Roy Wilson had been raised by the grandmother of Junior Braithwaite. Higgs and Wilson would rehearse at the back of the houses between 2nd and 3rd Streets, and it wasn't long before Marley (now residing on 2nd St.), Junior Braithwaite and the others were congregating around this successful duo.[26] Marley and the others didn't play any instruments at this time, and were more interested in being a vocal harmony group. Higgs was glad to help them develop their vocal harmonies, although more importantly, he had started to teach Marley how to play guitar—thereby creating the bedrock that would later allow Marley to construct some of the biggest-selling reggae songs in the history of the genre.[27][28]

Musical career

1962–72: Early years

In February 1962, Marley recorded four songs, "Judge Not", "One Cup of Coffee", "Do You Still Love Me?" and "Terror", at Federal Studios for local music producer Leslie Kong.[29] Three of the songs were released on Beverley's with "One Cup of Coffee" being released under the pseudonym Bobby Martell.[30]

In 1963, Bob Marley, Bunny Wailer, Peter Tosh, Junior Braithwaite, Beverley Kelso, and Cherry Smith were called the Teenagers. They later changed the name to the Wailing Rudeboys, then to the Wailing Wailers, at which point they were discovered by record producer Coxsone Dodd, and finally to the Wailers. Their single "Simmer Down" for the Coxsone label became a Jamaican #1 in February 1964 selling an estimated 70,000 copies.[31] The Wailers, now regularly recording for Studio One, found themselves working with established Jamaican musicians such as Ernest Ranglin (arranger "It Hurts To Be Alone"),[32] the keyboardist Jackie Mittoo and saxophonist Roland Alphonso. By 1966, Braithwaite, Kelso, and Smith had left the Wailers, leaving the core trio of Bob Marley, Bunny Wailer, and Peter Tosh.[33]

In 1966, Marley married Rita Anderson, and moved near his mother's residence in Wilmington, Delaware in the United States for a short time, during which he worked as a DuPont lab assistant and on the assembly line at a Chrysler plant in nearby Newark, under the alias Donald Marley.[34]

Though raised as a Catholic, Marley became interested in Rastafari beliefs in the 1960s, when away from his mother's influence.[35] After returning to Jamaica, Marley formally converted to Rastafari and began to grow dreadlocks.

After a financial disagreement with Dodd, Marley and his band teamed up with Lee "Scratch" Perry and his studio band, the Upsetters. Although the alliance lasted less than a year, they recorded what many consider the Wailers' finest work. Marley and Perry split after a dispute regarding the assignment of recording rights, but they would continue to work together.[36]

1969 brought another change to Jamaican popular music in which the beat slowed down even further. The new beat was a slow, steady, ticking rhythm that was first heard on The Maytals song "Do the Reggay." Marley approached producer Leslie Kong, who was regarded as one of the major developers of the reggae sound. For the recordings, Kong combined the Wailers with his studio musicians called Beverley's All-Stars, which consisted of the bassists Lloyd Parks and Jackie Jackson, the drummer Paul Douglas, the keyboard players Gladstone Anderson and Winston Wright, and the guitarists Rad Bryan, Lynn Taitt, and Hux Brown.[37] As David Moskowitz writes, "The tracks recorded in this session illustrated the Wailers' earliest efforts in the new reggae style. Gone are the ska trumpets and saxophones of the earlier songs, with instrumental breaks now being played by the electric guitar." The songs recorded would be released as the album The Best of The Wailers, including tracks "Soul Shakedown Party," "Stop That Train," "Caution," "Go Tell It on the Mountain," "Soon Come," "Can't You See," "Soul Captives," "Cheer Up," "Back Out," and "Do It Twice".[37]

 

Between 1968 and 1972, Bob and Rita Marley, Peter Tosh and Bunny Wailer re-cut some old tracks with JAD Records in Kingston and London in an attempt to commercialise the Wailers' sound. Bunny later asserted that these songs "should never be released on an album ... they were just demos for record companies to listen to". In 1968, Bob and Rita visited songwriter Jimmy Norman at his apartment in the Bronx. Norman had written the extended lyrics for Kai Winding's "Time Is on My Side" (covered by the Rolling Stones) and had also written for Johnny Nash and Jimi Hendrix.[38] A three-day jam session with Norman and others, including Norman's co-writer Al Pyfrom, resulted in a 24-minute tape of Marley performing several of his own and Norman-Pyfrom's compositions. This tape is, according to Reggae archivist Roger Steffens, rare in that it was influenced by pop rather than reggae, as part of an effort to break Marley into the US charts.[38] According to an article in The New York Times, Marley experimented on the tape with different sounds, adopting a doo-wop style on "Stay With Me" and "the slow love song style of 1960s artists" on "Splish for My Splash".[38] An artist yet to establish himself outside his native Jamaica, Marley lived in Ridgmount Gardens, Bloomsbury, during 1972.[39]

1972–74: Move to Island Records

In 1972, Bob Marley signed with CBS Records in London and embarked on a UK tour with soul singer Johnny Nash.[40] While in London the Wailers asked their road manager Brent Clarke to introduce them to Chris Blackwell, who had licensed some of their Coxsone releases for his Island Records. The Wailers intended to discuss the royalties associated with these releases; instead, the meeting resulted in the offer of an advance of £4,000 to record an album.[41] Since Jimmy Cliff, Island's top reggae star, had recently left the label, Blackwell was primed for a replacement. In Marley, Blackwell recognised the elements needed to snare the rock audience: "I was dealing with rock music, which was really rebel music. I felt that would really be the way to break Jamaican music. But you needed someone who could be that image. When Bob walked in he really was that image."[42] The Wailers returned to Jamaica to record at Harry J's in Kingston, which resulted in the album Catch a Fire.

Primarily recorded on an eight-track, Catch a Fire marked the first time a reggae band had access to a state-of-the-art studio and were accorded the same care as their rock 'n' roll peers.[42] Blackwell desired to create "more of a drifting, hypnotic-type feel than a reggae rhythm",[43] and restructured Marley's mixes and arrangements. Marley travelled to London to supervise Blackwell's overdubbing of the album which included tempering the mix from the bass-heavy sound of Jamaican music and omitting two tracks.[42]

The Wailers' first album for Island, Catch a Fire, was released worldwide in April 1973, packaged like a rock record with a unique Zippo lighter lift-top. Initially selling 14,000 units, it didn't make Marley a star, but received a positive critical reception.[42] It was followed later that year by the album Burnin' which included the song "I Shot the Sheriff". Eric Clapton was given the album by his guitarist George Terry in the hope that he would enjoy it.[44] Clapton was suitably impressed and chose to record a cover version of "I Shot the Sheriff" which became his first US hit since "Layla" two years earlier and reached number 1 on the Billboard Hot 100 on 14 September 1974.[45] Many Jamaicans were not keen on the new reggae sound on Catch a Fire, but the Trenchtown style of Burnin found fans across both reggae and rock audiences.[42]

During this period, Blackwell gifted his Kingston residence and company headquarters at 56 Hope Road (then known as Island House) to Marley. Housing Tuff Gong Studios, the property became not only Marley's office but also his home.[42]

The Wailers were scheduled to open 17 shows in the US for Sly and the Family Stone. After four shows, the band was fired because they were more popular than the acts they were opening for.[46] The Wailers disbanded in 1974, with each of the three main members pursuing a solo career.

1974–76: Line-up changes and shooting

Despite the break-up, Marley continued recording as "Bob Marley & The Wailers". His new backing band included brothers Carlton and Aston "Family Man" Barrett on drums and bass respectively, Junior Marvin and Al Anderson on lead guitar, Tyrone Downie and Earl "Wya" Lindo on keyboards, and Alvin "Seeco" Patterson on percussion. The "I Threes", consisting of Judy Mowatt, Marcia Griffiths, and Marley's wife, Rita, provided backing vocals. In 1975, Marley had his international breakthrough with his first hit outside Jamaica, "No Woman, No Cry", from the Natty Dread album.[47] This was followed by his breakthrough album in the United States, Rastaman Vibration (1976), which reached the Top 50 of the Billboard Soul Charts.[48]

On 3 December 1976, two days before "Smile Jamaica", a free concert organised by the Jamaican Prime Minister Michael Manley in an attempt to ease tension between two warring political groups, Marley, his wife, and manager Don Taylor were wounded in an assault by unknown gunmen inside Marley's home. Taylor and Marley's wife sustained serious injuries but later made full recoveries. Bob Marley received minor wounds in the chest and arm.[49] The attempt on his life was thought to have been politically motivated, as many felt the concert was really a support rally for Manley. Nonetheless, the concert proceeded, and an injured Marley performed as scheduled, two days after the attempt. When asked why, Marley responded, "The people who are trying to make this world worse aren't taking a day off. How can I?" The members of the group Zap Pow played as Bob Marley's backup band before a festival crowd of 80,000 while members of The Wailers were still missing or in hiding.[50][51]

1976–79: Relocation to England

Marley left Jamaica at the end of 1976, and after a month-long "recovery and writing" sojourn at the site of Chris Blackwell's Compass Point Studios in Nassau, Bahamas, arrived in England, where he spent two years in self-imposed exile.

Whilst in England, he recorded the albums Exodus and Kaya. Exodus stayed on the British album charts for 56 consecutive weeks. It included four UK hit singles: "Exodus", "Waiting in Vain", "Jamming", and "One Love" (a rendition of Curtis Mayfield's hit, "People Get Ready"). During his time in London, he was arrested and received a conviction for possession of a small quantity of cannabis.[52] In 1978, Marley returned to Jamaica and performed at another political concert, the One Love Peace Concert, again in an effort to calm warring parties. Near the end of the performance, by Marley's request, Michael Manley (leader of then-ruling People's National Party) and his political rival Edward Seaga (leader of the opposing Jamaica Labour Party), joined each other on stage and shook hands.[53]

Under the name Bob Marley and the Wailers 11 albums were released, four live albums and seven studio albums. The releases included Babylon by Bus, a double live album with 13 tracks, were released in 1978 and received critical acclaim. This album, and specifically the final track "Jamming" with the audience in a frenzy captured the intensity of Marley's live performances.[54]

 

1979–81: Later years

Survival, a defiant and politically charged album, was released in 1979. Tracks such as "Zimbabwe", "Africa Unite", "Wake Up and Live", and "Survival" reflected Marley's support for the struggles of Africans. His appearance at the Amandla Festival in Boston in July 1979 showed his strong opposition to South African apartheid, which he already had shown in his song "War" in 1976. In early 1980, he was invited to perform at 17 April celebration of Zimbabwe's Independence Day.[56]

Uprising (1980) was Bob Marley's final studio album, and is one of his most religious productions; it includes "Redemption Song" and "Forever Loving Jah".[57] Confrontation, released posthumously in 1983, contained unreleased material recorded during Marley's lifetime, including the hit "Buffalo Soldier" and new mixes of singles previously only available in Jamaica.[58]

Illness and death
 

In July 1977, Marley was found to have a type of malignant melanoma under the nail of a toe. Contrary to urban legend, this lesion was not primarily caused by an injury during a football match that year but was instead a symptom of already-existing cancer. Marley turned down his doctors' advice to have his toe amputated (which would have hindered his performing career), citing his religious beliefs, and instead, the nail and nail bed were removed and a skin graft was taken from his thigh to cover the area.[59][60] Despite his illness, he continued touring and was in the process of scheduling a world tour in 1980.[61]

The album Uprising was released in May 1980. The band completed a major tour of Europe, where it played its biggest concert to 100,000 people in Milan. After the tour, Marley went to the United States, where he performed two shows at Madison Square Garden in New York City as part of the Uprising Tour.[62]

Marley's last concert occurred at the Stanley Theater (now called The Benedum Center For The Performing Arts) in Pittsburgh, Pennsylvania, on 23 September 1980. Just two days earlier he had collapsed during a jogging tour in Central Park and was brought to the hospital where he learned that his cancer had spread to his brain.[63]

The only known photographs from the show were featured in Kevin Macdonald's documentary film Marley.[64]

Shortly afterward, Marley's health deteriorated as his cancer had spread throughout his body. The rest of the tour was canceled and Marley sought treatment at the Bavarian clinic of Josef Issels, where he received an alternative cancer treatment called Issels treatment partly based on avoidance of certain foods, drinks, and other substances. After eight months of effectively failing to treat his advancing cancer Marley boarded a plane for his home in Jamaica.[65]

While Marley was flying home from Germany to Jamaica, his vital functions worsened. After landing in Miami, Florida, he was taken to the hospital for immediate medical attention. Marley died on 11 May 1981 at Cedars of Lebanon Hospital in Miami (now University of Miami Hospital), aged 36. The spread of melanoma to his lungs and brain caused his death. His final words to his son Ziggy were "Money can't buy life."[66]

Marley received a state funeral in Jamaica on 21 May 1981, which combined elements of Ethiopian Orthodoxy[67][68] and Rastafari tradition.[69] He was buried in a chapel near his birthplace with his guitar.[70][71]

On 21 May 1981, Jamaican Prime Minister Edward Seaga delivered the final funeral eulogy to Marley, declaring:

His voice was an omnipresent cry in our electronic world. His sharp features, majestic looks, and prancing style a vivid etching on the landscape of our minds. Bob Marley was never seen. He was an experience which left an indelible imprint with each encounter. Such a man cannot be erased from the mind. He is part of the collective consciousness of the nation.[55]:58