During my annual summer binge on Bob Marley and the Wailers, I had cause to listen to Exodus in the car. It’s a beautiful album that confirmed Bob Marley’s status as a global superstar, shifting truckloads all over the world.
When it was released in 1977, I felt a little let down by it. After the radical militancy of his previous albums, Exodus sounded embarrassingly commercial to my less-than-tolerant teenage ears. It wasn’t reggae as I recognised it. I felt certain that the people of Jamaica thought so too. It was a shiny album with rhythms that purr like a finely tuned Bentley, produced by Bob himself, full of soppy love songs. In the year of peak Punk, Bob Marley and the Wailers had become a frivolous Pop group.
Of course, these days I view it differently. Yes, Exodus is packed with infectious, bouncy tunes designed to brighten day-time mainstream radio, but side one is as subversive a collection of songs as any Bob has written. Side One is a manifesto for insurrection. Natural Mystic sets the scene of a world in turmoil that is still relevant today. The sequence of So Much Things To Say/Guiltiness/Heathen eviscerates those in power with withering precision. Exodus is as clear a clarion call as you could wish to hear. All these are strategically placed, so that the listen would hear them first before all the chart hits on side two.
It made me wonder who else has hidden such a revolutionary message within the confines of glossily produced popular song?
Any more suggestions from The Afterword?
Rather generous, Tigs? This is the point that Bob Marley (and reggae) was assimilated into the mass entertainment machine. A harmless, listenable album, but most people in the many new listeners didn’t give a crap about the message, and it was his reputation with serious music fans that led this to be perceived as radical – not unusual in musical artists with an idealistic past who we still want(ed) to believe in. Bob Marley was now Club Class, and for me I didn’t hear much of him in south London, whereas the sound of “2 7’s Clash” and dub defined the moment wonderfully. “Exodus” was a lot better than the albums he produced that followed. The gig I saw in 1980 was one of the most disappointing gigs I ever saw. Of course that might not be unrelated to his death less than a year later. Maybe I haven’t moved on from the perception of the time, and am now too cynical. But given your open view, I am going to re-listen to it, so thanks for the prompt.
On the 6th December 1976, Bob Marley survived an attempted assassination at his home in Jamaica. He emerged with minor injuries. His wife, Rita, one of the I-Threes captured so beautifully on this album, was injured. He exiled himself to London where he recorded both Exodus and Kaya.
I think Exodus was carefully calculated. He provided the glossy production himself. He softened or funked up the rhythms. He coaxed Junior Marvin into playing rock guitar. He sequenced the album. He was aiming high, hoping that his album would sit on multiple turntables the world over and that the Natural Mystic would work its magic. He wasn’t diluting his message, he was making it reach further.
He did a bloody good job. I enjoyed listening to it just now. I see it as his DSOM; it all leads to this, the spirit is there, a 5 star hit is deserved and obtained, but gloss replaces grit.
Not sure how “glossily produced” The Beatles’ Blackbird is, but the music is like a soft summer breeze and the words are about the civil right movements. At least that’s what Paul claimed many years later. “You have only waited for this moment to arise”.
How about Oliver’s Army? Guess Elvis made a lot of those though. Attractive songs about dark matters. He managed to have a hit with a song about dementia, after all.
Oliver’s Army isn’t exactly subtle. Blackbird is a good shout. Boss Baby is my two year old grandson’s favourite film. Blackbird is used as a delicate lullaby to soothe the toddler’s frayed nerves.
Will have to go back for a relisten. On its release it was “WTF, where’s Bob gone?” Last time I was in Jamaica, six years ago, Exodus seemed to be the only Marley album playing – I felt like crying out “That’s not Real Bob that’s Sellout Bob”. As usual I was probably almost certainly Wrong…..
Exodus relisten: some nice songs.
Howard Jones had very glossy none-more-80s pop setting for his counselling-course lyrics.
Will Powers ditto
Counselling course? Tell me more. I need help.
Throw off your mental chains, Tiggs!
But I don’t want to be hip and cool.
Too late – you’re here aren’t you?
😉
Tears for Fears sung almost exclusively about mental health.
Good Shout!
Stereolab’s Ping Pong. An economics lecture sent to a bouncy pop tune:
Now, this I like. I haven’t listened to this for years and never before realised it was all about money.
I don’t get this Bob revisionism. Up to about 1970 nearly all of Bob Marley’s songs were about love. He sold out before he’d even “sold in” did he?
Reggae music is for partying. White blokes are suspicious of this (“Nyerrr, girls dancing!”) and therefore want it to be Serious and Political because that makes it AUTHENTIC.
*sucks teeth*
Yes. He always wrote love songs and party music. My favourite CD moment is from the issue of Live! with the extended Lively Up Yourself, the audience’s cue to go party mad. It makes me leap from my chair even when I’m driving.
But reggae is very political, regardless of what white blokes think.
The RC RRPG (2010) … aka “The Bible” … lists at least 50 pre-“Catch A Fire” Bob Marley/Wailers’ singles stretching all the way back to “Judge Not” from ’63.
Have these ever been put out on a compilation?
I’m presuming you have Wailing Wailers.
No; closer inspection does show that to contain largely mid-60s 45s. Thanks. The London visit in September has a further purpose.
Still loads unaccounted for though – I’ve never understood why Island or Trojan (or Island and Trojan) don’t get something together.
You listen to lyrics?
Only after forty years and a thousand listens.
I must say Tiggs, when I raved about the virtues of Exodus once upon a time, you accused me of being a fan of “pop music”. Hmpf.
As someone who loves roots reggae (especially Wailing Souls, Mighty Diamonds, Israel Vibration, Culture etc) but has little interest in Marley’s other albums, I am of the opinion that Exodus is the greatest reggae album of all time. I’ve never got the “commercial” criticism. All my favourite roots reggae sounds pretty commercial and “pop” to me. And Exodus is its pinnacle.
There is nothing wrong with being a fan of Pop Music. I’m surprised you took it as an insult.
Cuh! Pretty boys are so sensitive.
When we voted for our all time favourite albums a few years back I limited myself to one per artist and actually surprised myself when I plumped for Exodus as my Wailers album.
The reasoning was it’s a great all rounder, exhibiting Bob’s melodic gifts, the band’s grooves and some tough talk, such as on the closing song reminding its listeners that many of them were destined for Hell..
And he does so in such a cheerful, loving way.
You’re A Pink Toothbrush by Max Bygraves.
The confusing and divisive politics of gender incisively examined in a simple little song masquerading as an ode to dental health.
Subversive bit of brainwashing from the hands aficionado if you ask me.
My god. I’ve never realised this track existed until today. The brainwashing is as clear as day and the children lap it up. Must have scarred them for life.
You’d never heard this before Tiggs?! Where have you been all your life? Hope you’ve given it the obligatory six listens before passing judgement.
Oh, and I love Exodus. Magnificent album.
One listen was enough to confirm it is brainwashing young minds to have stereotypical attitudes to gender. That’s all I needed to know at this point.
Totally agree Tig. At the time there was an inevitable NME led backlash (the same fraternity who wrote long tedious articles comparing different versions of Burning Spear albums) but it’s a fantastic album, and if anything he got harder – “Survival” and my favourite “Uprising” are as rock steady as it gets. Obviously it being popular, having hits and selling lots of copies was anathema to the reggae in crowd but I bet Bob didn’t lose a wink of sleep over it.
I suppose after a Cancer diagnosis you have greater clarity about what you want to do.
I agree with Twang – about half the tracks on “Survival” show Marley’s lyrics at their absolute most militant – “Babylon system is the vampire, suckin’ the children day by day … suckin’ the blood of the sufferers” (“Babylon System”)
There was an NME backlash against Max Bygraves? Phew, rock n roll!
Ziggy Marley’s “Exodus 40 – The Movement Continues” remix is my go-to iteration (oh dear – did I say that out loud?). It just sounds better, is why. Quite a radical remix – anyone else like it? As to Bob’s politics, I don’t much mind if they’re overt or discreet, it’s the music I come for.
Ziggy’s is more than a remix, it’s a reconstruction including recordings not part of the original release. He also reinstates a ‘tougher’ Jamaican reggae feel. It’s well worthwhile. He does the same for Kaya. His work is on a par with Martin Junior’s for The Beatles.
I’ll look out for the Kaya.
I am one of those dolts who doesn’t like much Marley, outside the (live version) No Woman, No Cry and Redemption Songs, citing the blandness I haven’t the ears to clearly see through. But Bill Laswell does a good remix/revalidation which includes this:
https://youtu.be/cylAaE9M8s0
I really like that album. Great take on Rebel Music.
Really? You find Catch A Fire or Burnin’ bland?
The arrangements could be a little livelier up their self. yes.
I suppose, as I get older, I find the slower pace beguiling. Like a speech maker slowing down to make a bigger impact.
If someone can guarantee that I will never hear Redemption Song ever again, I will be a happier person. Heard too many rubbish buskers slaughter it, and it was never much of a song anyway.
Exodus is a fine album, though.
I know what you mean. I have scrubbed it out many times at herbally relaxed gatherings, then I heard a complete twat murder it at an open mic by doing a “mashup” conflating it with a number of other Bob Marley numbers. Excruciating beyond belief. Leave it the fuck alone.
I don’t hear buskers much any more. In my day it was all Streets Of London and Kathy’s Song. I don’t think I could bear to hear either of those again.
I think it is the rawness of it, solo acoustic with vocal, after the increasingly weary sounding other tracks on the album. (Yup, Greatest Hits! Gonna shoot me?) I love it, a listen of it always well able to protect me from the other 14 versions I see my computer holds. And those are the better ones.
Meeow!
Sounds really interesting. I will check out.
No fade-in on Natural Mystic! Outrageous! Someone should write a letter!
Paul Heaton specialises in acerbic, ‘political’ (both personal and party) lyrics married to sweet, pretty tunes.
Weeeell. My issue with The Housemartins or The Beautiful South is I could do with more tunes. I’m sure Moose would agree.
I notice, with 33 comments, this thread has crawled into the top ten for the week. Zero views, though! Are people commenting with their eyes shut?
I know Iammmmmmm.
*opens eyes*
Oops!
Sorry Tiggs, I can’t get on board with the premise of the OP.
The production is terrific – really fat bottom end bass- but I don’t think enough of the songs are strong enough.
Personally I don’t think it ever tops Natural Mystic, which is without doubt a killer opener, beautifully fading up slowly with real ‘ volume’ ( as opposed to loudness). Whenever I stick on the CD, this puts me right in the mood but I start skipping tracks straight away & although 3 Little Birds & Waiting In Vain are beautiful, I can’t sit through the whole album.
As teen I played Burnin’ & Rastaman Vibration to death & these remain my faves & the gateway to Burning Spear, Culture & co ( The Gladiators, Mighty Diamonds etc) as well as proper heavy sounds.
I still love a bit of Bob once in a while & I think it’s sometimes overlooked what an astoundingly tight band the Wailers were, but Exodus remains one of those CDs that only get taken off the shelf once in a blue moon.
When I were a lad, my go to faves were Catch A Fire and Live! And they still are.
How do you rate Kaya, Jim?
I think Kaya is terrific, Tiggs.
I’m sure I rated it ‘too smooth’ at the time, but that’s cobblers.
Satisfy My Soul & a handful of the others are as good as anything he wrote IMO.
There are of course numerous ‘early versions’ of lots of that stuff knocking around & lots of them are great – some are Lee Perry produced I think – pretty rough ‘demo’ like compared to the proper Kaya, but worth their place in anybody’s collection.
I do return to Catch A Fire as well – the first Reggae ‘album’ I ever heard & I actually prefer the Chris Blackwell ‘rock’ version with the slide guitar to the much vaunted JA ‘roots’ version myself – Mrs Jim hates it ‘ not proper reggae’ – but I always have time for Stop That Train & Kinky Reggae.
😀
That’s interesting. Both Exodus and Kaya were recorded at the same time.
I have time for both Catch A Fires but I agree, Chris Blackwell knew what he was doing in terms of increasing appeal without softening the message.