Bob Marley and the Wailers’ Exodus at 41: My love for this classic reggae album.

My copies of Exodus: from the top: the re-issue and the second US pressing. Below: the deluxe CD edition with the sticker quoting Time magazine, and the seven-inch single of Exodus (Philippine pressing).

Bob Marley and the Wailers’ Exodus at 41:

My love for this classic reggae album.

by rick olivares

I was checking out some indie rock music when my best friend went up to me holding the deluxe edition compact disc of Bob Marley and the Wailer’s Exodus. “Bud, this was just named by Time Magazine as the greatest album of the 20^th century.”

Now, I didn’t know that but the sticker on the CD said so.

My best friend knew I am into reggae. Or at least I was into reggae. I was for several years along with its Jamaican music cousins such as ska and dub that bridged my high school and college days. You can chalk that up to UB40, Musical Youth, and Burning Spear. Sure I listened to Bob Marley and the Wailers but this was a time when I was more into ska and punk. And I only had one Marley album… Legend. And technically, it wasn’t an album but a greatest hits collection.

I looked at the deluxe edition of Exodus, noticed it had a second disc of all these bonus tracks, a booklet, and the “greatest” sticker. I placed it inside my basket. I have to admit that Time’s accolade is arguable and debatable (I think Rolling Stone magazine named it #169 in its list of the Top 500 albums of all time while Vh1 listed as the 26^th greatest). Whatever its ranking, it is still a great album. And one of the very best.

While several tracks from Exodus appeared on Legend, this was the first time in my life where I listened to the album in its entirety. And by Side Two’s end, I was a fan. For life. One that strongly resonated with me and still does to this day.

There are certain records that I play, once a week or a month; always. And that includes Counting Crow’s August and Everything After, Rancid’s And Out Come the Wolves, U2’s All That You Can’t Leave Behind, Broken Social Scene’s You Forgot That In People, Marvin Gaye’s What’s Going On, The Doors’ self-titled debut, X’s Los Angeles, the Beatles’ Revolver, China Crisis’ Flaunt the Imperfection, Swing Out Sister’s Shapes and Patterns, Slowdive’s Souvlaki, Oasis’ What’s the Story (Morning Glory), Zwan’s Mary Star of the Sea, British Sea Power’s Open Season, and the Smashing Pumpkins’ Gish.

Exodus by Bob Marley and the Wailers is another.

From Exodus, I backtracked and picked up the rest of the catalogue. At least what I could get.

Today, June 3, 2018 is the 41^st anniversary of that album’s release. It is an odd year so why celebrate it? So why celebrate your 41^st birthday? Why not wait for your 50^th?

I am sure you get the point. An anniversary is always something you should celebrate. And it is, what it is -- the anniversary of one of the best albums ever recorded. It is and should always make some of these all-time lists (not for individual fans) but for general lists by even-keeled folks.

When Exodus was released by Island Records on the 3^rd of June 1977, this was Marley’s first album that was recorded outside his native Jamaica. He left for London following a failed assassination attempt that left him and his wife injured.

The assassination attempt was the first I heard of an attempt made on a musician’s life and the Marley try made the newspapers and wires all over the world.

You can say the slay try had an effect in his music. In essence, Exodus is a declaration and a call to action.

Natural Mystic

The album opener. It slowly works its way in. Never forcefully. Just like that easy reggae vibe. But there lies something deeper. The song immediately references the attack on Marley. “This could be the first trumpet. Might as well be the last. Many more will have to suffer. Many more will have to die. Don’t ask me why.”

So Much Things To Say

Through music, Marley conveyed his about pan-African nationalism. About advocacy but through non-violent responses. All wrapped in a beautiful melody.

Guiltiness

Another song that refers to the attempt on his life. “There are big fish who always try to eat down the small fish, just the small fish.”

And he continues in The Heathen, his self-imposed exile and commitments to social justice:

“Rise oh fallen fighters. Rise and take your stance again. He who fight and run away live to fight another day.”

The title track, Exodus, with its hypnotic beat, is a call to arms. “Men and people will fight ya down.”

In the first track of Side Two, Jamming, Marley sings, “No bullet can stop us now.”

And music, especially great songs, have this uncanny way of weaving into one’s consciousness where the words come alive. This is powerful stuff I tell you.

But the album aren’t filled with protest songs. After Jamming, the next four are some of the most beautiful songs of love and hope.

Waiting In Vain

There are five songs here that appear on Legend – Three Little Birds on Side One, and One Love/People Get Ready, Waiting In Vain, Exodus, and Jamming on Side Two. Waiting In Vain is my favorite of them all.

The song is like a sequel of sorts to “I’m Still Waiting”, from the Wailers’ first album, The Wailing Wailers in 1965 and it shows Marley’s romantic side. And I am glad. Am not sure if it is by design that the last songs take a break from the angst and shift gears to a slower notch. You have to love the delicious blues-inflected guitar solo by Junior Marvin who joined the Wailers for this album as well as the percussive beat and the Hammond organ.

Turn Your Lights Down Low

Continuing the romantic and passionate side of Marley. And what is cool about this is that I recently discovered that New Zealand rugby star Zane Tetevano has a Marley tattoo and says that Turn Your Lights Down Low is one of his favorite Wailers songs.

Three Little Birds

A song of hope! Along with One Love/People Get Ready, they are anthems. I love how they end Exodus on a high note.

At a time when I was into music that is classified today as “Classic Rock” and was switching over to punk and new wave, reggae wasn’t an easy transition. I was slow to adapt to it. And it actually took UB40’s remake of “Red Red Wine” for me to fully appreciate reggae. While I dug Marley, it was only in 1999 where his music fully took ahold of me. And maybe, you can blame that on my best friend and Time Magazine.