‘Bob Marley And The Golden Age of Reggae 1975-1976’

Bob Marley And The Golden Age of Reggae 1975-1976
Kim Gottllieb-Walker with Jeff Walker, Roger Steffens & Cameron Crowe

Hardcover with Dust Jacket
Pages 160
Publisher: Titan Books (UK)  Hors Collection (France)

Bob Marley and the Golden Age of Reggae

There are several categories that I separate Bob Marley books into.  One of my favorite categories is photography books.  It’s no secret that at one point in his life, Bob was one of the most photographed people on earth. Maybe it was his status as a popular musician, his charisma or simply his unfamiliar dreadlocked look. Whatever the reason, we have the pleasure of being left with a vast amount of incredible photos.  Some of the photo books are collections of random photos but most are the works of a particular photographer. One of the most recent and welcomed additions to the photography category is Kim Gottlieb-Walker’s impressive book ’Bob Marley and the Golden Age of Reggae 1975-1976′.  Kim is not only an amazing photographer with a natural born eye, she is a sweet lady and kind soul.  This book only deals with Kim’s reggae photos. In addition to these she has photographed countless people from all genres of the arts.

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Peter Tosh: Reclaiming A Wailer

I have included a NPR podcast titled “Reclaiming A Wailer” and a Jamaica Gleaner article that discusses the recording of Tosh’s seminal debut album “Legalize It.”

Jamaica Gleaner May 9, 1975

Photo by Lee Jaffe

www.leejaffe.com

Peter Tosh Interview, Los Angeles, CA (August, 1983) by Eric Olsen

More vital knowledge from Peter!

Article Author: Eric Olsen

Career media professional Eric Olsen is honored to be the founder and former publisher of Blogcritics.org, and former publisher of Technorati.com, which both rule. He is now editor, co-founder, and CEO of The Morton Report.

Read more: http://blogcritics.org/music/article/peter-tosh-the-shitstem/#ixzz1wQgJyvkd

August, 1983: Peter Tosh was the most popular reggae singer in the world (Bob Marley was dead). His credentials were myriad and impeccable. He was a founding member of the Wailers with Bob Marley and Bunny Wailer in 1964, in the Trenchtown slum of Kingston, Jamaica. He taught Bob Marley to play guitar. He left the Wailers in 1975 to pursue a successful solo career which was peaking with the Mama Africa Tour of 82-84, which played every continent of the world except Antarctica.

I met with Tosh the day after a magnificent performance at the Greek Theater in Los Angeles with his crack band Word, Sound and Power, featuring American guitarist Donald Kinsey (of the Chicago blues-funk band, The Kinsey Report), and a rock-solid rhythm section of Santa Davis (drums) and Fully Fullwood (bass).

As I approached Tosh’s Hollywood hotel room, incense billowed out from under the door. As the photographer and I entered the room, several members of Tosh’s entourage lolled about, Jamaican-style. Tosh was renowned for giving writers – especially white writers – a hard time.

Tosh stretched to his full 6′ 3″ height and shook his Medusa tangle of dreads, then composed himself into an alarmingly compact coil on the couch. I was seated across from Tosh, sensing that all of this was aimed at maximum intimidation. Tosh wore a preternaturally white t-shirt and sweats. He corralled his dreads under a Jamaican-style cap, put on his shades, lit five more sticks of incense and signaled his willingness to be addressed.

Why did you choose to record a reggae version of “Johnny B. Goode”?

“For commercial acceptance. My guitar player proposed it, we all arranged it. ‘Commercial’ is something for sale. I want my music to sell, mon. I want my music to reach the 500 millions.”

What is your place in music?

“At the highest. I live my music, seen? I am a man of profound righteousness. I am in the highest position of life, so my music is also of highest position. Yah mon!”

Are you religious?

“Religion is misturned philosophy. I am that I am. I do not tell lie. How many you know not tell lie, mon?”

Who is responsible for your music?

“Jah flows through me. We are responsible. I live music. It rises spontaneously from me. Compositions appear, mon. In the beginning there was the word. The word was Jah. The word is in I, Jah is in I. I make what is good, better, and what is better, best. I follow this in every aspect of life.”

Who can play reggae?

“Only the architect, mon. All else paint picture from picture. You must have the feeling. Only Jamaican created reggae. If any other could have, they would have. This dispensation of time, Jah favor Jamaica. Reggae must be lived, not played. It is a lifebeat everytime, mon.”

Is your reggae influenced by rock ‘n’ roll?

“Who influenced who, mon? Reggae influenced rock ‘n’ roll. Reggae is the king’s music, played by kings, inspired by the King of Kings. Reggae has always been, seen?”

Why did you leave the Wailers?

“I never left myself, mon. It was belittling my integrity. I taught Bob Marley. How can you compare the teacher with the taught? I and I and the devil are at war. The devil make Marley leader of the band. I had no desire follow the path of destruction.”

Are you saying that Bob Marley is a devil?

“Bob Marley is dead, mon.”

[During the conversation, Tosh carefully cleaned, pruned and rolled a spliff the size of a banana. He lit it, blew a volcanic stream of smoke at the ceiling and smiled.]

Why do you tour and record?

“To spread the word, to liberate my people and to make money, mon. I need plenty money to walk my Father’s Kingdom, mon. The blood cloth dollar will burn, but Africa’s gold and diamonds are forever. Jah mon.”

How is the tour going?

“Very good and most righteous indeed, mon. It always good every time. It is the only way to reach the people. The record company fuck up every time, mon. They don’t put my record in the record shop. They diplomatic assassinating me.”

You mentioned your record company [EMI].

“They sign to demote. I get no proper promotion. They all seek I. They know the potential of this music. They seek to exploit it.”

How do you like having a hit single? [“Johnny B. Goode”]

“What hit single? A black man sell 50,000 copies, he have hit. The white man sell 4 million, he have hit. The ministers of the shitstem seek to kill me spiritually, verbally and physically.”

Why?

“That I might be crucified like Christ and all true Christians. The shitstem is white and black, Christian and Jew. It’s a conspiracy, yah mon. It will be in my book, Red X. They know who they are.”

How old are you?

“How old is the sun? Sun not temporary, not chronological. There is the terra-celestial and the celestial. I am celestial, mon. I am here, there and everywhere. I live among men so I must adjust myself. When I go to other planet, I must adjust myself there, too, mon.

[I felt my consciousness drifting to another planet as well. A contact high in such an environment could only have been avoided by cessation of respiration. The incense and ganja had long since thickened the room into a Martian swirl. The smoke seemed to develop a life of its own, obscuring all of the physical Tosh save for his sunglasses. Tosh progressively resembled a rasta Cheshire cat.]

Do you prefer some of your songs over others?

“Are some flowers more beautiful than others? The garden is beautiful. Do I prefer brother over brother? Comparisons are part of this political world. Where there is one, there is no conflict. Where there is two or more, there is conflict. Two is the devil. Conflict begin with the devil. We count 0 to 1, then back to 0. It is a circle.”

Does it bother you that the majority of your American audience is white?

“Every time, mon! It is 99.9%! It is again a conspiracy to demote I. Don’t feel no way. My counteraction will be lightning and earthquake.”

What is your goal?

“To promote equal rights and justice for every man.”

What will happen when this goal is reached?

“The flowers will bloom and the pollution will go away. There will be fresh air and no pestilence. Man has created these things for experimental purposes to promote death and advance technology. But soon the earth will tilt on its axis and begin to dance to the reggae beat to the accompaniment of earthquake. And who can resist the dance of the earthquake, mon?”

Do you offer any advice?

“Buy more reggae records, mon. Stop smoking cigarettes and start smoking ganja. If you live the reggae beat, you will not perish from it.”

Tosh survived the reggae beat, but not the drugs and politics-driven violence of Jamaica. He was murdered in a hail of bullets at his home in Kingston in 1987.

Interview by: Eric Olson

http://blogcritics.org/music/article/peter-tosh-the-shitstem/

Peter Tosh Live at the Greek Theater, 1983

Photo by Lee Jaffe

www.leejaffe.com

The Infamous Al Anderson Interview

A veteran of the reggae music scene for over 35 years, Al Anderson of the Original Wailers was a bluesy rock session guitarist in Chris Blackwell’s Island Records stable when he was invited to join a young singer/songwriter named Bob Marley and his band of Rastafarians from Jamaica- the Wailers. This began a relationship that saw Anderson in the middle of a musical, social, and political movement whose international implications provided experiences satisfying, frustrating, and even life-threatening. Now, going head-to-head against former bandmates and their Marley spin-off, Anderson, with fellow Wailers alum Junior Marvin, lead a new group set on rekindling the ‘70s reggae fire. We spoke with Anderson a few hours before the Original Wailers headlining set at the sold-out Newport Waterfront Reggae Festival.

A little more than 35 years ago, you were called in to work as a session guitarist on Bob Marley and the Wailers Natty Dread album. Is it true that you were hired to Americanize the sound for a wider audience?

“They wanted blues, and some other international influence other than the Caribbean sound. Bob had a guy named Wayne Perkins, a Nashville cat, session guy who was known for working with guys like Bobby Womack. So, he (Perkins) set the pace with ‘Concrete Jungle’, which has an amazing guitar solo for its time in reggae music. Nobody had done that. I didn’t want to go there with what I was asked to work with. Bob had most of the Natty Dread tracks finished. He needed guitar, some background vocals, and some horns, acoustic guitar, harmonica; these small things to complete the album. So Bob asked me, “What did I hear?””

 Was that the only direction you had from Bob?

“He was very clear that he had to be pleased. I did a lot of tracks. I played a little bit harder rock/blues guitar and he didn’t like it, and I did. I kept playing it over and over and Bob and Chris (Blackwell, producer) didn’t want it. Then, I said, I know what they want. They want that sweet blues thing. So, they got that for ‘No Woman, No Cry.’ ‘Rebel Music’ was a little more aggressive. ‘So Jah Seh’ was more majestic. I geared on what I heard and how he worded the song, where the emotion of the song was. It was a real tough session for me. One of the hardest sessions ever because it was about pleasing the CEO and the artist.”

Did you find that pleasing the CEO and the artist was independent of serving the song; what you heard as best for the material?

“I didn’t know Bob. I knew who Chris was because I had been in the studio with him before, doing funky stuff that he didn’t like. He would say, don’t play that, and I would say, that’s what people are playing now in America. It was like, 100% for the track, 50% for them, and 50% for me. That’s 200% involvement, so you can’t go wrong with that. (laughs)”

Well, that record and subsequent ones really opened up Marley’s audience.

“It helped. Even more with the Live! album. The studio album was mellow, and well-preserved. The Live! album was raw and just bigger, more ambient, and really what he sounded like with the live format.”

Was that Natty Dread tour the turning point for you going from session player to band member?

“The issue with me was I left England, my home, for three years. I didn’t go back to see my parents, nor did I have any family contact. I learned patois. I learned how to eat their food. People thought I was coming into a wealthy situation, and it was- Chris Blackwell’s a wealthy guy. But, I slept on the floor for a year before they distributed the album. I lived like Trenchtown people did. I slept outside the first night. Bob picked me up at the airport, and took me to a bunch of hotels, but I literally think he couldn’t afford it. He didn’t have the money. It was tough times for him. He put everything into his record, and had three children at the time, just born. Stephen, Ziggy, and Cedella were like, two, three-years-old.”

And you slept outside rather than at a hotel?

“Yes, in Bull Bay, where Bob had his house with Rita. I was mosquito-ridden. It was unreal. I had my suitcase by me as my pillow. ‘Rock, stone was his pillow.’ I know what it was like. Bob had a real tough time, and he wanted me to have a real tough time, too. He wanted me to feel and learn exactly how he grew up. In the end, I really appreciated it.”

How were you received by the rest of the Wailers?

“I didn’t know Carly (drummer Carlton Barrett) or Family Man (bassist and brother Aston Barrett). I got to know them really well. Carly was the jewel of the band. He was funny, a great cook, a clean person. He was a wonderful person to be around. The I-Threes, too. They fed me. Rita (Marley) used to bring me porridge, and steam fish on Sundays. This is when I was living in the basement of the studio on a carpet. That was the upgrade.”

Did you feel like this was the test to see if you were one of them?

“Oh, yeah. Absolutely. Peter (Tosh) and Bunny (Wailer) didn’t like me at all. I was the guy Chris Blackwell brought in to break up the band. Then me and Peter became very, very close friends. I got to see his strength in music and eventually envied him, and wanted to work with him more so than the situation I had with Bob because of really bad management.”

Can you explain what you mean by ‘bad management?’

“The way Bob and his manager ran the band, for me, wasn’t what I was used to. I was used to solid contracts, royalties, participation gratuities- things being taken care of, like going to the airport. I was all on my own, until I discovered how to work with Bob.”

Peter had a better situation?

“To me, it was more professional. My first week of negotiations with him, he gave me $10,000. He said, get a car, get an apartment, get a new guitar and get ready to work. And, he was a great cook. He made great juices, fried fish really good, and his rice and peas were outstanding. For a man to cook like Grandma was unreal.”

Somewhat belies the image of Peter Tosh, the revolutionary.

“Bob was more the spiritual figure. Peter was more the Che Guevara, Zapata-type. Spoke for the people and meant what he said. Very forceful against government foes- CIA, FBI. He spoke the truth. Bob did, too. There’s no comparison. They’re giants. These are the men who showed me reggae music. Once I got to Jamaica, I got all their earlier records, and really sank into what these cats wanted. They didn’t want a lot of rock guitar playing. Eventually, by Babylon by Bus, they accepted it. Funny thing is, they got the worst performance for Babylon by Bus. It was a Friday/Saturday recording and Friday was spotless, but I think Chris is saving that. It was complicated.”

What about it was complicated?

“We didn’t get royalties for anything we did. Then, Bob cut us in on the royalties, but it was like, you couldn’t see statements. It was a very complicated situation for a guitarist looking at his future. I was looking to play with everybody, and I did. I got to play with Jimmy Cliff, got to watch Chinna (Smith) work on Blackheart Man. It was unreal.”

On a session, particularly with Bob Marley, how much input did you have on the arrangement? Was Bob leading the session as far as what he wanted to hear from each instrument?

“Bob had an idea, and then he had Carly, Family Man, Tyrone (Downie, keyboards) Junior (Marvin, guitar) and me to produce his idea. ‘Wya’ (Lindo, keyboards) was a big piece of the earlier production. Burnin’ – you could say that’s ‘Wya’ Lindo, without a doubt. Earl ‘Wya’ Lindo wrote ‘Redemption Song’. It was the Wailers band that really put the atomic, nuclear thing that made Bob’s ideas explode. Bob’s stuff was rough, his acoustic stuff. It was fantastic, but no man is an island. We added a lot to his sound, but we never got credit for it. They didn’t want the band to get too big. It was all about Bob. I was totally satisfied with Bob and how the band ran in the early days. Then, Don Taylor came along. Bad management, thief, charlatan, and a military strategist who could literally wipe you out if you didn’t obey the plan.”

What was the plan?

“The plan was to make a lot of money, keep the band in a cage, and feed us whatever it took. It was the worst thing a group of musicians could go through. We are all poor now. We all have to work. There is a group of people that have a lot of money. I don’t know whether they know what we went through so that they could prosper. There is a lot of respect for them at the same time because my name isn’t Marley, it’s Anderson. I was so happy to be a part of working with him that I forgot about the other bullshit. Natty Dread made me known to do certain things. Guys were calling me to do certain things that they had heard.”

Is that when you left Marley for Peter Tosh?

“I got an opportunity to sit down with Peter, and he said I want you to play in my band with Rob (Shakespeare) and Sly (Dunbar, legendary bass/drums duo). I was like, wow! At the first rehearsal, I was asked, are you going to leave Bob to work with Peter? Yeah. I knew Ronnie Wood when he was living in Miami, and I asked him about leaving Rod (Stewart) to work with Mick (Jagger and the Rolling Stones). He said you have to keep evolving. You stay in one bag, you get a lot of money, and you get tired and fat. So, I listened to him. And I got to meet Mick and Keith (Richards). When they went looking for artists, I suggested Peter, and got him signed to Rolling Stones Records after he wanted to leave CBS. It was like an evolution for me, things were getting better. At the same time, Exodus came along and wiped everyone out.”

So, you’d left Bob before the Exodus sessions?

“I left right after Rastaman Vibration because of managerial problems. Bob was a great, fantastic leader. A guy you would go into battle with and you knew he had a strategy. As soon as management came along, the guy (Don Taylor) took the crumbs out of our mouth, the tears off your eyes. He had no heart. Cold-blooded. I couldn’t take it anymore. We were struggling, hurting for money. Peter showed me a better situation and I went with that. He did it all for me as an artist and as a friend.”

Did you have a sense, a long vision at the time, that you were leaving one of the giants of music?

“For me it was all about the music, until the politics came. Bob could’ve easily been a prime minister. He was very wise. The people who couldn’t read- he let them know in all areas what was happening. He was an immense antenna who sent messages to millions of people. Peter had a range, but Bob was infinite. He was offering more information politically to the people than the politicians. They could trust and believe in him. He had the strength to lead a nation of people.”

Was it hard not to get swept up in all of that?

“It wasn’t as great psychologically as it was metaphysically for us as musicians. The physical part of going on stage with artists like Bob Marley, Peter, and Bunny was like, oh, my God, everybody wanted to do it. I was so happy to be involved in that. What I didn’t like was, once the music was over, wow, there was a whole other world. Bob was a leader. He was leading a party, a group of people. George Bush didn’t like Bob Marley. Bob Marley was close with Michael Manley and Castro. That communism thing in the Western hemisphere wasn’t working. When he started to politicize Michael Manley over Eddie Seaga, I had federal agents literally come and tell me they were going to assassinate every band member. I said, ‘Why would you bring it to me?’ They said because you are American and George Bush is American.”

It was a warning?

“It was a warning. I told Bob, and he offered the side of his face. He said, tell them to come and take this. And they did, they attempted. That’s when I left. I said I’ve had enough of Don Taylor. I’ve had enough of the politics. I love this guy as a singer/songwriter, as a brother. But, I’m not going to risk my life to be in a band. They weren’t liking the fact that guns, marijuana, and revolution is coming into America. Africa unite? Cuba, Jamaica unite? You don’t say shit like that.”

America, in post-Watergate at that time, is a bit shaky…

“Big Brother’s eyes and ears were all on who is against America in our closest hemisphere. People were looking and saying this guy (Marley) has the possibility of uniting the whole world. He had that Martin Luther King thing. Look what they did to King and Kennedy when they decided to bring black and white people together. Bob had the magical elements, like Obama, that people didn’t like (at first) but ended up loving. Peter, Bob, and Bunny- they spoke the truth.”

Peter, Bunny, and Bob are considered the original Wailers, of which only Bunny is still alive, and not a member of your current band- the Original Wailers. Can you talk about the Original Wailers of 2010, and the Wailers led by Family Man?

“I had an opportunity to work with him (Family Man) for around 12, 15 years off and on (in the post-Marley Wailers). Family Man is not a leader. He is a retard. He is so poorly educated and has no feelings towards anybody but himself. He is one of the most selfish individuals I have ever met. I don’t think Bob liked Family Man too much because he didn’t leave anything to him. He never bothered to come to Bob’s aid while he was making his journey. It was all about the money first. No heart. He met a groupie and decided to have a whole bunch of kids. Now, she is counting my T-shirt money, counting on the name that Bob gave us, and managing and controlling everything. It was like working for Dracula.”

So, the word ‘original’ in Original Wailers refers to the original intent, the original vision of Bob’s band and music. It’s not to suggest the band is comprised of original members.

“Absolutely. I saw the level they have; the songwriting level, the production level, the people level. We eat, work and live together, and have been for two years and it’s working. People are trying to low-ball us because there are two bands out there. I want to peacefully co-exist with those other people who call themselves the Wailers. My plan is to continue with the Original Wailers until it reaches its rightful audience and people respect what we do. Then, take the ‘Wailers’ off of it, and you’ll get Bob Marley’s music with Al Anderson and Junior Marvin.”

Let’s talk about the new album you recorded.

“I had a little money and I borrowed a little money, and said, let’s go do a record. I have a friend in Rhinebeck, New York- Paul Antonell- who has a beautiful place called the Clubhouse. The B-52s, George Clinton, Peter Gabriel all record there. It’s a really nice Neve board in a great barn. A big room, wood floors, great ambience, super drum room, and a great vocal room. The people are really nice. We sat down on the last day of our Australian tour with 50 songs that the band members had written, and cut it down to the best 14. I said, instead of going home, let’s go straight into Rhinebeck and record on an analog board, live drums, like we used to. We got Karl Pitterson, Chris Blackwell’s right hand man, producing. He’s done everything in Jamaica. He’s my favorite cat. Without him my guitar sound would be as thin as a pretzel. It just worked. It was magic. It was like the old days again. I can’t believe how it came out.”

And the line-up?

“We have Junior Marvin on vocals, guitar, keyboards and songwriting. Erica Newell on vocals. Desmond ‘Desi’ Hyson on keyboards, songwriting, and vocals. Stephen Samuels on bass. Christian Cowlin on writing and organ. Francis ‘Paapa’ Nyarkoh on drums. And me, on guitar and production.”

Who’s releasing it?

“We’ve got a label, Edel, in Germany looking at wrapping it up in December and having it out for Bob’s birthday (in February) with an Original Wailers T-shirt and CD. We hope that we can reach the fans that are familiar with our names. I’m so happy with the guys I’m working with. We are all taking all that we have and putting it into the band. It was the magic of the moment.”

Interview conducted by Larson Sutton and published at www.jambands.com.

Bob Marley: The Shooting of a Wailer by Cameron Crowe, January 13, 1977

Bob Marley: The shooting of a Wailer

Los Angeles – Bob Marley, one of the world’s best-known reggae performers, and three other persons were shot December 3rd when seven gunmen burst onto the grounds of Marley’s home in Kingston, Jamaica, where he and his band, the Wailers, were rehearsing. Miraculously, amid a shower of bullets, there were no fatalities.

Island Records spokesman Jeff Walker said the musicians were on a short break from preparing for their headlining appearance at a free outdoor “Smile Jamaica” festival, cosponsored by Marley and the Jamaican Cultural Ministry December 5th at a Kingston race track. It was 9 p.m. on a Friday evening when two cars roared into the driveway of Marley’s home on Hope Road. After sealing the exit with one car, four of the gunmen began firing into the windows of the house. Another man, described by one observer as looking like “a 16-year-old kid, scared to death,” burst in the side and began firing wildly. One of the gunmen entered the kitchen, pushing past percussionist Alvin “Seeko” Patterson, and took aim at Marley. Group manager Don Taylor happened to be directly in front of Marley and took five of the seven shots, four in his upper thighs. One bullet grazed Marley’s chest directly below the heart, and passed through his arm. Also shot were Lewis Griffith, a friend of Marley’s, and Rita Marley, who was shot once in the head as she tried to escape by car with five children who were present.

While the gunmen escaped during a chase by police, the victims were rushed to nearby University Hospital, where Griffith remains with serious stomach wounds. Rita Marley underwent surgery to remove the bullet from her head and was released the next day. Don Taylor, injured the worst, was placed on the critical list and later flown to Miami hospital, where he is reported to be recovering.

Released from the hospital December 4th, Marley was swiftly tucked away in a hide-out in the Blue Mountains. “He was convinced someone was still trying to kill him, not just scare him,” said Walker, who stayed with Marley over the weekend. “There’s not much more to say until the men are found. One of the cars was found abandoned in Trenchtown.” Besides heavy police protection, Marley had the support of his fellow Rastas, who hid high in the surrounding trees, armed with machetes.

The “Smile Jamaica” festival began on schedule, even though other expected acts like Bunny Wailer, Peter Tosh and Burning Spear didn’t show up; early arrivals numbered 50,000. Third World went on first and, according to filmmaker David Silver, who was present at the show, played the “set of their lives” to a crowd unsure if Marley would even show up. In touch with the concert site by walkie-talkie, Marley was unsure himself; his band had scattered after the shooting. While Marley thought it over, all the band members were rounded up except for Aston “Family Man” Barrett, and Marley decided to appear.

 According to Walker’s description: “We raced down the narrow roads of the mountain at top speed with police escort. They cheered in the streets as Marley approached the race track. He ran right out of the car and onto the stage, where Michael Manley [prime minister of Jamaica, who had visited Marley in the hospital] hugged him warmly.”

Marley, in full view of the crowd of, by now, 85,000, made a small speech: “When I decided to do this concert two and a half months ago, there were no politics involved. I just wanted to play for the love of the people….” He then proceeded with “just one song” as Manley, also in full view of a possible assailant, stood atop a VW bus beside the stage. Though he was unable to play guitar because of his wounds, Marley and the Wailers performed for an hour and a half. Even Rita Marley, her head bandaged, sang backup.

“It was very, very moving,” recalls Silver. ‘There was no violence at all. Everybody was just swinging with the music, and Bob…Bob was like some wild creature – he was prancing and jumping like some crazy shaman. I’ve never seen him like that.”

At the end of the set Marley unbuttoned his shirt to show his chest wound to the crowd. Next he rolled up his sleeve to show where the bullet had passed through his arm. Then, mimicking the action of pulling guns from two side holsters, Marley laughed, left the stage and was raced back to his mountain hide-away. He left Jamaica December 8th for an undisclosed destination, but plans to return shortly.

Courtesy of Rolling Stone #230 – Cameron Crowe – January 13, 1977

Peter Tosh, Bunny Wailer, and Cameron Crowe, 1976

Photo © Kim Gottlieb-Walker, www.lenswoman.com, all rights reserved. From her book “Bob Marley and the Golden Age of Reggae, 1975-76, the Photographs of Kim Gottlieb-Walker.”