“So Jah Seh,” a tune written by Bob Marley in 1974, was originally recorded at Harry J studio in Jamaica and overdubbed at Island Studios in London, UK. Though written by Marley, the tune is credited to Willy San Francisco, a pseudonym of percussionist Alvin “Seeco” Patterson (Wailers Definitive Discography by Steffens and Pierson). Lesser known than many of the other tracks off the Natty Dread album, “So Jah Seh” is a favorite of native Jamaicans and hardcore fans.
The “So Jah Seh” sessions included the following musicians:
Rita Marley, Judy Mowatt, Marcia Griffiths – backing vocals Carlton Barrett – drums Aston Barrett – bass Al Anderson – guitar Bernard “Touter” Harvey – keys, harmony Tommy McCook – tenor sax Glen DaCosta – tenor sax David Madden – trumpet Vin Gordon – trombone Alvin “Seeco” Patterson – percussion Sylvan Morris – engineer (Harry Js) Phil Ault – engineer (Island) Sydney Bucknor – mixing engineer (Island) Producer: Wailers
Notable live performances of “So Jah Seh” include Manhattan Center 1975 and Smile Jamaica 1976.
Midnight Raver’s “So Jah Seh Mix Up”
1. Wailers – So Jah Say (Speakers Corner Mix) 2. Wailers – So Jah Say (Version) 3. Wailers – So Jah Say (Vinyl, German Box Set) 4. Wailers – So Jah Say Dub 5. Wailers – So Jah Seh (Natty Dread Acetate – Tuff Gong Studio Original Mix) 6. Bim Sherman – So Jah Say (Bim Sherman) 7. Wailers – So Jah Say (7″ vinyl edit, Island Records) 8. Wailers – So Jah Seh (Live at Manhattan Center, NYC, 1975) 9. Wailers – So Jah Seh (Alternate, Natty Dread Demos) 10. Wailers – So Jah Seh (Rehearsal, Criteria Studios, Miami, September 1980)
Vodpod videos no longer available.
“So Jah Seh” Smile Jamaica 1976
The following are photos of Bob Marley and the Wailers’ performance at Manhattan Center, NYC, June 1975.
I have said it before here, and I will say it again: the undisputed King of Reggae is Lee “Scratch” Perry. Here is an interview circa 1984.
LEE ‘SCRATCH’ PERRY interview – a classic from the NME circa 1984. A surprisingly lucid look at the Black Ark, Bob Marley and Blackwell…
by DANNY KELLY
When Lee Perry – aka Scratch, aka The Upsetter– burned down his Black Ark studio, many people thought he had finally flipped his lid. But now he’s back, with a new LP, a new studio and a vengeful plan to bankrupt Island Records – whose villainy, he claims, brought about his past madness. Danny Kelly takes a schizo-reading on the man who invented dub and made Bob Marley famous.
WHEN THE sprawling, jagged, beautiful, wicked history of popular music is definitively assembled, the name of Lee Perry will be writ large. If his sole achievement had been to engineer Doctor Alimantado’s ‘Best Dressed Chicken In Town’, a tune that fired the pimply imagination of John Lydon, he would have been entitled to a line at least. Or if he had only been the coproducer of The Clash’s fiercesome ‘complete Control’ he’d have deserved a small paragraph.
But Perry was also the man behind some of the greatest records ever made, reggae or otherwise. And the politics that drew the latent genius of Robert Nesta Marley to the surface. And the brains, ears and hands that helped create dub, an innovation that altered the sound, the very possibilities, of black music as surely as Leiber and Stoller’s inspired orchestral drenching of The Drifters’ ‘There Goes My Baby’ or the white-coated circuit-board wiz who gave soldered life to a micro monster and called it DMX.
In truth, the felling of all the forests of Scandinavia couldn’t produce enough pages to do justice to the wondrous art of Lee Perry. And yet, on one hazy Jamaican morning in 1980, this amazing man made an effort to write himself out of that history. He destroyed his fabled Black Art studio, his tiny haven of creativity that had become a torture chamber to him.
Perry’s legendary eccentricity appeared to have spilled across the invisible line into full scale insanity.
Since then all we have heard are rumours, spread, he claims, by his enemies, of continued madness, some third-hand quotes (some pitiably said, others laced with acidic anger) after the death of Marley, and a series of reworked rhythms put out on compilations by the miniscule Seven Leaves Records in North West London, welcome but nonetheless faded echoes of former glories, dusty crumbs from a table once groaning with bounty.
But now the Lee Perry legend may be on the verge of resurrection. An all-new record (‘History, Mystery, Prophesy’) has appeared in America and the genius is holed up in London, planning, scheming, plotting and ranting, preparing to tour and, joy of joys, to produce more new music…
My favorite Lee Perry-produced track is the Congos’ “Open The Gate” from Heart of the Congos. This one, however, is a very close 2nd – “Mistry Babylon”/”Version” by The Heptones. Recorded at the Black Ark in 1976 and released as a 7″ on the Hep Hep label.
It’s barely been in existence a few months, and already Mark Ainley and Mark Ernestus’s Dug Out imprint has served up four of the year’s most revelatory reissues. The fifth is now upon us.
The two reggae aficianados – Ainley being manager of West London’s Honest Jon’s shop and label, Ernestus founder of Berlin’s Hardwax and one half of Rhythm & Sound – launched Dug Out with King Kong’s yearning ‘He Was A Friend’, following it with Michael Rose’s dusty ‘Obserb Life’, Anthony Red Rose’s digi bomb ‘Electric Chair’ and most recently Jah Warrior’s ‘Dub From The Heart’, an impossibly heavy ’96 UK dancehall cut that anticipates the rootsy dubstep of RSD.
This week sees the release of the first LP reissue on Dug Out, Dadawah‘s brooding, strung-out masterpiece of nyabinghi (Rastafarian spiritual music), Peace And Love. Originally released in 1974 on Wild Flower, it was repressed in ’75 by Trojan with different artwork. Ainley and Ernestus have had the tracks remastered at Abbey Road for the Dug Out edition, the vinyl housed in “old-school, hand-assembled sleeves” with original cover art restored. The album is available on CD and digital as well as vinyl.
We’ll let Honest Jon’s explain the unique appeal of the record:
“Led by Ras Michael over four extended excursions, the music is organic, sublime and expansive, grounation-drums and bass heavy (with no rhythm guitar, rather Willie Lindo brilliantly improvising a kind of dazed, harmolodic blues). Lloyd Charmers and Federal engineer George Raymond stayed up all night after the session, to mix the recording, opening out the enraptured mood into echoing space, adding sparse, startling effects to the keyboards. At no cost to its deep spirituality, this is the closest reggae comes to psychedelia.”
Tracklist: 1. Run Come Rally 2. Seventy-Two Nations 3. Zion Land 4. Know How You Stand
Five-time Grammy winner and reggae icon Ziggy Marley is set to release his new live album Ziggy Marley Live exclusively on iTunes on December 18th. According to his website www.ziggymarley.com, a worldwide physical and digital release date is set for December 18, 2012 via Tuff Gong Worldwide. Recorded throughout Ziggy’s Wild and Free 2012 tour, the live album includes selections from his 2011 Grammy®-nominated studio release “Wild And Free,” as well as two Bob Marley classics, “War” and “Is This Love,” and several classics from his days with the Melody Makers.