0:00:22 > 0:00:25And now we're going to play another hit from The Wailers,
0:00:25 > 0:00:27called Catch A Fire.
0:00:30 > 0:00:32MUSIC STARTS
0:00:37 > 0:00:41# Yeah, slave driver
0:00:41 > 0:00:44# The table is turn
0:00:44 > 0:00:46# Catch your fire
0:00:47 > 0:00:49# You're gonna get burn
0:00:49 > 0:00:51- # Catch a fire. # - Oh, yeah!
0:00:51 > 0:00:54# Slave driver
0:00:54 > 0:00:58- # The table is turn - Catch a fire
0:00:58 > 0:01:00# Catch a fire
0:01:00 > 0:01:04- # You're gonna get burn - Catch a fire
0:01:04 > 0:01:08# Yeah, every time I hear the crack of a whip
0:01:08 > 0:01:10# My blood runs cold... #
0:01:10 > 0:01:13This is stand up and talk for my rights.
0:01:13 > 0:01:15I know what that is.
0:01:17 > 0:01:20We're revolutionaries, you know?
0:01:22 > 0:01:26Hear this, myself as a revolutionary,
0:01:26 > 0:01:29who do have no help and nah take no bribe from no-one,
0:01:29 > 0:01:32but fight it single-handed with music.
0:01:32 > 0:01:35# Today they say that we are free
0:01:35 > 0:01:39# Only to be chained in poverty
0:01:39 > 0:01:42# Good God, I think it's illiteracy... #
0:01:42 > 0:01:46It's just a matter of proving our potential, see?
0:01:46 > 0:01:50And a matter of spreading more messages, because
0:01:50 > 0:01:53when we were together, we were singular.
0:01:54 > 0:01:56It was one message.
0:01:56 > 0:02:02# Catch your fire, you're gonna get burn... #
0:02:02 > 0:02:05So it was a total discipline
0:02:05 > 0:02:09and a responsibility that we knew we had.
0:02:09 > 0:02:11That we couldn't stop, or turn back,
0:02:11 > 0:02:13under no circumstances.
0:02:13 > 0:02:17So that is in the militancy that The Wailers had.
0:02:17 > 0:02:20It's like, against all odds.
0:02:22 > 0:02:25And we still move. Still carry that.
0:02:25 > 0:02:29Still going, the flag's got to be hoisted.
0:02:38 > 0:02:40# Let's stir it up
0:02:40 > 0:02:43# Little darlin'
0:02:43 > 0:02:46# Stir it up
0:02:46 > 0:02:49# Little darlin'
0:02:49 > 0:02:50# Stir it up... #
0:02:50 > 0:02:56It would be very hard to exaggerate the extent to which reggae
0:02:56 > 0:02:58was despised among rock fans,
0:02:58 > 0:03:00in Britain and America,
0:03:00 > 0:03:03insofar as they knew about it at all in America.
0:03:03 > 0:03:05But in Britain there were occasional reggae hits,
0:03:05 > 0:03:09chart hits, in those days, things like Fattie Boom Boom.
0:03:09 > 0:03:13And that was really the only reggae that the average rock fan heard.
0:03:13 > 0:03:16And that was he, or she, based their impression on.
0:03:16 > 0:03:20And it was a, kind of, novelty music.
0:03:20 > 0:03:23Crude, cheap, not to be taken seriously on any level.
0:03:23 > 0:03:28So, the job of conversion had to be done.
0:03:28 > 0:03:32# ..you're gonna get burned. #
0:03:48 > 0:03:52We were in London to see if we could establish ourselves,
0:03:52 > 0:03:53as well as the music.
0:03:55 > 0:03:56# Slave driver... #
0:03:58 > 0:04:01It seems as if you don't get the message, ah?
0:04:03 > 0:04:06- The Clavinet... - INDISTINCT
0:04:07 > 0:04:11'We rehearsed together round the clock.'
0:04:11 > 0:04:15# Little darling, it's been a long, long time
0:04:17 > 0:04:19# Since I've got... #
0:04:19 > 0:04:23We were rehearsing for nearly three months. So...
0:04:23 > 0:04:27You know, we decided that we would take up an invitation
0:04:27 > 0:04:29that was there.
0:04:29 > 0:04:32Chris Blackwell was interested in seeing us
0:04:32 > 0:04:33for some kind of discussion.
0:04:36 > 0:04:39You see, they had a reputation of being very hard to deal with.
0:04:39 > 0:04:42They were independent guys, you know.
0:04:42 > 0:04:46And everybody said, you know, they're impossible to deal with.
0:04:46 > 0:04:49And I felt that the only way to establish
0:04:49 > 0:04:53a relationship with them was to show some trust to them.
0:04:53 > 0:04:56And so that's really what I did,
0:04:56 > 0:04:59in that I gave them the money to go and make the record.
0:04:59 > 0:05:03But he offered us...£4,000.
0:05:03 > 0:05:06Which we took...and we went ahead...
0:05:08 > 0:05:10..and did the album.
0:05:28 > 0:05:31As some of the songs that are on Catch A Fire
0:05:31 > 0:05:34are songs that were already recorded
0:05:34 > 0:05:35by The Wailers,
0:05:35 > 0:05:37It wasn't any kind of a hassle to do the album.
0:05:37 > 0:05:40It was simply Wailers-type thing,
0:05:40 > 0:05:43just going into the studio and doing an album.
0:05:43 > 0:05:45# Stir it up
0:05:47 > 0:05:50# Little darlin'
0:05:50 > 0:05:52# Stir it up
0:05:52 > 0:05:53# Come on, baby
0:05:55 > 0:05:57# Come on and stir it up
0:05:58 > 0:06:01# Little darlin'
0:06:01 > 0:06:03# Stir it up
0:06:05 > 0:06:07# Little darlin'... #
0:06:11 > 0:06:14Blackwell was sitting down wondering if we were ever going to return
0:06:14 > 0:06:16with an album.
0:06:16 > 0:06:21So it was a challenge for us to prove to him, you know,
0:06:21 > 0:06:24different from what he thought.
0:06:24 > 0:06:27So we just had to get to the point.
0:06:27 > 0:06:31So the album was done in, like, record time!
0:06:31 > 0:06:34# It's been a long, long time
0:06:35 > 0:06:39# Since I've got you on my mind
0:06:40 > 0:06:43# Oh-oh, yeah, yeah
0:06:43 > 0:06:45# And now you are here... #
0:06:45 > 0:06:49Bob seemed to have a disciplined set of chaps, you know?
0:06:49 > 0:06:52They seemed to have done a lot of rehearsals.
0:06:52 > 0:06:56Because whenever they did a tune, it was that tight, you know?
0:06:56 > 0:06:59The normal chaps, the other chaps wouldn't have it that tight.
0:06:59 > 0:07:03And I think probably it was because of the amount of rehearsal time
0:07:03 > 0:07:04that they put in.
0:07:04 > 0:07:09They were very disciplined in terms of where the musical section is concerned,
0:07:09 > 0:07:11I think Bob had them going that way, you know.
0:07:17 > 0:07:19# Let's stir it up
0:07:21 > 0:07:23# Little darlin'... #
0:07:23 > 0:07:25# Stir it up
0:07:27 > 0:07:29# Little darlin'
0:07:29 > 0:07:32# It's a long, long time... #
0:07:32 > 0:07:36And once you started doing all that, you're listening to the singer,
0:07:36 > 0:07:41because the singer is singing, so you start listening because the bassline is already there.
0:07:41 > 0:07:44So you start to listen to the singer.
0:07:44 > 0:07:47And you get his... So you have to listen to it all, the bass,
0:07:47 > 0:07:49once you jam with the bass,
0:07:49 > 0:07:52then you are all right, the bass is settled,
0:07:52 > 0:07:55then you start dealing with the keyboard -
0:07:55 > 0:07:57sometimes the keyboard would play something that's sweet,
0:07:57 > 0:07:59and you just... DRRANG!
0:07:59 > 0:08:02Or sometimes the guitar will make a shuffle - CHANG-K-CHANG -
0:08:02 > 0:08:05and you go DRAATANN! It depends on the feel.
0:08:05 > 0:08:09Once you get the feel. But the main people are the bass and drums.
0:08:23 > 0:08:27After recording them, Bob himself took the eight-track tapes to London
0:08:27 > 0:08:30where he remixed and overdubbed them with Chris Blackwell.
0:08:32 > 0:08:37He has a great voice for recording, because it's in the frequencies
0:08:37 > 0:08:39which you need to cut through,
0:08:39 > 0:08:45you can surround it with instruments at a high level,
0:08:45 > 0:08:49but his voice is of a frequency that it can really cut through.
0:08:55 > 0:09:00The premise behind the people at Island Studios tended to be
0:09:00 > 0:09:04based more on the musical aspect of recordings
0:09:04 > 0:09:07rather than the technical excellence of the recordings.
0:09:07 > 0:09:11But even technically, these recordings were fabulous.
0:09:13 > 0:09:18With Stir It Up, what I was trying to merge it into was more of a
0:09:18 > 0:09:21sort of hypnotic type feel,
0:09:21 > 0:09:26with the kind of wah-wah feel and
0:09:26 > 0:09:29different sort of guitar, going all the way through it,
0:09:29 > 0:09:34and make it less of the reggae rhythm and more of a drifting feel.
0:09:35 > 0:09:36Because the experiment was,
0:09:36 > 0:09:39for Chris Blackwell to help Bob break in America,
0:09:39 > 0:09:43so we needed to add a little bit of something that
0:09:43 > 0:09:47Americans were used to, like clavinets and things.
0:09:47 > 0:09:49So Bob was ready for that.
0:09:49 > 0:09:55But the thing they were trying to do by bridging the gap between
0:09:55 > 0:09:58purist reggae and Americanised reggae,
0:09:58 > 0:10:01which Americans could palate, was not purist.
0:10:01 > 0:10:05My parts on Catch A Fire are nowhere near purist,
0:10:05 > 0:10:08they are an imitation of what Bob Marley taught me how to do.
0:10:08 > 0:10:10And so over the reggae...
0:10:10 > 0:10:12HE PLAYS KEYBOARD
0:10:12 > 0:10:13I was doing that.
0:10:29 > 0:10:32This record had the most overdubs and it.
0:10:32 > 0:10:36This record was the most - I don't say softened,
0:10:36 > 0:10:41but I'd more say, enhanced to try and reach a rock market, because
0:10:41 > 0:10:44this was the first record, and they wanted to reach into that market.
0:10:46 > 0:10:48# Oh, yeah
0:10:49 > 0:10:55# And now you are here, I say it's so clear
0:10:55 > 0:10:59# To see what we could do, baby
0:10:59 > 0:11:01# Just me and you
0:11:01 > 0:11:04# Come on and stir it up
0:11:06 > 0:11:08# Little darlin'
0:11:08 > 0:11:10# Stir it up
0:11:11 > 0:11:12# Come on, baby
0:11:14 > 0:11:16# Come on and stir it up
0:11:19 > 0:11:21# Little darlin'
0:11:21 > 0:11:23# Stir it up... #
0:11:23 > 0:11:27To get the first-ever reggae group on the Old Grey Whistle Test
0:11:27 > 0:11:30was quite a coup, I think.
0:11:30 > 0:11:33And I think probably, some of the audience was upset to see that,
0:11:33 > 0:11:38but it also was just one more thing that drew the Wailers into
0:11:38 > 0:11:41the mainstream and made them acceptable.
0:11:47 > 0:11:49# Slave driver
0:11:52 > 0:11:54# The table is turn... #
0:11:55 > 0:12:00The music hits you, but you feel no pain.
0:12:00 > 0:12:02But it's happening.
0:12:02 > 0:12:07And it's the same thing with the message. It hits you.
0:12:07 > 0:12:09But you don't feel no pain.
0:12:09 > 0:12:12What it does for you is to give you a vision
0:12:12 > 0:12:16and a reason to change your lifestyle,
0:12:16 > 0:12:20your convictions - you know, it's like a purge.
0:12:20 > 0:12:24# My blood runs cold
0:12:24 > 0:12:27# I remember on the slave ship
0:12:27 > 0:12:31# How they brutalised our very souls
0:12:31 > 0:12:34# Today they say that we are free
0:12:34 > 0:12:38# Only to be chained in poverty
0:12:38 > 0:12:41# Oh, no, it's illiteracy
0:12:41 > 0:12:44# It's only a machine that makes money
0:12:44 > 0:12:47# Slave driver
0:12:48 > 0:12:50# The table is turn
0:12:52 > 0:12:57# Catch a fire, gonna get burned. #
0:12:57 > 0:12:59# Slave driver
0:12:59 > 0:13:01# The table is turn
0:13:01 > 0:13:03# Catch a fire, yeah
0:13:03 > 0:13:06# Catch a fire
0:13:06 > 0:13:08# You're gonna get
0:13:08 > 0:13:10# Catch a fire
0:13:10 > 0:13:13# Slave driver
0:13:13 > 0:13:14# The table is
0:13:14 > 0:13:16# Catch a fire
0:13:17 > 0:13:20# Catch a fire
0:13:20 > 0:13:22# You're gonna get burn. #
0:13:25 > 0:13:28When the Wailers came with songs like Slave Driver,
0:13:28 > 0:13:34it was a total revolution within the music itself, the industry.
0:13:35 > 0:13:38The people needed that revolution.
0:13:38 > 0:13:42Because there were things that had to be dealt with,
0:13:42 > 0:13:46that singing about love could not deal with it.
0:13:46 > 0:13:49Within the focus of, "I love you".
0:13:49 > 0:13:53We come to find out that we were living in this ghetto,
0:13:53 > 0:13:55so-called,
0:13:55 > 0:14:00which you know, consists of poor people, 99%...
0:14:02 > 0:14:06..and there were people who were living in the general shitstem
0:14:06 > 0:14:12who, you know, has no-one to help them, no-one to do nothing for them.
0:14:12 > 0:14:16And we live in the same administration.
0:14:16 > 0:14:19Maybe we are the only ones who can express the people's feelings
0:14:19 > 0:14:21through music.
0:14:21 > 0:14:24And because we can do that, the people love it.
0:14:26 > 0:14:29The group is the Wailers.
0:14:29 > 0:14:31For some reason, dem say Bob Marley and the Wailers,
0:14:31 > 0:14:35I never tell no-one fi say that, from no time at all.
0:14:35 > 0:14:37But maybe for some reason dem do it, you know?
0:14:37 > 0:14:40It's the Wailers, you know.
0:14:42 > 0:14:46Even until this day, don't let no man tell you different,
0:14:46 > 0:14:49to me, Wailers was like a family. Still is.
0:14:49 > 0:14:53Even though Bob and Peter might not be here,
0:14:53 > 0:14:57Wailers was like and still is a family up to this day.
0:14:59 > 0:15:03Reggae music is the heartbeat of the people.
0:15:03 > 0:15:06It's the universal language.
0:15:06 > 0:15:10Bob say one good thing about it - "When it hits, you feel no pain".
0:15:11 > 0:15:17So we're trying to express the lyrics within the melody,
0:15:17 > 0:15:18so...
0:15:18 > 0:15:23within that... that roots, that reggae roots,
0:15:23 > 0:15:27with that R&B flavour, to get it across the world.
0:15:31 > 0:15:33You know, at first, the songs start with
0:15:33 > 0:15:37a kind of humming sound from the harmony, you know?
0:15:37 > 0:15:42All three singers singing this, sound like...
0:15:42 > 0:15:45# Ooh-ooh. # You know?
0:15:45 > 0:15:47So to give us a line like...
0:15:47 > 0:15:52PLAYS BASSLINE
0:15:54 > 0:15:56Like a moan feel.
0:16:06 > 0:16:08So, Slave Driver, that's what would come in...
0:16:24 > 0:16:26Between myself, Bob and Peter,
0:16:26 > 0:16:31we had to find a formula that would...be acceptable.
0:16:35 > 0:16:39So what we did was laid down hard,
0:16:39 > 0:16:42driving rhythm that suggests the basic reggae principles.
0:16:44 > 0:16:48And then now, we would put little bits and colourings
0:16:48 > 0:16:52of here and there that would not take away
0:16:52 > 0:16:54from the basic principles,
0:16:54 > 0:17:01but would attract the international marketplace.
0:17:03 > 0:17:05# Slave driver
0:17:06 > 0:17:07# The table is
0:17:07 > 0:17:09# Catch a fire
0:17:10 > 0:17:12# Catch a fire
0:17:12 > 0:17:16# You're gonna get burn, yeah, yeah. #
0:17:42 > 0:17:47The tape that's playing now is the rough mix of the original recording
0:17:47 > 0:17:52in Jamaica, probably the tape that Chris Blackwell made his decisions
0:17:52 > 0:17:55of where to go with the album.
0:17:55 > 0:17:57This came over with the original tapes.
0:18:00 > 0:18:04Effectively, everything is there, the atmosphere is there,
0:18:04 > 0:18:07which is 98% of it as far as I'm concerned.
0:18:08 > 0:18:13So, we had one, two, three, four, five, six, seven tracks
0:18:13 > 0:18:15on the original tape.
0:18:21 > 0:18:24I can just show you here - that's the drums,
0:18:24 > 0:18:27all the drums are mixed to one track.
0:18:29 > 0:18:32And then other tracks would have -
0:18:32 > 0:18:35this is guitar and piano mixed together.
0:18:35 > 0:18:40And it's an interesting feature of the Jamaican reggae music,
0:18:40 > 0:18:44because they were tight with the number of tracks they had available,
0:18:44 > 0:18:46they would record everything in the same room,
0:18:46 > 0:18:51and I believe that contributes greatly to the overall sound,
0:18:51 > 0:18:55because different instruments feed down different microphones so that
0:18:55 > 0:18:57the combination of the sounds is...
0:19:00 > 0:19:05And then we added in some slide guitar,
0:19:05 > 0:19:07with Wayne Perkins.
0:19:24 > 0:19:27# Rock it baby... #
0:19:28 > 0:19:31So I'm listening, and I'm sitting here trying to figure out
0:19:31 > 0:19:35what's going on and I can't find the "one" to save my ass -
0:19:35 > 0:19:37I cannot find the one.
0:19:37 > 0:19:40So I'm going, "Chris, what's going on?"
0:19:40 > 0:19:44He said, "Just stop and listen to it, don't listen to the bass,"
0:19:44 > 0:19:47and he brought the bass down for me just a little bit.
0:19:47 > 0:19:51I said, "All right, I'm listening."
0:19:51 > 0:19:55All of a sudden, something starts to settle in and I'm going,
0:19:55 > 0:19:58"OK. All right, roll the tape."
0:20:07 > 0:20:10They started playing this strange music, I mean,
0:20:10 > 0:20:14I've never heard the likes of. It was...
0:20:14 > 0:20:18Compared to anything else I've ever heard in my life, the R&B,
0:20:18 > 0:20:22the church music, anything I'd ever heard - this was backwards.
0:20:28 > 0:20:32And Bob had his guitar on and he was going,
0:20:32 > 0:20:34Chk-chk-chk, like they do.
0:20:34 > 0:20:37And I was just meandering on the organ, like...
0:20:41 > 0:20:43You know, and he was saying, "No, no.
0:20:43 > 0:20:45"Bumbaclart! Rasclart!" All this.
0:20:45 > 0:20:48He said, "Organ, man, organ go like this."
0:20:48 > 0:20:51And he came over to the organ and didn't play any notes,
0:20:51 > 0:20:53he just slapped the keys and said, "I go, like...
0:20:53 > 0:20:55"You go..."
0:20:58 > 0:20:59Like that kind of thing.
0:20:59 > 0:21:02And I said, "What do you mean?"
0:21:02 > 0:21:05"No, no." And he played the chord like me.
0:21:07 > 0:21:11In other words, play a triad, so I made it a chord and went...
0:21:16 > 0:21:20It's what he could teach you about his music that helped you with
0:21:20 > 0:21:21your own music, if you know what I mean.
0:21:21 > 0:21:23Feels.
0:21:23 > 0:21:26Playing from the heart, things like that.
0:21:26 > 0:21:28And to me, that's part of being a musician.
0:21:28 > 0:21:33# Baby, baby, we've got a date... #
0:21:35 > 0:21:37It was a little child that hummed the melody first.
0:21:39 > 0:21:41You know, "Baby, baby, we've got a date."
0:21:41 > 0:21:46And it sounded so childish, that we just followed through,
0:21:46 > 0:21:49but it was a baby's melody.
0:21:50 > 0:21:53For a song by a little baby.
0:21:53 > 0:21:55# Rock it, baby, tonight
0:21:55 > 0:21:59# Rock it, baby, rock it, baby, tonight
0:21:59 > 0:22:02# Say we got to get together, babe, tonight
0:22:02 > 0:22:05# Say we got to get together, babe, tonight
0:22:05 > 0:22:09# Say we got to get together, babe, tonight
0:22:09 > 0:22:13# Got to get together, babe, tonight... #
0:22:13 > 0:22:15Everyone is in sync with each other.
0:22:16 > 0:22:21As one love, one heart, one aim, one destiny, one - it's a one thing.
0:22:21 > 0:22:24It's all for one, one for all.
0:22:24 > 0:22:30So, it's... That's the Wailers' call, that's the Wailers' motto.
0:22:30 > 0:22:33That's how we lived. That's how we survived.
0:22:45 > 0:22:49Now, Bob Marley, which was then called Robbie, Robert,
0:22:49 > 0:22:50because he was Robert Nesta
0:22:50 > 0:22:54before he became the great Bob Marley, he was Robert.
0:22:54 > 0:23:00He was more of a laid-back, stand back and watch you type.
0:23:00 > 0:23:03And, "No, don't even talk to me."
0:23:03 > 0:23:05You know that type, you would never want to say anything
0:23:05 > 0:23:08to disturb his meditation.
0:23:15 > 0:23:19It would take someone coming from Saint Ann,
0:23:19 > 0:23:24cos that's where he was born, to come to Kingston...
0:23:26 > 0:23:28..and not be ambitious.
0:23:29 > 0:23:34With that sort of parentage background - white father,
0:23:34 > 0:23:38black mother, not knowing his father, never see him but once,
0:23:38 > 0:23:41it's like, who the hell am I?
0:23:41 > 0:23:45And there you have to go and prove yourself, that you are somebody.
0:23:45 > 0:23:48Cos I would sometimes say to him, "Bob, you know you're great."
0:23:48 > 0:23:52And he says "Great what? Who the hell do you think I am?"
0:23:52 > 0:23:54Just like he said in Buffalo Soldier,
0:23:54 > 0:23:57"Who the hell do you think I am? But I'm a buffalo soldier."
0:23:58 > 0:24:00So...
0:24:00 > 0:24:03That's Bob... That's my taste of him.
0:24:03 > 0:24:07You know, from being married and having children
0:24:07 > 0:24:11and raising a family from nothing,
0:24:11 > 0:24:15sleeping on the floor - as he said, "Cold ground was my bed last night
0:24:15 > 0:24:19"and rock stone was my pillow too." That's a fact, that's no joke.
0:24:19 > 0:24:21That's reality.
0:24:27 > 0:24:33There was a real unity between them as youngster - Bob, Bunny and Peter.
0:24:33 > 0:24:37They were like three brothers. Yeah, they loved each other,
0:24:37 > 0:24:40they did everything well together.
0:24:40 > 0:24:42But Tosh told me one thing too.
0:24:42 > 0:24:46Even for him to do even two songs on that album,
0:24:46 > 0:24:49leading the album, he had to pursue that,
0:24:49 > 0:24:55force his way into leadership, because Peter would tell me
0:24:55 > 0:24:58that most of the time, Bob would do all the leading.
0:24:58 > 0:25:01Don't care if he would write the song, arrange it,
0:25:01 > 0:25:05Bob would always take the leading position and it would be very
0:25:05 > 0:25:09difficult for him to even get an opportunity to lead a song.
0:25:09 > 0:25:12So he would have to fight his way in.
0:25:12 > 0:25:15# All my good life I've been a lonely man
0:25:18 > 0:25:21# Teaching people who don't understand
0:25:24 > 0:25:29# And even though I've tried my best
0:25:29 > 0:25:34# I still can't find no happiness
0:25:34 > 0:25:36# So I've got to say
0:25:36 > 0:25:39# Stop that train, I'm leaving
0:25:42 > 0:25:46# Stop that train, I'm leaving
0:25:48 > 0:25:52# Stop that train, I'm leaving... #
0:25:52 > 0:25:57We never credit no individual with this making of songs.
0:25:57 > 0:25:59We made the songs together.
0:25:59 > 0:26:03All we did was put the songs in one individual name,
0:26:03 > 0:26:07and then when you got the returns, we split it three ways.
0:26:07 > 0:26:08That was our code.
0:26:16 > 0:26:21But essentially, this is halfway between folk song and a ballad, so...
0:26:23 > 0:26:29It needed a different approach to the other ones,
0:26:29 > 0:26:31that were just straight, rhythmic pieces.
0:26:32 > 0:26:36And also, it was interesting again,
0:26:36 > 0:26:40mixing the two styles, because the organ overdubs there,
0:26:40 > 0:26:41the sweeping line there,
0:26:41 > 0:26:46is much more the thing that you would find in a rock ballad.
0:26:47 > 0:26:49Whereas the...
0:26:51 > 0:26:55That's just the straightforward reggae.
0:26:55 > 0:26:59And then these... little licks and lines.
0:26:59 > 0:27:02Bob always seemed to have a very clear idea of what
0:27:02 > 0:27:04he wanted from the recordings.
0:27:04 > 0:27:07He would record everything,
0:27:07 > 0:27:10cut all the tracks, and I would basically mix them,
0:27:10 > 0:27:13and put them together in an arrangement,
0:27:13 > 0:27:17and then compile the albums, in terms of their running order.
0:27:17 > 0:27:20Somebody said to him one time, was I his producer?
0:27:20 > 0:27:23and he said no, I was his translator.
0:27:23 > 0:27:24And I was very happy with that.
0:27:24 > 0:27:28I think that's probably what I was doing.
0:27:28 > 0:27:32So, I was mixing them and arranging them and making them, you know,
0:27:32 > 0:27:37what I felt would have the best chance of getting across.
0:27:44 > 0:27:46It's very R&B.
0:27:46 > 0:27:47To me. It's great.
0:27:49 > 0:27:54But it wasn't right...for where we were positioning that album.
0:27:56 > 0:27:59Cos what... It's hard, at this point in time,
0:27:59 > 0:28:01because Bob has become so huge -
0:28:01 > 0:28:05frankly, on hearing Stir It Up in the raw version,
0:28:05 > 0:28:09it sounds to me much better than the one we eventually did with it, now.
0:28:09 > 0:28:14But at the time, one was really trying to change a perception,
0:28:14 > 0:28:17you know, and reach a market.
0:28:17 > 0:28:19This is fantastic, too.
0:28:19 > 0:28:22Hearing it now, it's absolutely fantastic but it wouldn't have...
0:28:22 > 0:28:26in my opinion, have suited that record.
0:28:29 > 0:28:32# I said, I heard my mother
0:28:32 > 0:28:37- # She was praying - Praying, praying, praying
0:28:39 > 0:28:45- # And the words that she said - The words that she said... #
0:28:45 > 0:28:49We used to relate to other musical cultures.
0:28:50 > 0:28:54Especially on the UK side, or on the American side.
0:28:55 > 0:29:00The Platters, the Drifters, James Brown, the Impressions,
0:29:00 > 0:29:05all of the people who came down the ages.
0:29:13 > 0:29:15# And stand by me in
0:29:15 > 0:29:19# High seas or in low seas
0:29:21 > 0:29:23# I'm going to be your friend
0:29:25 > 0:29:28# He say, I'm going to be your friend... #
0:29:33 > 0:29:35You remember Bob Marley?
0:29:35 > 0:29:38You remember Bob Marley?
0:29:38 > 0:29:41- I said, "You remember Bob Marley?" - Bob Marley?
0:29:41 > 0:29:44Yes. I am talking about Bob Marley.
0:29:45 > 0:29:47Yes.
0:29:47 > 0:29:48Yeah, man.
0:29:55 > 0:29:56Yeah, man.
0:30:13 > 0:30:17Some people still searching for this truth here,
0:30:17 > 0:30:20which this reggae music, you know, bring Christ to them.
0:30:20 > 0:30:24And the only purpose itself is to tell the people who are Rastafarian.
0:30:32 > 0:30:37This is stand up and talk for my rights. I know what that is.
0:30:37 > 0:30:42See? And I don't care who the guy is.
0:30:42 > 0:30:45Because my right is my right.
0:30:45 > 0:30:47Like my life.
0:30:47 > 0:30:50You know? All I have is my life.
0:30:54 > 0:30:59Well, I've been a Rasta from ever since...that me is your own man.
0:30:59 > 0:31:03The first time you own yourself. You do what you want to do.
0:31:03 > 0:31:06Anything people want to say about you, you don't care,
0:31:06 > 0:31:10because the Bible says, "God sends him, he shall return as the King of Kings,
0:31:10 > 0:31:13"the Lord of Lords, the conquering Lion of the tribe of Judah.
0:31:13 > 0:31:15"And he shall come in a new name."
0:31:21 > 0:31:23Now, that is a reality and a world truth,
0:31:23 > 0:31:27and the truth is that his Majesty's Earth rightful ruler.
0:31:27 > 0:31:29And that is Haile Selassie, Haile I.
0:31:35 > 0:31:37Bob exposes...
0:31:40 > 0:31:43..a polite violence.
0:32:51 > 0:32:53# We don't need... #
0:33:12 > 0:33:14HE SINGS
0:33:22 > 0:33:25It was also very spiritual, you know.
0:33:25 > 0:33:30In other words, within their thought and their thinking. See?
0:33:30 > 0:33:34They were thinking from a godly aspect. With their concerns.
0:33:34 > 0:33:38So they sort of put this in the music, how you heard it.
0:33:38 > 0:33:40One, two...
0:33:48 > 0:33:52'We were out to get that message out.
0:33:54 > 0:33:59'The Father himself, he chose the time, the place and the
0:33:59 > 0:34:06'people who would be involved in the establishment of reggae music.
0:34:18 > 0:34:23You get that warm sound. You could feel it.
0:34:23 > 0:34:28It was like painting a picture. Maybe it is red, gold and green.
0:34:28 > 0:34:31But what shade of red you use at that side and what shade of gold,
0:34:31 > 0:34:33shade of green.
0:34:35 > 0:34:37- It's a picture. - HE LAUGHS
0:34:39 > 0:34:41# We don't need no trouble
0:34:43 > 0:34:48# We don't need
0:34:49 > 0:34:52# No more trouble... #
0:34:53 > 0:34:56I used to do a lot of English songs.
0:34:56 > 0:35:00Bring back the playback into the actual...
0:35:00 > 0:35:02thing and get a sound and the voices.
0:35:02 > 0:35:07You know, in those days that was, you know, slightly hi-tech.
0:35:07 > 0:35:08HE LAUGHS
0:35:08 > 0:35:11Even though it was two track, you know what I mean? So, you know,
0:35:11 > 0:35:14so I...you know...
0:35:14 > 0:35:17got some feel from there, you know, experience teaches wisdom.
0:35:17 > 0:35:21And working with a lot of these chaps.
0:35:21 > 0:35:24I suppose I got a feel, you know?
0:35:24 > 0:35:25# We don't need
0:35:27 > 0:35:28# We don't need
0:35:28 > 0:35:31# No more trouble
0:35:31 > 0:35:34- # Lord knows, we don't need no trouble...- #
0:35:36 > 0:35:38The word "wail" means to cry or to mourn
0:35:38 > 0:35:43or to express your feelings vocally.
0:35:43 > 0:35:45# Seek happiness
0:35:48 > 0:35:52# Come on, you all, and speak of love
0:35:52 > 0:35:54# Oh, yeah
0:35:56 > 0:36:01We listen to the radio and anything the radio play, is that we hear.
0:36:02 > 0:36:06So, I wasn't really into them thing. I was really into, like...
0:36:07 > 0:36:08Here, they call it...
0:36:10 > 0:36:12..spiritual music.
0:36:13 > 0:36:15You know? Cos it get more revolutionised.
0:36:17 > 0:36:18You know?
0:36:18 > 0:36:20# We don't need no trouble... #
0:36:20 > 0:36:22RECORD SCRATCH
0:36:22 > 0:36:25I could not go with him to a radio station.
0:36:25 > 0:36:27I couldn't take him in with me.
0:36:27 > 0:36:30I couldn't take him into the recording studios.
0:36:30 > 0:36:34They wouldn't allow him in - he's a Rasta - in those days.
0:36:35 > 0:36:37A guy saying that he wouldn't do something,
0:36:37 > 0:36:40wouldn't play Bob Marley's records,
0:36:40 > 0:36:42he was putting his life on the line,
0:36:42 > 0:36:45because there were guys with Bob that he had no control of
0:36:45 > 0:36:47that just idolised him.
0:36:47 > 0:36:50They treated him like a god.
0:36:50 > 0:36:53So, therefore, anybody doing anything that Bob didn't want,
0:36:53 > 0:36:56he wouldn't have to say, "Go beat this guy," or go do this.
0:36:56 > 0:36:58He didn't have to get tough.
0:36:58 > 0:37:00The guys with him were tough.
0:37:00 > 0:37:02I'll give you an example. The disc jockey on the air.
0:37:02 > 0:37:06For a guy to come in and take him up and punch him and say,
0:37:06 > 0:37:08"Now, the next time, you play this record."
0:37:08 > 0:37:10So, the next time that the guy is on the radio station,
0:37:10 > 0:37:13the next thing he's going do is just play Bob Marley all day long.
0:37:13 > 0:37:14And that's what they did.
0:37:14 > 0:37:18And, or a guy getting put in the trunk of a car and driven around
0:37:18 > 0:37:23on those dirt roads, you know, with a mouthpiece over his mouth.
0:37:23 > 0:37:27I think that sort of made things a little bit easier for Bob.
0:37:27 > 0:37:29But, I'm saying, did Bob have anything to do with it?
0:37:29 > 0:37:32I think Bob would never have anything to do with a thing like that.
0:37:47 > 0:37:50He's I and I superstar,
0:37:50 > 0:37:53Mr Music,
0:37:53 > 0:37:55Bob Marley.
0:37:55 > 0:37:56WHISTLES
0:37:57 > 0:37:59# I went downtown
0:37:59 > 0:38:01# Said went downtown
0:38:01 > 0:38:03# I saw Miss Brown
0:38:03 > 0:38:04# Said I saw Miss Brown
0:38:04 > 0:38:05# She had brown sugar
0:38:05 > 0:38:07# Had brown sugar
0:38:07 > 0:38:08# All over her booga-wooga
0:38:08 > 0:38:10# All over her booga-wooga
0:38:10 > 0:38:12# I think I might join the fun
0:38:12 > 0:38:13# I think I might join the fun
0:38:13 > 0:38:15# But I had to hit and run
0:38:15 > 0:38:16# But I had to hit and run
0:38:16 > 0:38:18# See, I just can't settle down
0:38:18 > 0:38:19# Just can't settle down
0:38:19 > 0:38:21# In a kinky part of town
0:38:21 > 0:38:23# Ride on
0:38:23 > 0:38:27# Don't you know I've got to ride on
0:38:27 > 0:38:29# Ride on
0:38:29 > 0:38:30# Kinky reggae
0:38:30 > 0:38:32# Ride on
0:38:32 > 0:38:35# Oh, kinky reggae. #
0:38:35 > 0:38:38- BUNNY WAILER:- Kinky reggae is a kind of song that
0:38:38 > 0:38:40is based on the environment.
0:38:40 > 0:38:44We see, we were used to being in Jamaica most of our time,
0:38:44 > 0:38:47so we made music based on the environment.
0:38:47 > 0:38:52Then, when the started to venture out into the other territories,
0:38:52 > 0:38:54you know, it seemed very kinky.
0:38:56 > 0:38:57You know, freaky.
0:38:58 > 0:39:00# Ride on
0:39:00 > 0:39:02# Don't you know I've got to ride on
0:39:02 > 0:39:04# Oh, yeah
0:39:04 > 0:39:05# Ride on
0:39:05 > 0:39:07# I just can't settle down
0:39:07 > 0:39:09# Ride on, eh... #
0:39:09 > 0:39:11Er, we added to the backing vocals.
0:39:17 > 0:39:22Fairly freeform harmonies, but it's unique to reggae music.
0:39:22 > 0:39:26So, they're not frightened of good, close harmonies,
0:39:26 > 0:39:28putting plenty of vocals on.
0:39:28 > 0:39:31Erm, and also harmonies with soul in them,
0:39:31 > 0:39:34not just sort of formularised, nice, parallel pieces.
0:39:36 > 0:39:38Again, it adds to the feel.
0:39:38 > 0:39:41It's all stacking up to put that feel together.
0:39:44 > 0:39:46We put electric piano on this one.
0:39:52 > 0:39:55It's another example of when you play the things by themselves,
0:39:55 > 0:39:58they're fairly meaningless. Then, when you put it in,
0:39:58 > 0:40:02what seems like a very twee and ordinary electric piano sound
0:40:02 > 0:40:07suddenly makes complete sense, cos it fits into that texture.
0:40:07 > 0:40:09And we put another guitar on -
0:40:09 > 0:40:11that was the original guitar...
0:40:14 > 0:40:15..and the beat on the other side,
0:40:15 > 0:40:18and then you put the electric piano that...
0:40:18 > 0:40:20That's the complete rhythm.
0:40:21 > 0:40:23# Kinky reggae now
0:40:23 > 0:40:26# Oh-oh, ooh
0:40:26 > 0:40:29# Ride on, come on, yeah
0:40:29 > 0:40:30# Riding on
0:40:30 > 0:40:32# Riding on
0:40:32 > 0:40:34# Ride on, kinky reggae
0:40:34 > 0:40:36# Come on, ride on... #
0:40:36 > 0:40:38It's something that we were set out to do.
0:40:39 > 0:40:42Trenchtown is a place that,
0:40:42 > 0:40:47whatever you do there as far as talent is concerned,
0:40:47 > 0:40:50you had to do it to the peak of your performance.
0:40:52 > 0:40:55So, it was a serious responsibility...
0:40:57 > 0:41:02..for the Wailers to the people of these lesser privilege community.
0:41:02 > 0:41:04And if it's tough,
0:41:04 > 0:41:07if cold ground was my bed last night,
0:41:07 > 0:41:08then that's what I'm going to sing.
0:41:10 > 0:41:14# Never known what happiness is
0:41:17 > 0:41:21# Never known what sweet caress is
0:41:25 > 0:41:29# I'll be always laughing
0:41:29 > 0:41:32# Like a clown
0:41:34 > 0:41:37# But I know that
0:41:37 > 0:41:41# I got to pick myself
0:41:41 > 0:41:44# From off the ground, ooh
0:41:44 > 0:41:46# Ooh, yeah, now
0:41:46 > 0:41:54# In this here concrete jungle, jungle, jungle
0:41:54 > 0:41:58# What do you got for me?
0:41:58 > 0:41:59# Ooh-ee, ooh-ee
0:41:59 > 0:42:03# In this here concrete jungle, jungle, jungle. #
0:42:03 > 0:42:05You had to be tough.
0:42:05 > 0:42:07Anywhere you got soft,
0:42:07 > 0:42:09then you are thrown overboard.
0:42:11 > 0:42:14Yeah, because you're not capable any more.
0:42:14 > 0:42:17But, the Wailers stayed focused on being tough.
0:42:19 > 0:42:22So, when the weather changes, you know,
0:42:22 > 0:42:24all we do is apply some more toughness.
0:42:27 > 0:42:29Serious thing.
0:42:29 > 0:42:32There was a time when, you know,
0:42:32 > 0:42:35the brothers seemed to have gotten soft.
0:42:35 > 0:42:39That's why they might not be here today, physically.
0:42:40 > 0:42:43A little softness came in.
0:42:43 > 0:42:45But then again,
0:42:45 > 0:42:48that sometimes will happen, you know.
0:42:48 > 0:42:50Samson was a tough one,
0:42:50 > 0:42:52but he had a soft spot.
0:43:02 > 0:43:04Bunny Wailer,
0:43:04 > 0:43:07no smiling, no laughing.
0:43:07 > 0:43:10Peter Tosh, always smiling and laughing,
0:43:10 > 0:43:12but look serious still.
0:43:12 > 0:43:14So, it would be like a serious smile.
0:43:14 > 0:43:18And Bob, Bob never used to like smile much either,
0:43:18 > 0:43:20you know, at the time.
0:43:20 > 0:43:23The three of them was, to me, like three pussycats.
0:43:30 > 0:43:35# No chains around my feet but I'm not free
0:43:40 > 0:43:45# I know I'm bounded in captivity... #
0:43:50 > 0:43:52The bassline in this is fantastic.
0:43:52 > 0:43:57The bassline is really what just pulls you into the track, to me.
0:43:57 > 0:43:59Just play the bass and drum for a bit.
0:44:10 > 0:44:13Concrete Jungle, along with Stir It Up, were the two that
0:44:13 > 0:44:16we probably did the most overdubbing on.
0:44:16 > 0:44:18But, this one in particular,
0:44:18 > 0:44:21once again, it illustrates the fact
0:44:21 > 0:44:24that we have this luxury of spreading out into
0:44:24 > 0:44:25more than just the eight tracks.
0:44:25 > 0:44:29I think we pretty well filled up all tracks on this one.
0:44:31 > 0:44:34But, it's particularly distinctive because of the because of
0:44:34 > 0:44:37Wayne Perkins playing right on the front,
0:44:37 > 0:44:39the rock guitar that brings it in.
0:44:39 > 0:44:41This was the sound started the album.
0:44:41 > 0:44:44It introduced Bob Marley and The Wailers to the world.
0:44:44 > 0:44:46It could've been a rock song about to start.
0:44:58 > 0:45:02And I had this pedal on at the end of the solo, as I recall,
0:45:02 > 0:45:05which was a sustain pedal,
0:45:05 > 0:45:08from Manny's, that I bought in New York.
0:45:08 > 0:45:13And, you hit this thing and it just, like, held the note for ever.
0:45:13 > 0:45:15It would hold a note for three minutes.
0:45:15 > 0:45:18And it held that one note and it would start to feedback
0:45:18 > 0:45:21in an octave higher and then two octaves higher than that.
0:45:22 > 0:45:25And when that happened,
0:45:25 > 0:45:28they tossed... Blackwell or somebody hit that - or Tony -
0:45:28 > 0:45:33hit the echo on that thing and it just rang across the whole room.
0:45:33 > 0:45:35It just sent everybody...
0:45:35 > 0:45:36It gave me goose bumps.
0:45:44 > 0:45:45It was one of those magic moments.
0:45:45 > 0:45:48And then Marley come running out there trying to cram this
0:45:48 > 0:45:49spliff this long down my throat.
0:45:49 > 0:45:52Jumping up and down, patting me on the back, going,
0:45:52 > 0:45:53"You know, that's it, man!"
0:45:53 > 0:45:55And I had no idea what he was saying.
0:46:00 > 0:46:02And, instantly, it's recognisable.
0:46:02 > 0:46:06It has more of an appeal.
0:46:06 > 0:46:08Again, the radio-friendly thing.
0:46:08 > 0:46:13It's more acceptable to people that were listening to pop music,
0:46:13 > 0:46:14rock music...
0:46:15 > 0:46:18It put this music in a mainstream frame.
0:46:23 > 0:46:24It's the combination of...
0:46:24 > 0:46:26It's the combination of all the elements,
0:46:26 > 0:46:29all of the factors that have been put together.
0:46:29 > 0:46:32The different people's musical styles.
0:46:38 > 0:46:40The first record came out under the name The Wailers,
0:46:40 > 0:46:43not Bob Marley and The Wailers.
0:46:43 > 0:46:47So, I really wanted to present them as a black group,
0:46:47 > 0:46:50and so I wanted to get more of a group sound and more of
0:46:50 > 0:46:52a kind of rock sound to it.
0:46:52 > 0:46:55I wanted to present them like a rock group, in a sense.
0:46:59 > 0:47:01I always felt that this was a gold album,
0:47:01 > 0:47:05but after the first year, we'd only sold 14,000.
0:47:05 > 0:47:09Eventually, you, know, it sold well over one million,
0:47:09 > 0:47:10but it took a long time.
0:47:13 > 0:47:16The album's cover says, very directly,
0:47:16 > 0:47:18"Hey, rock fans, come and buy me."
0:47:18 > 0:47:21It sort of flattered everybody, really. It flattered the audience.
0:47:21 > 0:47:24It sort of made it feel like a collector's item, made it feel like
0:47:24 > 0:47:28a special event, and that's clearly what Chris Blackwell was
0:47:28 > 0:47:30after with Catch A Fire.
0:47:30 > 0:47:32He wanted to make it feel like an event -
0:47:32 > 0:47:35and an event in rock terms.
0:47:35 > 0:47:36Something bigger than reggae.
0:47:37 > 0:47:42And here was a music emerging out of one phase into another.
0:47:45 > 0:47:50It showed musicians in other fields of music that here was
0:47:50 > 0:47:52a new vocabulary that they could draw from,
0:47:52 > 0:47:55new kinds of musical grammar that they could use.
0:47:59 > 0:48:03I think Catch A Fire had an enormously profound influence
0:48:03 > 0:48:06by introducing that new flavour to
0:48:06 > 0:48:08Anglo-American popular music.
0:48:08 > 0:48:11# No chains around my feet
0:48:11 > 0:48:14# But I'm not free
0:48:18 > 0:48:22# I know I am bound here in captivity
0:48:24 > 0:48:26# Oh, now
0:48:27 > 0:48:29# Never known
0:48:29 > 0:48:32# Never known what happiness is
0:48:32 > 0:48:33# Never known
0:48:33 > 0:48:37# Never known in what sweet caress is
0:48:38 > 0:48:42# I'll be always laughing
0:48:42 > 0:48:45# Like a clown
0:48:45 > 0:48:49# Oh, someone help me, cos I
0:48:49 > 0:48:55# I've got to pick myself from off the ground
0:48:55 > 0:48:59# In this here concrete jungle
0:48:59 > 0:49:03# I said, what do you got for me now?
0:49:06 > 0:49:08# Yeah, concrete jungle... #
0:49:13 > 0:49:16The relationship was and still is
0:49:16 > 0:49:19and will always be the same
0:49:19 > 0:49:21as it concerns the three Wailers.
0:49:22 > 0:49:29And, apart from being brothers musically,
0:49:29 > 0:49:35we automatically were engrafted into each other,
0:49:35 > 0:49:43because of the constant being together, making the songs,
0:49:43 > 0:49:47rehearsing the songs, recording the songs,
0:49:47 > 0:49:49onstage, offstage.
0:49:49 > 0:49:51You know, in the country...
0:49:51 > 0:49:55Anywhere that you would, you know, see one Wailer,
0:49:55 > 0:49:59then the other two would be somewhere around, you know.
0:49:59 > 0:50:03# Can't tell the woman from the man
0:50:03 > 0:50:09# No, I say you can't, cos they dressed in the same pollution
0:50:09 > 0:50:11# Dressed in the same pollution
0:50:11 > 0:50:15# And then their mind is confused with confusion
0:50:16 > 0:50:22# To their problem, seems there's never, never no solution
0:50:22 > 0:50:28# They become the midnight ravers
0:50:28 > 0:50:32# And someone said please don't let me...
0:50:32 > 0:50:34# Please don't you let me down... #
0:50:34 > 0:50:35Then The Wailers,
0:50:35 > 0:50:40even before we got to the point of making ourselves into a group,
0:50:40 > 0:50:46were already a family, because my father had child with Bob's mother.
0:50:46 > 0:50:48Which is Pearl.
0:50:48 > 0:50:53So, between myself and Bob, we had already shared the same sister.
0:50:53 > 0:50:56Before The Wailers were formed,
0:50:56 > 0:51:01and afterwards then Peter had child
0:51:01 > 0:51:05with my first sister, you know,
0:51:05 > 0:51:11so it's a Livingston-Marley-McIntosh situation.
0:51:11 > 0:51:14# Catch a fire
0:51:14 > 0:51:18# You're gonna get burned, oh
0:51:55 > 0:52:00# Every time I hear cracks and the whips, my blood runs cold
0:52:00 > 0:52:06# I remember on the slave ship how they brutalise our very souls
0:52:06 > 0:52:10# Today they say that we are free
0:52:10 > 0:52:13# Only to be chained in poverty
0:52:13 > 0:52:16# Good God, I think it's illiteracy
0:52:16 > 0:52:18# It's only machine that make money
0:52:18 > 0:52:22# Slave driver, the table is turned
0:52:24 > 0:52:26# Catch a fire
0:52:26 > 0:52:28# You're gonna get burned
0:52:29 > 0:52:34# Slave driver, the table is...
0:52:34 > 0:52:36# Catch a fire, come on
0:52:36 > 0:52:39# Catch a fire
0:52:39 > 0:52:44# You're gonnna get burned, ba-ba, bay-eh, bay-eh... #
0:53:06 > 0:53:08APPLAUSE
0:53:08 > 0:53:10But the original Wailers broke up
0:53:10 > 0:53:13soon after making the next album, called Burnin'.
0:53:14 > 0:53:17So we gon' get up, stand up for our right, because tonight is the night.
0:53:17 > 0:53:20Hi, how you doing?
0:53:20 > 0:53:21Yes.
0:53:22 > 0:53:25One of the tracks from Burnin' - Get Up, Stand Up -
0:53:25 > 0:53:27later became a Bob Marley classic,
0:53:27 > 0:53:29often performed till his death in 1981.
0:54:28 > 0:54:32# Get up, stand up, oh-ooh
0:54:32 > 0:54:34# Stand up for your right
0:54:34 > 0:54:36# Get up, stand up
0:54:37 > 0:54:39# Don't give up the fight
0:54:39 > 0:54:41# Come on!
0:54:41 > 0:54:43# Get up, stand up
0:54:43 > 0:54:45# Stand up for your right
0:54:46 > 0:54:49# Get up, stand up
0:54:49 > 0:54:51# Don't give up the fight
0:54:51 > 0:54:55# I said, preacher man, don't tell me
0:54:55 > 0:54:58# Heaven is on the Earth, yeah
0:54:58 > 0:55:03# You know, I don't know what life is really worth
0:55:03 > 0:55:06# It's not all that glitters is gold
0:55:06 > 0:55:09# Half the story has never been told
0:55:09 > 0:55:14# Now you see the light, stand up for your right
0:55:14 > 0:55:16# Hey! Get up, stand up
0:55:18 > 0:55:20# Stand up for your right
0:55:20 > 0:55:24# Get up, stand up
0:55:24 > 0:55:27# Don't give up the fight
0:55:27 > 0:55:29# Get up, stand up
0:55:29 > 0:55:31# Stand up for your right
0:55:33 > 0:55:35# Get up, stand up
0:55:35 > 0:55:37# And don't give up the fight
0:56:00 > 0:56:01# Yeah
0:56:01 > 0:56:03# Get up, stand up
0:56:03 > 0:56:06# Stand up for your right
0:56:06 > 0:56:09# Get up, stand up
0:56:09 > 0:56:11# Stand up for your right
0:56:12 > 0:56:15# Get up, stand up
0:56:15 > 0:56:17# Stand up for your right
0:56:19 > 0:56:21# Get up, stand up
0:56:21 > 0:56:23# Stand up for your right
0:56:23 > 0:56:29# I said, preacher man, don't tell me heaven is on the Earth
0:56:31 > 0:56:34# I know you don't know what life is really worth
0:56:34 > 0:56:38# It's not that all that glitters is gold
0:56:38 > 0:56:41# Half the story has never been told
0:56:41 > 0:56:45# Now you see the light, stand up for your right
0:56:46 > 0:56:50# Get up, stand up
0:56:50 > 0:56:51# Stand up for your right
0:56:53 > 0:56:55# Get up, stand up
0:56:55 > 0:56:58# And don't give up the fight
0:56:58 > 0:57:01# Get up, stand up
0:57:01 > 0:57:03# Stand up for your right
0:57:04 > 0:57:07# Get up, stand up
0:57:07 > 0:57:09# And don't give up the fight
0:57:09 > 0:57:16# You see, most people think great God will come from the sky
0:57:16 > 0:57:21# Take away everything and make everybody feel high
0:57:21 > 0:57:24# But if you know what life is worth
0:57:24 > 0:57:27# You would look for yours on Earth
0:57:27 > 0:57:31# Now you see the light, stand up for your right
0:57:33 > 0:57:35# Get up, stand up
0:57:35 > 0:57:37# Stand up for your right
0:57:38 > 0:57:40# Get up, stand up
0:57:40 > 0:57:43# And don't give up the fight
0:57:44 > 0:57:46# Get up, stand up
0:57:46 > 0:57:47# Life is your right
0:57:47 > 0:57:48# Stand up for your right
0:57:48 > 0:57:50# Can't give up the fight
0:57:50 > 0:57:51# Get up, stand up
0:57:51 > 0:57:52# In the morning
0:57:52 > 0:57:54# Don't give up the fight
0:57:54 > 0:57:55# No, no, no
0:57:55 > 0:57:58# We're sick and tired of your bullshit game
0:57:58 > 0:58:01# Die and go to heaven in a-Jesus' name
0:58:01 > 0:58:04# We know what we understand
0:58:04 > 0:58:07# Almighty God is a living man
0:58:07 > 0:58:09# Fool some people sometimes
0:58:09 > 0:58:12# But you can't fool all of the people all of the time
0:58:12 > 0:58:18# Now you see the light, you better stand up for your right
0:58:18 > 0:58:21# Get up, stand up
0:58:21 > 0:58:23# Stand up for your right
0:58:23 > 0:58:26# Get up, stand up
0:58:26 > 0:58:29# And don't give up the fight
0:58:29 > 0:58:31# Get up, stand up
0:58:31 > 0:58:32# In the morning
0:58:32 > 0:58:34# Stand up for your right
0:58:34 > 0:58:36# In the night
0:58:36 > 0:58:39# Ohh, don't give up the fight. #
0:58:43 > 0:58:44Irie.
0:58:44 > 0:58:46APPLAUSE
0:58:48 > 0:58:50Ladies and gentlemen, a big round of applause
0:58:50 > 0:58:51for Bob Marley and The Wailers.
0:58:51 > 0:58:54Come on, put your hands together, make the boys feel good.
0:58:54 > 0:58:55- CHEERING - Thank you, fellas!
0:58:55 > 0:58:56That was beautiful.