The Wailers: Catch a Fire Classic Albums

And now we're going to play another hit from The Wailers,

called Catch A Fire.

MUSIC STARTS

# Yeah, slave driver

# The table is turn

# Catch your fire

# You're gonna get burn

-# Catch a fire. #

-Oh, yeah!

# Slave driver

-# The table is turn

-Catch a fire

# Catch a fire

-# You're gonna get burn

-Catch a fire

# Yeah, every time I hear the crack of a whip

# My blood runs cold... #

This is stand up and talk for my rights.

I know what that is.

We're revolutionaries, you know?

Hear this, myself as a revolutionary,

who do have no help and nah take no bribe from no-one,

but fight it single-handed with music.

# Today they say that we are free

# Only to be chained in poverty

# Good God, I think it's illiteracy... #

It's just a matter of proving our potential, see?

And a matter of spreading more messages, because

when we were together, we were singular.

It was one message.

# Catch your fire, you're gonna get burn... #

So it was a total discipline

and a responsibility that we knew we had.

That we couldn't stop, or turn back,

under no circumstances.

So that is in the militancy that The Wailers had.

It's like, against all odds.

And we still move. Still carry that.

Still going, the flag's got to be hoisted.

# Let's stir it up

# Little darlin'

# Stir it up

# Little darlin'

# Stir it up... #

It would be very hard to exaggerate the extent to which reggae

was despised among rock fans,

in Britain and America,

insofar as they knew about it at all in America.

But in Britain there were occasional reggae hits,

chart hits, in those days, things like Fattie Boom Boom.

And that was really the only reggae that the average rock fan heard.

And that was he, or she, based their impression on.

And it was a, kind of, novelty music.

Crude, cheap, not to be taken seriously on any level.

So, the job of conversion had to be done.

# ..you're gonna get burned. #

We were in London to see if we could establish ourselves,

as well as the music.

# Slave driver... #

It seems as if you don't get the message, ah?

-The Clavinet...

-INDISTINCT

'We rehearsed together round the clock.'

# Little darling, it's been a long, long time

# Since I've got... #

We were rehearsing for nearly three months. So...

You know, we decided that we would take up an invitation

that was there.

Chris Blackwell was interested in seeing us

for some kind of discussion.

You see, they had a reputation of being very hard to deal with.

They were independent guys, you know.

And everybody said, you know, they're impossible to deal with.

And I felt that the only way to establish

a relationship with them was to show some trust to them.

And so that's really what I did,

in that I gave them the money to go and make the record.

But he offered us...£4,000.

Which we took...and we went ahead...

..and did the album.

As some of the songs that are on Catch A Fire

are songs that were already recorded

by The Wailers,

It wasn't any kind of a hassle to do the album.

It was simply Wailers-type thing,

just going into the studio and doing an album.

# Stir it up

# Little darlin'

# Stir it up

# Come on, baby

# Come on and stir it up

# Little darlin'

# Stir it up

# Little darlin'... #

Blackwell was sitting down wondering if we were ever going to return

with an album.

So it was a challenge for us to prove to him, you know,

different from what he thought.

So we just had to get to the point.

So the album was done in, like, record time!

# It's been a long, long time

# Since I've got you on my mind

# Oh-oh, yeah, yeah

# And now you are here... #

Bob seemed to have a disciplined set of chaps, you know?

They seemed to have done a lot of rehearsals.

Because whenever they did a tune, it was that tight, you know?

The normal chaps, the other chaps wouldn't have it that tight.

And I think probably it was because of the amount of rehearsal time

that they put in.

They were very disciplined in terms of where the musical section is concerned,

I think Bob had them going that way, you know.

# Let's stir it up

# Little darlin'... #

# Stir it up

# Little darlin'

# It's a long, long time... #

And once you started doing all that, you're listening to the singer,

because the singer is singing, so you start listening because the bassline is already there.

So you start to listen to the singer.

And you get his... So you have to listen to it all, the bass,

once you jam with the bass,

then you are all right, the bass is settled,

then you start dealing with the keyboard -

sometimes the keyboard would play something that's sweet,

and you just... DRRANG!

Or sometimes the guitar will make a shuffle - CHANG-K-CHANG -

and you go DRAATANN! It depends on the feel.

Once you get the feel. But the main people are the bass and drums.

After recording them, Bob himself took the eight-track tapes to London

where he remixed and overdubbed them with Chris Blackwell.

He has a great voice for recording, because it's in the frequencies

which you need to cut through,

you can surround it with instruments at a high level,

but his voice is of a frequency that it can really cut through.

The premise behind the people at Island Studios tended to be

based more on the musical aspect of recordings

rather than the technical excellence of the recordings.

But even technically, these recordings were fabulous.

With Stir It Up, what I was trying to merge it into was more of a

sort of hypnotic type feel,

with the kind of wah-wah feel and

different sort of guitar, going all the way through it,

and make it less of the reggae rhythm and more of a drifting feel.

Because the experiment was,

for Chris Blackwell to help Bob break in America,

so we needed to add a little bit of something that

Americans were used to, like clavinets and things.

So Bob was ready for that.

But the thing they were trying to do by bridging the gap between

purist reggae and Americanised reggae,

which Americans could palate, was not purist.

My parts on Catch A Fire are nowhere near purist,

they are an imitation of what Bob Marley taught me how to do.

And so over the reggae...

HE PLAYS KEYBOARD

I was doing that.

This record had the most overdubs and it.

This record was the most - I don't say softened,

but I'd more say, enhanced to try and reach a rock market, because

this was the first record, and they wanted to reach into that market.

# Oh, yeah

# And now you are here, I say it's so clear

# To see what we could do, baby

# Just me and you

# Come on and stir it up

# Little darlin'

# Stir it up

# Come on, baby

# Come on and stir it up

# Little darlin'

# Stir it up... #

To get the first-ever reggae group on the Old Grey Whistle Test

was quite a coup, I think.

And I think probably, some of the audience was upset to see that,

but it also was just one more thing that drew the Wailers into

the mainstream and made them acceptable.

# Slave driver

# The table is turn... #

The music hits you, but you feel no pain.

But it's happening.

And it's the same thing with the message. It hits you.

But you don't feel no pain.

What it does for you is to give you a vision

and a reason to change your lifestyle,

your convictions - you know, it's like a purge.

# My blood runs cold

# I remember on the slave ship

# How they brutalised our very souls

# Today they say that we are free

# Only to be chained in poverty

# Oh, no, it's illiteracy

# It's only a machine that makes money

# Slave driver

# The table is turn

# Catch a fire, gonna get burned. #

# Slave driver

# The table is turn

# Catch a fire, yeah

# Catch a fire

# You're gonna get

# Catch a fire

# Slave driver

# The table is

# Catch a fire

# Catch a fire

# You're gonna get burn. #

When the Wailers came with songs like Slave Driver,

it was a total revolution within the music itself, the industry.

The people needed that revolution.

Because there were things that had to be dealt with,

that singing about love could not deal with it.

Within the focus of, "I love you".

We come to find out that we were living in this ghetto,

so-called,

which you know, consists of poor people, 99%...

..and there were people who were living in the general shitstem

who, you know, has no-one to help them, no-one to do nothing for them.

And we live in the same administration.

Maybe we are the only ones who can express the people's feelings

through music.

And because we can do that, the people love it.

The group is the Wailers.

For some reason, dem say Bob Marley and the Wailers,

I never tell no-one fi say that, from no time at all.

But maybe for some reason dem do it, you know?

It's the Wailers, you know.

Even until this day, don't let no man tell you different,

to me, Wailers was like a family. Still is.

Even though Bob and Peter might not be here,

Wailers was like and still is a family up to this day.

Reggae music is the heartbeat of the people.

It's the universal language.

Bob say one good thing about it - "When it hits, you feel no pain".

So we're trying to express the lyrics within the melody,

so...

within that... that roots, that reggae roots,

with that R&B flavour, to get it across the world.

You know, at first, the songs start with

a kind of humming sound from the harmony, you know?

All three singers singing this, sound like...

# Ooh-ooh. # You know?

So to give us a line like...

PLAYS BASSLINE

Like a moan feel.

So, Slave Driver, that's what would come in...

Between myself, Bob and Peter,

we had to find a formula that would...be acceptable.

So what we did was laid down hard,

driving rhythm that suggests the basic reggae principles.

And then now, we would put little bits and colourings

of here and there that would not take away

from the basic principles,

but would attract the international marketplace.

# Slave driver

# The table is

# Catch a fire

# Catch a fire

# You're gonna get burn, yeah, yeah. #

The tape that's playing now is the rough mix of the original recording

in Jamaica, probably the tape that Chris Blackwell made his decisions

of where to go with the album.

This came over with the original tapes.

Effectively, everything is there, the atmosphere is there,

which is 98% of it as far as I'm concerned.

So, we had one, two, three, four, five, six, seven tracks

on the original tape.

I can just show you here - that's the drums,

all the drums are mixed to one track.

And then other tracks would have -

this is guitar and piano mixed together.

And it's an interesting feature of the Jamaican reggae music,

because they were tight with the number of tracks they had available,

they would record everything in the same room,

and I believe that contributes greatly to the overall sound,

because different instruments feed down different microphones so that

the combination of the sounds is...

And then we added in some slide guitar,

with Wayne Perkins.

# Rock it baby... #

So I'm listening, and I'm sitting here trying to figure out

what's going on and I can't find the "one" to save my ass -

I cannot find the one.

So I'm going, "Chris, what's going on?"

He said, "Just stop and listen to it, don't listen to the bass,"

and he brought the bass down for me just a little bit.

I said, "All right, I'm listening."

All of a sudden, something starts to settle in and I'm going,

"OK. All right, roll the tape."

They started playing this strange music, I mean,

I've never heard the likes of. It was...

Compared to anything else I've ever heard in my life, the R&B,

the church music, anything I'd ever heard - this was backwards.

And Bob had his guitar on and he was going,

Chk-chk-chk, like they do.

And I was just meandering on the organ, like...

You know, and he was saying, "No, no.

"Bumbaclart! Rasclart!" All this.

He said, "Organ, man, organ go like this."

And he came over to the organ and didn't play any notes,

he just slapped the keys and said, "I go, like...

"You go..."

Like that kind of thing.

And I said, "What do you mean?"

"No, no." And he played the chord like me.

In other words, play a triad, so I made it a chord and went...

It's what he could teach you about his music that helped you with

your own music, if you know what I mean.

Feels.

Playing from the heart, things like that.

And to me, that's part of being a musician.

# Baby, baby, we've got a date... #

It was a little child that hummed the melody first.

You know, "Baby, baby, we've got a date."

And it sounded so childish, that we just followed through,

but it was a baby's melody.

For a song by a little baby.

# Rock it, baby, tonight

# Rock it, baby, rock it, baby, tonight

# Say we got to get together, babe, tonight

# Say we got to get together, babe, tonight

# Say we got to get together, babe, tonight

# Got to get together, babe, tonight... #

Everyone is in sync with each other.

As one love, one heart, one aim, one destiny, one - it's a one thing.

It's all for one, one for all.

So, it's... That's the Wailers' call, that's the Wailers' motto.

That's how we lived. That's how we survived.

Now, Bob Marley, which was then called Robbie, Robert,

because he was Robert Nesta

before he became the great Bob Marley, he was Robert.

He was more of a laid-back, stand back and watch you type.

And, "No, don't even talk to me."

You know that type, you would never want to say anything

to disturb his meditation.

It would take someone coming from Saint Ann,

cos that's where he was born, to come to Kingston...

..and not be ambitious.

With that sort of parentage background - white father,

black mother, not knowing his father, never see him but once,

it's like, who the hell am I?

And there you have to go and prove yourself, that you are somebody.

Cos I would sometimes say to him, "Bob, you know you're great."

And he says "Great what? Who the hell do you think I am?"

Just like he said in Buffalo Soldier,

"Who the hell do you think I am? But I'm a buffalo soldier."

So...

That's Bob... That's my taste of him.

You know, from being married and having children

and raising a family from nothing,

sleeping on the floor - as he said, "Cold ground was my bed last night

"and rock stone was my pillow too." That's a fact, that's no joke.

That's reality.

There was a real unity between them as youngster - Bob, Bunny and Peter.

They were like three brothers. Yeah, they loved each other,

they did everything well together.

But Tosh told me one thing too.

Even for him to do even two songs on that album,

leading the album, he had to pursue that,

force his way into leadership, because Peter would tell me

that most of the time, Bob would do all the leading.

Don't care if he would write the song, arrange it,

Bob would always take the leading position and it would be very

difficult for him to even get an opportunity to lead a song.

So he would have to fight his way in.

# All my good life I've been a lonely man

# Teaching people who don't understand

# And even though I've tried my best

# I still can't find no happiness

# So I've got to say

# Stop that train, I'm leaving

# Stop that train, I'm leaving

# Stop that train, I'm leaving... #

We never credit no individual with this making of songs.

We made the songs together.

All we did was put the songs in one individual name,

and then when you got the returns, we split it three ways.

That was our code.

But essentially, this is halfway between folk song and a ballad, so...

It needed a different approach to the other ones,

that were just straight, rhythmic pieces.

And also, it was interesting again,

mixing the two styles, because the organ overdubs there,

the sweeping line there,

is much more the thing that you would find in a rock ballad.

Whereas the...

That's just the straightforward reggae.

And then these... little licks and lines.

Bob always seemed to have a very clear idea of what

he wanted from the recordings.

He would record everything,

cut all the tracks, and I would basically mix them,

and put them together in an arrangement,

and then compile the albums, in terms of their running order.

Somebody said to him one time, was I his producer?

and he said no, I was his translator.

And I was very happy with that.

I think that's probably what I was doing.

So, I was mixing them and arranging them and making them, you know,

what I felt would have the best chance of getting across.

It's very R&B.

To me. It's great.

But it wasn't right...for where we were positioning that album.

Cos what... It's hard, at this point in time,

because Bob has become so huge -

frankly, on hearing Stir It Up in the raw version,

it sounds to me much better than the one we eventually did with it, now.

But at the time, one was really trying to change a perception,

you know, and reach a market.

This is fantastic, too.

Hearing it now, it's absolutely fantastic but it wouldn't have...

in my opinion, have suited that record.

# I said, I heard my mother

-# She was praying

-Praying, praying, praying

-# And the words that she said

-The words that she said... #

We used to relate to other musical cultures.

Especially on the UK side, or on the American side.

The Platters, the Drifters, James Brown, the Impressions,

all of the people who came down the ages.

# And stand by me in

# High seas or in low seas

# I'm going to be your friend

# He say, I'm going to be your friend... #

You remember Bob Marley?

You remember Bob Marley?

-I said, "You remember Bob Marley?"

-Bob Marley?

Yes. I am talking about Bob Marley.

Yes.

Yeah, man.

Yeah, man.

Some people still searching for this truth here,

which this reggae music, you know, bring Christ to them.

And the only purpose itself is to tell the people who are Rastafarian.

This is stand up and talk for my rights. I know what that is.

See? And I don't care who the guy is.

Because my right is my right.

Like my life.

You know? All I have is my life.

Well, I've been a Rasta from ever since...that me is your own man.

The first time you own yourself. You do what you want to do.

Anything people want to say about you, you don't care,

because the Bible says, "God sends him, he shall return as the King of Kings,

"the Lord of Lords, the conquering Lion of the tribe of Judah.

"And he shall come in a new name."

Now, that is a reality and a world truth,

and the truth is that his Majesty's Earth rightful ruler.

And that is Haile Selassie, Haile I.

Bob exposes...

..a polite violence.

# We don't need... #

HE SINGS

It was also very spiritual, you know.

In other words, within their thought and their thinking. See?

They were thinking from a godly aspect. With their concerns.

So they sort of put this in the music, how you heard it.

One, two...

'We were out to get that message out.

'The Father himself, he chose the time, the place and the

'people who would be involved in the establishment of reggae music.

You get that warm sound. You could feel it.

It was like painting a picture. Maybe it is red, gold and green.

But what shade of red you use at that side and what shade of gold,

shade of green.

-It's a picture.

-HE LAUGHS

# We don't need no trouble

# We don't need

# No more trouble... #

I used to do a lot of English songs.

Bring back the playback into the actual...

thing and get a sound and the voices.

You know, in those days that was, you know, slightly hi-tech.

HE LAUGHS

Even though it was two track, you know what I mean? So, you know,

so I...you know...

got some feel from there, you know, experience teaches wisdom.

And working with a lot of these chaps.

I suppose I got a feel, you know?

# We don't need

# We don't need

# No more trouble

-# Lord knows, we don't need no trouble...

-#

The word "wail" means to cry or to mourn

or to express your feelings vocally.

# Seek happiness

# Come on, you all, and speak of love

# Oh, yeah

We listen to the radio and anything the radio play, is that we hear.

So, I wasn't really into them thing. I was really into, like...

Here, they call it...

..spiritual music.

You know? Cos it get more revolutionised.

You know?

# We don't need no trouble... #

RECORD SCRATCH

I could not go with him to a radio station.

I couldn't take him in with me.

I couldn't take him into the recording studios.

They wouldn't allow him in - he's a Rasta - in those days.

A guy saying that he wouldn't do something,

wouldn't play Bob Marley's records,

he was putting his life on the line,

because there were guys with Bob that he had no control of

that just idolised him.

They treated him like a god.

So, therefore, anybody doing anything that Bob didn't want,

he wouldn't have to say, "Go beat this guy," or go do this.

He didn't have to get tough.

The guys with him were tough.

I'll give you an example. The disc jockey on the air.

For a guy to come in and take him up and punch him and say,

"Now, the next time, you play this record."

So, the next time that the guy is on the radio station,

the next thing he's going do is just play Bob Marley all day long.

And that's what they did.

And, or a guy getting put in the trunk of a car and driven around

on those dirt roads, you know, with a mouthpiece over his mouth.

I think that sort of made things a little bit easier for Bob.

But, I'm saying, did Bob have anything to do with it?

I think Bob would never have anything to do with a thing like that.

He's I and I superstar,

Mr Music,

Bob Marley.

WHISTLES

# I went downtown

# Said went downtown

# I saw Miss Brown

# Said I saw Miss Brown

# She had brown sugar

# Had brown sugar

# All over her booga-wooga

# All over her booga-wooga

# I think I might join the fun

# I think I might join the fun

# But I had to hit and run

# But I had to hit and run

# See, I just can't settle down

# Just can't settle down

# In a kinky part of town

# Ride on

# Don't you know I've got to ride on

# Ride on

# Kinky reggae

# Ride on

# Oh, kinky reggae. #

-BUNNY WAILER:

-Kinky reggae is a kind of song that

is based on the environment.

We see, we were used to being in Jamaica most of our time,

so we made music based on the environment.

Then, when the started to venture out into the other territories,

you know, it seemed very kinky.

You know, freaky.

# Ride on

# Don't you know I've got to ride on

# Oh, yeah

# Ride on

# I just can't settle down

# Ride on, eh... #

Er, we added to the backing vocals.

Fairly freeform harmonies, but it's unique to reggae music.

So, they're not frightened of good, close harmonies,

putting plenty of vocals on.

Erm, and also harmonies with soul in them,

not just sort of formularised, nice, parallel pieces.

Again, it adds to the feel.

It's all stacking up to put that feel together.

We put electric piano on this one.

It's another example of when you play the things by themselves,

they're fairly meaningless. Then, when you put it in,

what seems like a very twee and ordinary electric piano sound

suddenly makes complete sense, cos it fits into that texture.

And we put another guitar on -

that was the original guitar...

..and the beat on the other side,

and then you put the electric piano that...

That's the complete rhythm.

# Kinky reggae now

# Oh-oh, ooh

# Ride on, come on, yeah

# Riding on

# Riding on

# Ride on, kinky reggae

# Come on, ride on... #

It's something that we were set out to do.

Trenchtown is a place that,

whatever you do there as far as talent is concerned,

you had to do it to the peak of your performance.

So, it was a serious responsibility...

..for the Wailers to the people of these lesser privilege community.

And if it's tough,

if cold ground was my bed last night,

then that's what I'm going to sing.

# Never known what happiness is

# Never known what sweet caress is

# I'll be always laughing

# Like a clown

# But I know that

# I got to pick myself

# From off the ground, ooh

# Ooh, yeah, now

# In this here concrete jungle, jungle, jungle

# What do you got for me?

# Ooh-ee, ooh-ee

# In this here concrete jungle, jungle, jungle. #

You had to be tough.

Anywhere you got soft,

then you are thrown overboard.

Yeah, because you're not capable any more.

But, the Wailers stayed focused on being tough.

So, when the weather changes, you know,

all we do is apply some more toughness.

Serious thing.

There was a time when, you know,

the brothers seemed to have gotten soft.

That's why they might not be here today, physically.

A little softness came in.

But then again,

that sometimes will happen, you know.

Samson was a tough one,

but he had a soft spot.

Bunny Wailer,

no smiling, no laughing.

Peter Tosh, always smiling and laughing,

but look serious still.

So, it would be like a serious smile.

And Bob, Bob never used to like smile much either,

you know, at the time.

The three of them was, to me, like three pussycats.

# No chains around my feet but I'm not free

# I know I'm bounded in captivity... #

The bassline in this is fantastic.

The bassline is really what just pulls you into the track, to me.

Just play the bass and drum for a bit.

Concrete Jungle, along with Stir It Up, were the two that

we probably did the most overdubbing on.

But, this one in particular,

once again, it illustrates the fact

that we have this luxury of spreading out into

more than just the eight tracks.

I think we pretty well filled up all tracks on this one.

But, it's particularly distinctive because of the because of

Wayne Perkins playing right on the front,

the rock guitar that brings it in.

This was the sound started the album.

It introduced Bob Marley and The Wailers to the world.

It could've been a rock song about to start.

And I had this pedal on at the end of the solo, as I recall,

which was a sustain pedal,

from Manny's, that I bought in New York.

And, you hit this thing and it just, like, held the note for ever.

It would hold a note for three minutes.

And it held that one note and it would start to feedback

in an octave higher and then two octaves higher than that.

And when that happened,

they tossed... Blackwell or somebody hit that - or Tony -

hit the echo on that thing and it just rang across the whole room.

It just sent everybody...

It gave me goose bumps.

It was one of those magic moments.

And then Marley come running out there trying to cram this

spliff this long down my throat.

Jumping up and down, patting me on the back, going,

"You know, that's it, man!"

And I had no idea what he was saying.

And, instantly, it's recognisable.

It has more of an appeal.

Again, the radio-friendly thing.

It's more acceptable to people that were listening to pop music,

rock music...

It put this music in a mainstream frame.

It's the combination of...

It's the combination of all the elements,

all of the factors that have been put together.

The different people's musical styles.

The first record came out under the name The Wailers,

not Bob Marley and The Wailers.

So, I really wanted to present them as a black group,

and so I wanted to get more of a group sound and more of

a kind of rock sound to it.

I wanted to present them like a rock group, in a sense.

I always felt that this was a gold album,

but after the first year, we'd only sold 14,000.

Eventually, you, know, it sold well over one million,

but it took a long time.

The album's cover says, very directly,

"Hey, rock fans, come and buy me."

It sort of flattered everybody, really. It flattered the audience.

It sort of made it feel like a collector's item, made it feel like

a special event, and that's clearly what Chris Blackwell was

after with Catch A Fire.

He wanted to make it feel like an event -

and an event in rock terms.

Something bigger than reggae.

And here was a music emerging out of one phase into another.

It showed musicians in other fields of music that here was

a new vocabulary that they could draw from,

new kinds of musical grammar that they could use.

I think Catch A Fire had an enormously profound influence

by introducing that new flavour to

Anglo-American popular music.

# No chains around my feet

# But I'm not free

# I know I am bound here in captivity

# Oh, now

# Never known

# Never known what happiness is

# Never known

# Never known in what sweet caress is

# I'll be always laughing

# Like a clown

# Oh, someone help me, cos I

# I've got to pick myself from off the ground

# In this here concrete jungle

# I said, what do you got for me now?

# Yeah, concrete jungle... #

The relationship was and still is

and will always be the same

as it concerns the three Wailers.

And, apart from being brothers musically,

we automatically were engrafted into each other,

because of the constant being together, making the songs,

rehearsing the songs, recording the songs,

onstage, offstage.

You know, in the country...

Anywhere that you would, you know, see one Wailer,

then the other two would be somewhere around, you know.

# Can't tell the woman from the man

# No, I say you can't, cos they dressed in the same pollution

# Dressed in the same pollution

# And then their mind is confused with confusion

# To their problem, seems there's never, never no solution

# They become the midnight ravers

# And someone said please don't let me...

# Please don't you let me down... #

Then The Wailers,

even before we got to the point of making ourselves into a group,

were already a family, because my father had child with Bob's mother.

Which is Pearl.

So, between myself and Bob, we had already shared the same sister.

Before The Wailers were formed,

and afterwards then Peter had child

with my first sister, you know,

so it's a Livingston-Marley-McIntosh situation.

# Catch a fire

# You're gonna get burned, oh

# Every time I hear cracks and the whips, my blood runs cold

# I remember on the slave ship how they brutalise our very souls

# Today they say that we are free

# Only to be chained in poverty

# Good God, I think it's illiteracy

# It's only machine that make money

# Slave driver, the table is turned

# Catch a fire

# You're gonna get burned

# Slave driver, the table is...

# Catch a fire, come on

# Catch a fire

# You're gonnna get burned, ba-ba, bay-eh, bay-eh... #

APPLAUSE

But the original Wailers broke up

soon after making the next album, called Burnin'.

So we gon' get up, stand up for our right, because tonight is the night.

Hi, how you doing?

Yes.

One of the tracks from Burnin' - Get Up, Stand Up -

later became a Bob Marley classic,

often performed till his death in 1981.

# Get up, stand up, oh-ooh

# Stand up for your right

# Get up, stand up

# Don't give up the fight

# Come on!

# Get up, stand up

# Stand up for your right

# Get up, stand up

# Don't give up the fight

# I said, preacher man, don't tell me

# Heaven is on the Earth, yeah

# You know, I don't know what life is really worth

# It's not all that glitters is gold

# Half the story has never been told

# Now you see the light, stand up for your right

# Hey! Get up, stand up

# Stand up for your right

# Get up, stand up

# Don't give up the fight

# Get up, stand up

# Stand up for your right

# Get up, stand up

# And don't give up the fight

# Yeah

# Get up, stand up

# Stand up for your right

# Get up, stand up

# Stand up for your right

# Get up, stand up

# Stand up for your right

# Get up, stand up

# Stand up for your right

# I said, preacher man, don't tell me heaven is on the Earth

# I know you don't know what life is really worth

# It's not that all that glitters is gold

# Half the story has never been told

# Now you see the light, stand up for your right

# Get up, stand up

# Stand up for your right

# Get up, stand up

# And don't give up the fight

# Get up, stand up

# Stand up for your right

# Get up, stand up

# And don't give up the fight

# You see, most people think great God will come from the sky

# Take away everything and make everybody feel high

# But if you know what life is worth

# You would look for yours on Earth

# Now you see the light, stand up for your right

# Get up, stand up

# Stand up for your right

# Get up, stand up

# And don't give up the fight

# Get up, stand up

# Life is your right

# Stand up for your right

# Can't give up the fight

# Get up, stand up

# In the morning

# Don't give up the fight

# No, no, no

# We're sick and tired of your bullshit game

# Die and go to heaven in a-Jesus' name

# We know what we understand

# Almighty God is a living man

# Fool some people sometimes

# But you can't fool all of the people all of the time

# Now you see the light, you better stand up for your right

# Get up, stand up

# Stand up for your right

# Get up, stand up

# And don't give up the fight

# Get up, stand up

# In the morning

# Stand up for your right

# In the night

# Ohh, don't give up the fight. #

Irie.

APPLAUSE

Ladies and gentlemen, a big round of applause

for Bob Marley and The Wailers.

Come on, put your hands together, make the boys feel good.

-CHEERING

-Thank you, fellas!

That was beautiful.