Here is an EXCLUSIVE that you will only find here at the MIDNIGHT RAVER BLOG! As I have said before, Bim Sherman may be the best singer to ever emerge from Jamaica in my generation. His voice is so haunting and delicate that it brings a whole new vibe to any recording he appears on. Since his death nearly 15 years ago, obtaining authentic Bim Sherman first press vinyl, or even represses for that matter, is nearly as difficult as finding authentic Yabby You recordings. This stuff is gold among collectors, and justifiably so. So if you ever see a Bim Sherman on the Sun Dew, Century, Scorpio, or even On-U Sound labels, snatch it up if you can. It’s value will never diminish, and it will most assuredly increase in value as the years roll on.
I think these demos are significant because you can clearly listen to his voice and hear how delicate it really is. It’s raw, but it exposes one of the greatest instruments you will ever hear: the voice of Bim Sherman.
Included is a very rare demo, probably recorded around 1978 with Lee “Scratch” Perry’s involvement. Only a handfull of collectors own this tape, however, it was leaked this morning. Many thanks to whoever leaked it.
Here is an excerpt from Stephen Davis’ biography on Bob Marley:
Many thanks to MIDNIGHT RAVER BLOG Co-Editor Fred “Reggaelover” P for his crucial input.
Included here is a very rare and interesting recording, as it contains demo versions of several popular tracks from the Natty Dread album. The quality of the audio is nearly flawless. You won’t be hearing this anywhere else.
1. Rebel Music #1 (6,45)
2. Rebel Music #2 (7,47)
3. So Jah Seh Dub (4,30)
4. Bend Down Low Dub (6,39)
5. Talking Blues Instrumental (4,05)
6. Revolution #1 (4,35)
7. Revolution #2 (4,43)
8. Revolution #3 (4,15)
Today I am sharing the Exodus and Kaya Horn Mixes. These audio files consist of tracks from the Exodus and Kaya albums mixed with a horn section, which Bob Marley began to experiment with while recording the Exodus album in 1977. He would use horns for his remaining studio albums, with their greatest and most persistent use on the Survival album. The horn section added another dimension to Marley’s ever-evolving musical catalog, much like the rock guitar did on the Natty Dread and Rastaman Vibration albums.
The Wailers horn section originated with Jamaican trombone and saxophone players Vin Gordon and David Madden who played on the albums Natty Dread and Rastaman Vibration. It would later include Glen Da Costa, David Madden, and the Zap Pow horns. These players are featured prominently on the DVD The Legend Live: Santa Barbara County Bowl, 1979.
Recalls Madden in a 2010 interview with Irie Up:
“Bob called me, ‘David, we have a recording session, do you want to come?’ And of course, I said yes. I didn’t know Bob was going to become any kind of star. He would say, ‘We have a little tour, do you want to come along?’ It was a mixture of professionalism and friendship. We don’t have that superstar air in Jamaica. I might sing the biggest tune yesterday but today I’m still walking down the street. When me and Bob talked, it was because of a session. Or Family Man will say, David, go talk to Bob because he wants to do a session.”Madden’s first work with Marley was on Natty Dread, Marley’s first solo album and arguably his finest. “Well, you know, when he started singing, ‘Dread, knotty dread,’ I can hear 150 different horn lines! I might play one, and they say, ‘Yeah man, that sound great!’ Madden and the other horn players were paid for the sessions but were not credited with writing parts.“Well, you see, when we reach the studio, the song is already done. It is all there. When you hear a song, the thing is to be able to say, you know, there is a part there that would sound better with horns. I am hearing that there is something that would sound better than if it was left alone. So for them guys, Marley and those, just for thinking to put some order in that tune, to bring it up some more, well that is genius in them.”“But as for what to play there, they don’t know. That is where we come in. They weren’t able to tell us what to play. But because of being in the studio and working and all the practice that we do, we are hearing things. So when we come and they say, alright, roll the song, and we start to play, they say ‘Damn! Here! Yes!’ and the tune go up and it is a hit!”Madden has happy memories of his work with Marley. “I played on 17 of the hit songs of Bob Marley. Songs like ‘Natty Dread’, ‘So Jah Say’, ‘Rat Race’, ‘War’, ‘Guiltiness’, ‘Buffalo Soldier’, ‘Is This Love’, ‘Smile Jamaica’.” The Zap Pow horns also became the Wailer’s horns section in studio sessions and tours.