“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.
Here we have several rarely heard versions from the Exodus album, which was voted by Time magazine as the album of the millenium.
1. Exodus Advert
2. Natural Mystic (Countryman Version)
3. Exodus (12″ mix)
Jamaica Gleaner, June 27, 1977
Rolling Stone, July 14, 1977
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As we approach the one-year anniversary of the MIDNIGHT RAVER BLOG, I feel obligated to share something special with those of you who have supported us over the past year. So this week I hope to share a few things that the average reggae fan will find intriguing.
Today, I’m sharing the “Sons of Jah Rehearsal Tape.” This tape is an excellent audio outtake from a Bob Marley and the Wailers rehearsal session from 1977. The band is touring Europe in support of the Exodus album. Of note on this recording is a sublime version of “Waiting In Vain.”
According to my good friend and MIDNIGHT RAVER BLOG contributor Fred at http://voiceofthesufferers.fr, the Sons of Jah are a reggae music group based in England, created by Trevor Bow (who created the Natty Congo label as well). Trevor Bow was friends with Bob Marley. His home in London was at Talbot Road. Based on the name given this tape, itis likely that the Sons of Jah (Trevor Bow, Howard Haughton, Bunny Mckenzie, Derrick Donaldson) were present for this session.
The Sons of Jah released 4 albums between 1978 and 1982 and disbanded in the mid-80s.
It is noted by Werner (Wailers collector), Stephen Davis did few lines regarding a special session held in 1977 with the 4 first tracks we have here. It is referenced in his book ‘Bob Marley – Conquering Lion Of Reggae.’
Bob Marley and the Wailers
The Sons of Jah Acoustic Tape
London 1977
01 – Exodus
02 – Jammin
03 – Waiting In Vain
04 – So Much Things To Say
05 – Misty Morning
06 – She’s Gone
07 – Time Will Tell
08 – Unknown Jam
09 – Rainbow Country
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“This tape starts off with Exodus that is probably from a different session but it is included on here because it fits in well and it is often included in most sources of this session. Sons of Jah is a tape that just sits with you forever. The sweet version of Waiting in Vain that last’s 19 minutes is just stunning. Bob Works with his voice so many different ways and by the end he is really in a great groove. Half way through So Much Things To Say there is a source switch. Another half of this tape was discovered a few years ago but someone has tampered with the sound. There is a strange echo and other effects added on but the music below is just amazing. Acoustic versions of Misty Morning and She’s Gone have been a collector’s dream for many years I am sure. The tape ends with an unknown jam that is possibly not even Bob but who knows. It has been included just in case. ”
