Natty Dread Bob Marley Rar Free The Weed

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Natty Dread Bob Marley Rar Free The Weed

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Nevertheless, it was authenticity of attitude more than musical accuracy that ultimately mattered to the band.

This prompted the reggae star to seek refuge in London where he would reside and record for the next year and a half.

While there, Marley witnessed the rise of punk and its attending subculture.

Although initially alarmed by its more outlandish features, many of which were daily sensationalized in the tabloids, Marley came to understand that punks leading lights were addressing social concerns similar to those he was writing about for his upcoming Exodus album (1977).

Also taken by punks socio-political awareness was producer Lee Scratch Perry, who, while less than impressed with the Clashs version of a song he had co-written, Police and Thieves (1977), was sufficiently excited by the ethos of the band to work with them on the recording of their major label-bashing single, Complete Control (1977).

It was Perry who explained to Marley how punks engagement of the still underground reggae style could help promote the music and spread its messages (Gilbert, p.159).

On the song Marley proposed party unity between the two uprising movements, positioning both reggae and punk against the boring old farts of the mainstream music industry.

Name-checked as attendees at the party were the Clash, the Jam, the Damned, and Dr.

Feelgood, alongside the Wailers and Maytals.

Their common ground All were artists rejected by society, facing reality, and protected by their dignity.

If The Clash had encouraged a union between punk and reggae by covering Junior Murvins Police and Thieves, Marley validated the coalition with this lyrical declaration of mutual interests.

Letts had become a pivotal figure within both the punk and reggae scenes in the city, playing (drug) host to many of their key players while working at Acme Attractions, a clothing store that competed with Malcolm McLarens Sex for the outsider youth demographic.

There, during the early months of 1977, he played roots reggae and dub cuts between live punk sets, if only because there were few punk records to spin during that genres infancy.

That festival represented many of the trends afoot in Britain.

It would be three years before Margaret Thatcher ushered in her epoch-changing conservative revolution, but the nation had shown signs of lurching to the right in the years prior.

Nowhere was this more symbolized than in the Sus (as in suspected person) law often used as an unwarranted premise to harass young people, particularly those sporting what Joe Strummer calls in the song City of the Dead (1977), dangerous gear.

As he further notes in that song, the kind of provocative clothing favored by Rastas and punks could get you picked up anywhere.

Amidst the heart of the action were Joe and Paul from the Clash, who went on to memorialize the occasion in White Riot (1977).

A celebration of those irate black men that didnt mind throwing a brick, the song bemoans how white youths rarely take such direct action against police oppression.

In a nation racially divided, and with the neo-Nazi National Front on the rise, the Clash made their allegiances clear.

As Jon Savage comments, the band regarded reggae as the soundtrack to social resistance and were attempting to create their own white Rasta in punk identity by including this unfamiliar sound on their debut album (p.238).

For those acts reggae offered an exotic groove for their soft rock product; for the Clash it conveyed the kind of insurrectionary ideas they were seeking to craft with their own lyrics and music.

Police and Thieves was a strategic choice of a cover for the band, too, as Junior Murvins original had been blasting out of sound systems throughout that recent Notting Hill Carnival.

Dig it, dont play it had been the mantra of the band during their early months, according to Simonon (Gilbert, p.134).

Strummer, though, who had earlier made attempts at covering Desmond Dekker and U-Roy with The 101ers, comments, we could see the potential to combine it with what we were doing to make it something powerful.

What Dave Marsh describes as a peculiarly offbeat brand of reggae (p.78) was reflected in the guitar playing on Police and Thieves, Strummer strumming on rock beat time and Jones answering on the reggae off beat.