Rumours is the eleventh studio album by British-American rock band Fleetwood Mac. Largely recorded in California during 1976, it was produced by the band with Ken Caillat and Richard Dashut and was released on 4 February 1977 by Warner Bros. Records. The record peaked at the top of both the main United States Billboard chart and the United Kingdom Albums Chart. "Go Your Own Way", "Don't Stop", "Dreams", and "You Make Loving Fun" were released as singles. A Grammy Award winner, Rumours is Fleetwood Mac's most successful release with sales of over 40 million copies worldwide.

The band wanted to expand on the commercial success of the 1975 record Fleetwood Mac, but struggled with relationship breakups before recording started. The Rumours studio sessions were marked by hedonistic behaviour and interpersonal strife between Fleetwood Mac members; these experiences informed the album's lyrics. Influenced by pop music, the record's tracks were recorded using a combination of acoustic and electric instruments. The mixing process delayed the completion of Rumours, but was finished by the end of 1976. Following the album's release in 1977, Fleetwood Mac undertook worldwide promotional tours.

Rumours garnered widespread critical acclaim. Praise centred on its production quality and harmonies, which frequently relied on the interplay among three vocalists. The record has inspired the work of musical acts in different genres. Often considered Fleetwood Mac's best release, it has featured in several publications' lists of the best albums of the 1970s and the best albums of all time. In 2004, Rumours was remastered and reissued with the addition of an extra track and a bonus CD of outtakes from the recording sessions.

Background[link]

In July 1975, Fleetwood Mac's tenth album was released to great commercial success, eventually selling over four million copies and reaching #1 in 1976. The record's hit single "Rhiannon" gave the band extensive radio exposure. At the time, Fleetwood Mac's line-up consisted of guitarist and vocalist Lindsey Buckingham, drummer Mick Fleetwood, keyboardist and vocalist Christine McVie, bassist John McVie, and vocalist Stevie Nicks. After six months of non-stop touring, the McVies divorced, ending nearly eight years of marriage.^[1] The couple stopped talking to each other socially and discussed only musical matters.^[2] Buckingham and Nicks—who had joined the band before 1975's Fleetwood Mac and after guitarist Bob Welch had left^[3]—were having an on/off relationship that led them to fight often. The duo's arguments stopped only when they worked on songs together.^[4] Fleetwood faced domestic problems of his own after discovering that his wife Jenny, mother of his two children, had an affair with his best friend.^[5]

Press intrusions into the band members' lives led to inaccurate stories. Christine McVie was reported to be in hospital with a serious illness, while Buckingham and Nicks were declared the parents of Fleetwood's daughter Lucy after being photographed with her. The press also wrote about a rumoured return of original Fleetwood Mac members Peter Green, Danny Kirwan, and Jeremy Spencer for a 10th anniversary tour.^[6] Despite false reports, the band did not change line-up, although its members had no time to come to terms with the separations before recording for a new album began.^[2] Fleetwood has noted the "tremendous emotional sacrifices" made by everyone just to attend studio work.^[7] In early 1976, Fleetwood Mac crafted some new tracks in Florida.^[8] Founding members Fleetwood and John McVie chose to dispense with the services of their previous producer, Keith Olsen, because he favoured a lower emphasis on the rhythm section. The duo formed a company called Seedy Management to represent the band's interests.^[9]

Recording[link]

Rumours was largely recorded in Sausalito's Record Plant, a wooden structure with few windows, located at 2200 Bridgeway.

Fleetwood Mac's female members lived in two of Sausalito's seafront properties, while the men resided at the Record Plant's hillside accommodation.

In February 1976, Fleetwood Mac convened at the Record Plant in Sausalito, California, with hired engineers Ken Caillat and Richard Dashut. Production duties were shared by the three parties, while the more technically adept Caillat was responsible for most of the engineering; he took a leave of absence from Wally Heider Studios in Los Angeles on the premise that Fleetwood Mac would eventually use their facilities.^[10] The set-up in Sausalito included a number of small recording rooms in a large, windowless wooden building. Most band members complained about the studio and wanted to record at their homes, but Fleetwood did not allow any moves.^[11] Christine McVie and Nicks decided to live in two condominiums near the city's harbour, while the male contingent stayed at the studio's lodge in the adjacent hills.^[12] Recording occurred in a six-by-nine-metre room which included a 3M 24-track tape machine, a range of high-quality microphones, and an API mixing console with 550A equalisers; the latter were used to control frequency differences or a track's timbre. Although Caillat was impressed with the set-up, he felt that the room lacked ambience because of its "very dead speakers" and large amounts of soundproofing.^[10]

The record's working title in Sausalito was Yesterday's Gone.^[13] Buckingham took charge of the studio sessions to make "a pop album".^[14] According to Dashut, while Fleetwood and the McVies came from an improvisational blues-rock background, the guitarist understood "the craft of record making".^[15] During the formative stages of compositions, Buckingham and Christine McVie played guitar and piano together to create the album's basic structures. The latter was the only classically trained musician in Fleetwood Mac, but both shared a similar sense of musicality.^[16] When the band jammed, Fleetwood often played his drum kit outside the studio's partition screen to better gauge Caillat's and Dashut's reactions to the music's groove.^[17] Baffles were placed around the drums and around John McVie, who played his bass guitar facing Fleetwood. Buckingham performed close to the rhythm section, while Christine McVie's keyboards were kept away from the drum kit. Caillat and Dashut spent about nine days experimenting with a range of microphones and amplifiers before deciding on the best methodology of recording the band.^[10]

As the studio sessions progressed, the band members' new intimate relationships that formed after various separations started to have a negative effect on Fleetwood Mac.^[18][19] The musicians did not meet or socialise after their daily work at the Record Plant. At the time, the hippie movement still affected Sausalito's culture and drugs were readily available. Open-ended budgets enabled the band and the engineers to become self-indulgent;^[11][20] sleepless nights and the extensive use of cocaine marked much of the album's production.^[7] Chris Stone, one of the Record Plant's owners, indicated in 1997 that Fleetwood Mac brought "excess at its most excessive" by taking over the studio for long and extremely expensive sessions; he stated, "The band would come in at 7 at night, have a big feast, party till 1 or 2 in the morning, and then when they were so whacked-out they couldn't do anything, they'd start recording".^[21]

Nicks has suggested that Fleetwood Mac created the best music when in the worst shape,^[20] while, according to Buckingham, the tensions between band members informed the recording process and led to "the whole being more than the sum of the parts".^[19] The couple's work became "bittersweet" after their final split, although Buckingham still had a skill for taking Nicks' tracks and "making them beautiful".^[22] The vocal harmonies between the duo and Christine McVie worked well and were captured using the best microphones available.^[10] Nicks' lyrical focus allowed the instrumentals in the songs that she wrote to be looser and more abstract.^[23] According to Dashut, all the recordings captured "emotion and feeling without a middle man ... or tempering".^[5] John McVie tended to clash with Buckingham about the make-up of songs, but both admit to achieving good outcomes.^[24] Christine McVie's "Songbird", which Caillat felt needed a concert hall's ambience, was recorded during an all-night session at Zellerbach Auditorium, across San Francisco Bay in Berkeley.^[25]

Following over two months in Sausalito, Fleetwood arranged a ten-day tour to give the band a break and fan feedback. After the concerts, recording resumed at venues in Los Angeles,^[9] including Wally Heider Studios. Christine McVie and Nicks did not attend most of the sessions and took time off until they were needed to record any remaining vocals. The rest of Fleetwood Mac, with Caillat and Dashut, struggled to finalise the overdubbing and mixing of Rumours after the Sausalito tapes were damaged by repeated use during recording; the kick and snare drum audio tracks sounded "lifeless".^[10] A sell-out autumn tour of the US was cancelled to allow the completion of the album,^[1] whose scheduled release date of September 1976 was pushed back.^[26] A specialist was hired to rectify the Sausalito tapes using a vari-speed oscillator. Through a pair of headphones which played the damaged tapes in his left ear and the safety master recordings in his right, he converged their respective speeds aided by the timings provided by the snare and hi-hat audio tracks.^[10] Fleetwood Mac and their co-producers wanted a "no-filler" final product, in which every track seemed a potential single. After the final mastering stage and hearing the songs back-to-back, the band members sensed they had recorded something "pretty powerful".^[27]

Promotion and release[link]

Nicks and Buckingham, here photographed in 2003, were integral to Fleetwood Mac's songwriting on Fleetwood Mac in 1975 and Rumours two years later.

In autumn 1976, while still recording, Fleetwood Mac showcased tracks from Rumours at the Universal Amphitheatre in Los Angeles.^[1] John McVie suggested the album title to the band because he felt the members were writing "journals and diaries" about each other through music.^[28] Warner Bros. confirmed the release details to the press in December and chose "Go Your Own Way" as a January 1977 promotional single.^[29][30] The label's aggressive marketing of 1975's Fleetwood Mac, in which links with dozens of FM and AM radio stations were formed across America, aided the promotion of Rumours.^[31] At the time, the album's advance order of 800,000 copies was the largest in Warner Bros.' history.^[32]

Rumours was released on 4 February 1977 in the US and a week later in the UK.^[33][34] The front cover features a stylised shot of Fleetwood and Nicks dressed in her "Rhiannon" stage persona, while the back has a montage of band portraits; all the photographs were taken by Herbert Worthington.^[17] On 28 February 1977, after rehearsing at SIR Studios in Los Angeles, Fleetwood Mac started a seven month-long promotional tour of America.^[33] Nicks has noted that, after performing mostly Rumours songs during gigs, the band initially encountered poor receptions from fans who were not accustomed to the new material.^[35] A one-off March performance at a benefit concert for United States Senator Birch Bayh in Indiana was followed by a short European tour of the UK, the Netherlands, France, and Germany in April.^[1][36] Nigel Williams of Uncut called Fleetwood Mac's performances "rock's greatest soap opera".^[37] "Dreams", released in June 1977, became the band's only number one on the US Billboard Hot 100.^[38]

Composition[link]

Lyrics[link]

Fleetwood Mac's main writers—Buckingham, Christine McVie and Nicks—worked individually on specific songs, but sometimes shared lyrics with each other. "The Chain" is the only track that all members, including Fleetwood and John McVie, collaborated on. All songs on Rumours concern personal, often troubled, relationships.^[17] According to Christine McVie, the fact that the lyricists were extensively focusing on the various separations became apparent to the band only with hindsight.^[28] "You Make Loving Fun" is about her boyfriend, Fleetwood Mac's lighting director, after she split from John.^[18] Nicks' "Dreams" details a breakup and has a hopeful message, while Buckingham's similar effort in "Go Your Own Way" is more pessimistic.^[39] After a short fling with a New England woman, he was inspired to write "Never Going Back Again", a song about the illusion of thinking that sadness will never occur again once feeling content with life. The lines "Been down one time/Been down two times" are in reference to the lyricist's efforts when persuading the woman to give him a chance.^[17]

	"Don't Stop" noicon The lyrics of "Don't Stop" are about having an optimistic outlook on life. Inspired by the triple step, the song contains music from both normal and prepared pianos.[17]
Problems listening to this file? See media help.

"Don't Stop", written by Christine McVie, is a song about optimism. She noted that Buckingham helped her craft the verses because their personal sensibilities overlapped.^[17] McVie's next track, "Songbird", features more introspective lyrics about "nobody and everybody" in the form of "a little prayer",^[40] while the song "Oh Daddy" is a direct reference to Fleetwood, whom the band considered "The Big Daddy".^[17] McVie commented that the writing is slightly sarcastic and focuses on the drummer's direction for Fleetwood Mac, which always turned out to be right. Nicks provided the final lines "And I can't walk away from you, baby/If I tried". Her own song, "Gold Dust Woman", is inspired by Los Angeles and the hardship encountered in such a metropolis.^[17] After struggling with the rock lifestyle, Nicks became addicted to cocaine and the lyrics address her belief in "keeping going".^[41]

Music[link]

Rumours is built around a mix of acoustic and electric instrumentation. Buckingham's guitar work and Christine McVie's use of Fender Rhodes piano or Hammond B-3 organ are present in all tracks. The record often includes stressed drum sounds and distinctive percussion such as congas and maracas. It opens with "Second Hand News", originally an acoustic demo titled "Strummer". After hearing Bee Gees' "Jive Talkin'", Buckingham and co-producer Dashut built up the song with four audio tracks of electric guitar and the use of chair percussion to evoke celtic rock. "Dreams" includes "ethereal spaces" and a recurring two note pattern on the bass guitar.^[17] Nicks wrote the song in an afternoon and led the vocals, while the band played around her. The third track on Rumours, "Never Going Back Again", was also created as a simple acoustic demo, titled "Brushes"; Fleetwood Mac then added further instrumental audio tracks to make it more layered. Inspired by triple step dancing patterns, "Don't Stop" includes both conventional acoustic and tack piano. In the latter instrument, nails are placed on the points where the hammers hit the strings, producing a more percussive sound. "Go Your Own Way" is more guitar-oriented and has a four-to-the-floor dance beat influenced by The Rolling Stones' "Street Fighting Man". The album's pace slows down with "Songbird", conceived solely by Christine McVie using a nine foot Steinway piano.^[17]

"Gold Dust Woman" noicon "Gold Dust Woman" is influenced by jazz and features a dobro.[17] The song's lyrics focus on Nicks' struggle with cocaine addiction.[41]

Side two of Rumours begins with "The Chain", one of the record's most complicated compositions. A Christine McVie demo, "Keep Me There",^[17] and a Nicks song were re-cut in the studio and were heavily edited to form parts of the track.^[42] The whole of the band crafted the rest using an approach akin to creating a film score; John McVie provided a prominent solo using a fretless bass guitar, which marked a speeding up in tempo and the start of the song's final third. Inspired by R&B, "You Make Loving Fun" has a simpler composition and features a clavinet, a special type of keyboard instrument, while the rhythm section plays interlocking notes and beats. The ninth track on Rumours, "I Don't Want to Know", makes use of a twelve string guitar and harmonising vocals. Influenced by the music of Buddy Holly, Buckingham and Nicks created it in 1974 before they were in Fleetwood Mac. "Oh Daddy" was crafted spontaneously and includes improvised bass guitar patterns from John McVie and keyboard blips from Christine McVie. The album ends with "Gold Dust Woman", a song inspired by free jazz, which has music from a harpsichord, a Fender Stratocaster guitar, and a dobro, an acoustic guitar whose sound is produced by one or more metal cones.^[17]

Reception[link]

Commercial[link]

Rumours was a huge commercial success and became Fleetwood Mac's second US number one record, following the 1975 eponymous release.^[38] It stayed at the top of the Billboard 200 for 31 non-consecutive weeks,^[13] while also reaching number one in Australia, Canada,^[36] and New Zealand.^[43] In May, 2011 it re-entered Billboard 200 chart at number 11, and the Australian ARIA chart at number 2, most likely due to Glee episode paying tribute to the album.^[44] The album was certified platinum in America and the UK within months of release after one million units and 300,000 units were shipped respectively.^[45][46] All three major US trade publications—Billboard, Cash Box, and Record World—named it Album of the Year for 1977.^[47] After a debut at number three, Rumours peaked at the top of the UK Albums Chart in January 1978, becoming Fleetwood Mac's first number one album in the country.^[34] In February, the band and co-producers Caillat and Dashut won the 1978 Grammy Award for Album of the Year.^[38] By March, the album had sold over 10 million copies worldwide, including over eight million in the US alone.^[47]

By 1980, 13 million copies of Rumours had been sold worldwide,^[48] a figure which increased to nearly 20 million by 1987.^[49] By the time of Fleetwood Mac's reunion tour in 1997, it had sold 25 million copies worldwide.^[50] The amount rose to 30 million by 2004, and to 40 million by 2009.^[51][52] As of 2012^[update], Rumours is the 14th best-selling album in UK history and is certified 11× platinum by the British Phonographic Industry, the equivalent of three million units shipped.^[46] The record has received a Diamond Award from the Recording Industry Association of America for a 19× platinum certification or 19 million units shipped, making it, as of 2012^[update], the sixth best-selling album in US history (by number of units shipped).^[53] It is also certified 2× diamond by the Canadian Recording Industry Association after shipping two million units, it debuted at #1 in Canada when it was released with sales of 59,000,^[54] and 13× platinum by the Australian Recording Industry Association, the equivalent of 910,000 copies shipped.^[55] By 2006 it was also certified 5× gold by the Bundesverband Musikindustrie for shipping 1,250,000 copies in Germany.^[56]

Critical[link]

Rumours has been acclaimed by the media since its release. Robert Christgau, reviewing in The Village Voice, described it as "more consistent and more eccentric" than its predecessor and thought that it "jumps right out of the speakers at you".^[57] John Swenson of Rolling Stone explained that the interplay among the three vocalists was one of the album's most pleasing elements; he stated, "Despite the interminable delay in finishing the record, Rumours proves that the success of Fleetwood Mac was no fluke."^[58] John Rockwell of The New York Times wrote that it is "a delightful disk, and one hopes the public thinks so, too",^[59] while Dave Marsh of the St. Petersburg Times commented that the songs are "as grandly glossy as anything right now".^[60] Robert Hilburn of Los Angeles Times was less receptive and called Rumours a "frustratingly uneven" record,^[61] while Juan Rodriguez of The Gazette suggested that, while the music is "crisper and clearer", Fleetwood Mac's ideas are "slightly more muddled".^[62] The album was listed at number four in The Village Voice's 1977 Pazz & Jop critics' poll, which aggregates the votes of hundreds of prominent reviewers.^[63]

In a retrospective piece, Allmusic's Stephen Thomas Erlewine noted that, regardless of the voyeuristic element, the record was "an unparalleled blockbuster" because of the music's quality; he concluded, "Each tune, each phrase regains its raw, immediate emotional power—which is why Rumours touched a nerve upon its 1977 release, and has since transcended its era to be one of the greatest, most compelling pop albums of all time."^[64] In a 2004 review, Slant's Barry Walsh praised Fleetwood Mac for turning romantic dysfunction and personal turmoil into "classic, undying pop".^[65] In 2007, BBC's Daryl Easlea labelled the sonic results as "near perfect", "like a thousand angels kissing you sweetly on the forehead",^[66] while Patrick McKay of Stylus wrote, "What distinguishes Rumours—what makes it art—is the contradiction between its cheerful surface and its anguished heart. Here is a radio-friendly record about anger, recrimination, and loss."^[67]

Legacy[link]

Mick Fleetwood has called Rumours "the most important album we ever made", because its success allowed the group to continue recording for years to come.^[68] Pop culture journalist Chuck Klosterman links the record's sales figures to its "really likable songs", but suggests that "no justification for greatness" is intrinsically provided by them.^[69] The Guardian collated worldwide data in 1997 from a range of renowned critics, artists, and radio DJs, who placed the record at number 78 in the list of the 100 Best Albums Ever.^[70] In 1998, Legacy: A Tribute to Fleetwood Mac's Rumours was produced by Fleetwood and released. The record contained each song of the original Rumours covered by a different act influenced by it. Among the musicians involved were alternative rock bands Tonic, Matchbox 20, and Goo Goo Dolls, celtic rock groups The Corrs and The Cranberries, and singer-songwriters Elton John, Duncan Sheik, and Jewel.^[71] Other diverse acts influenced by Rumours include baroque pop artist Tori Amos,^[72] hard rock group Saliva,^[73] and indie rock band Death Cab for Cutie.^[74]

In 1998, Q placed Rumours at number three—behind The Clash's London Calling and Pink Floyd's The Dark Side of the Moon—in its list of 50 Best Albums of the 70s.^[75] In 1999, Vibe featured it as one of 100 Essential Albums of the 20th Century.^[76] In 2003, VH1 ranked the record at number 16 during its 100 Greatest Albums countdown,^[69] while Slant included it as one of 50 Essential Pop Albums.^[77] The same year, USA Today placed Rumours at number 23 in its Top 40 Albums list,^[78] while Rolling Stone ranked it at number 25 in its special issue of "The 500 Greatest Albums of All Time", the highest Fleetwood Mac record.^[79] In 2006, Time named it in its All-TIME 100 Albums shortlist,^[80] while Mojo featured it in its unnumbered list of 70 from the 1970s: Decade’s Greatest Albums.^[81] The record is included in both The Guardian's "1000 Albums to Hear Before You Die" and the book 1001 Albums You Must Hear Before You Die.^[82][83]

In the second season of the musical television series Glee, the episode "Rumours" features songs from the album including "Dreams", "Never Going Back Again", "Songbird", "I Don't Want to Know", "Go Your Own Way" and "Don't Stop".^[84]

Surround releases[link]

Rumours was released on multichannel DVD-Audio in 2001^[85][86] and in September 2011, on hybrid stereo-multichannel Super Audio CD by Warner Japan in their Warner Premium Sound series.^[87]

Books[link]

In 2012, Caillat published Making Rumours; a memoir of the creation of Rumours.(www.makingrumours.com)

Track listing[link]

• The original cassette release switches "Second Hand News" with "I Don't Want to Know", altering the original album's running order.
• The 2001 DVD-Audio version contains "Silver Springs" (4:48), a B-side of "Go Your Own Way" written by Nicks, in place of "Songbird", which is listed as track 12. The release includes short audio interviews with band members about the making of each song.
• The 2004 remastered reissue has "Silver Springs" between "Songbird" and "The Chain". The booklet insert features additional photography and detailed liner notes.

Personnel[link]

Those involved in the making of Rumours are:^[17][64]

Chart and certifications[link]

Chart positions[link]

[edit] Glee Episode "Rumours"

On 3 May 2011, the Fox Network broadcasted an episode of Glee entitled "Rumours" that featured six songs from Fleetwood Mac's 1977 album.^[95] The show sparked renewed interest in the band and the album, and Rumours reentered the Billboard 200 chart at #12, the same week that Stevie Nicks' new solo album In Your Dreams debuted at #6. Nicks said of her new album that it was "my own little Rumours."^[96] The two recordings sold a little less than 30,000 and 52,000 units, respectively. Music downloads accounted for 91% of the Rumours sales. The 1,951% increase in sales was the highest chart entry by a previously issued album since The Rolling Stones's reissue of Exile on Main St. reentered the chart at #2 on 5 June 2010.^[97]

References[link]

Footnotes

Bibliography

External links[link]

• Rumours lyrics at Rhapsody
• Rumours promotion at Billboard via Google Books

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2010)

Gregory Isaacs
Performing at the Sierra Nevada World Music Festival in 2010
Background information
Birth name	Gregory Anthony Isaacs
Also known as	Cool Ruler Lonely Lover
Born	(1951-07-15)15 July 1951 Kingston, Jamaica
Died	25 October 2010(2010-10-25) (aged 59) London, England, UK
Genres	Reggae
Occupations	Singer-songwriter
Years active	1968–2010

Gregory Anthony Isaacs (15 July 1951 – 25 October 2010)^[1] was a Jamaican reggae musician. Milo Miles, writing in the New York Times, described Isaacs as "the most exquisite vocalist in reggae".^[2] His nicknames include Cool Ruler^[3] and Lonely Lover.

Biography[link]

In his teens, Isaacs became a veteran of the talent contests that regularly took place in Jamaica. In 1968, he made his recording debut with a duet with Winston Sinclair, "Another Heartache", recorded for producer Byron Lee.^[1] The single sold poorly and Isaacs went on to team up with two other vocalists (Penroe and Bramwell) in the short-lived trio The Concords, recording for Rupie Edwards and Prince Buster.^[1] The trio split up in 1970 and Isaacs launched his solo career, initially self-producing recordings and also recording further for Edwards.^[1] In 1973 he teamed up with another young singer, Errol Dunkley to start the African Museum record label and shop, and soon had a massive hit with "My Only Lover", credited as the first lovers rock record ever made.^[1] He recorded for other producers to finance further African Museum recordings, having a string of hits in the three years that followed, ranging from ballads to roots reggae, including "All I Have Is Love", "Lonely Soldier", "Black a Kill Black", "Extra Classic" and his cover version of Dobby Dobson's "Loving Pauper".^[1] In 1974 he began working with producer Alvin Ranglin, and that year he had his first Jamaican number one single with "Love Is Overdue".^[1] Isaacs recorded for many of Jamaica's top producers during the 1970s, including Winston "Niney" Holness, Gussie Clarke ("My Time"), Lloyd Campbell ("Slavemaster"), Glen Brown ("One One Cocoa Fill Basket"), Harry Mudie, Roy Cousins, Sidney Crooks and Lee "Scratch" Perry ("Mr. Cop").^[4] By the late 1970s, Isaacs was one of the biggest reggae performers in the world, regularly touring the US and the UK, and only challenged by Dennis Brown and Bob Marley.^[4][5] Between 1977 and 1978, Isaacs again teamed up with Alvin Ranglin, recording a string of hits including "Border" and "Number One" for Ranglin's GG's label.

International stardom seemed assured in 1978 when Isaacs signed to the Virgin Records offshoot Front Line Records, and appeared in the film Rockers, in which he performed "Slavemaster".^[4] The Cool Ruler (which became one of his nicknames) and Soon Forward albums, however, failed to sell as well as expected,^[4] although they are now considered among his best work.^[6] In 1981, he made his first appearance at the Reggae Sunsplash festival (returning annually until 1991), and he moved on to the Charisma Records offshoot Pre, who released his The Lonely Lover (another nickname that stuck) and More Gregory albums along with a string of increasingly successful singles including "Tune In", "Permanent Lover", "Wailing Rudy" and "Tribute to Waddy".^[7] He signed to Island Records and released the record that finally saw him break through to a wider audience, "Night Nurse", the title track from his first album for the label (Night Nurse (1982)).^[7] Although "Night Nurse" was not a chart hit in either the UK or US, it was hugely popular in clubs and received heavy radio play, and the album reached #32 in the UK.^[8] This success for Isaacs coincided with drug problems with cocaine which saw him serve a six-month prison sentence in Kingston in 1982 for possession of unlicensed firearms.^[7][9] Isaacs claimed that he had the weapons only for protection, but it emerged that this was his 27th arrest and that Isaacs had become involved in drug dealing and had become addicted to crack cocaine.^[9] He celebrated his release from prison with his second album for Island, Out Deh! (1983).^[7] Isaacs was featured in the 1982 documentary Land of Look Behind.

When his contract with Island ended, Isaacs returned in 1984 with the "Kool Ruler Come Again" single, and began a period of prolific recording, working with producers including Prince Jammy, Hugh "Redman" James, Bobby Digital, Tad Dawkins and Steely & Clevie, maintaining a consistent standard despite the volume of work produced.^[5][7] Isaacs then built a strong relationship with Gussie Clarke of the Music Works label. They began with Isaacs' 1985 album Private Beach Party, and had a massive hit with "Rumours" in 1988, which was followed by further popular singles including "Mind Yu Dis", "Rough Neck", "Too Good To Be True" and "Report to Me".^[7] The association with Clarke continued into the early 1990s, teaming up with singers including Freddie McGregor, Ninjaman and JC Lodge.^[7] He dueted with Beres Hammond on the 1993 Philip "Fatis" Burrell-produced "One Good Turn", Burrell also producing Isaacs' 1994 album Midnight Confidential.^[7]

In the 1990s the African Museum label continued to release all of Isaacs' music, and that of artists he produced. In 1997 Simply Red covered "Night Nurse^{[disambiguation needed ]}" and had a hit with it. Isaacs continued to record and perform live in the 2000s. In 2005 Lady Saw produced another version of "Night Nurse" with her toasting over the original lyrics.

Isaacs' drug addiction had a major impact on his voice, with most of his teeth falling out as a result.^[9] Isaacs said of his addiction in 2007: "Drugs are a debasing weapon. It was the greatest college ever, but the most expensive school fee ever paid – the Cocaine High School. I learnt everything, and now I've put it on the side."^[9]

He also performed at the ICC Cricket World Cup 2007 Inauguration at Jamaica.

In 2007 he collaborated with the Spanish rap group Flowklorikos / Rafael Lechowski album Donde Duele Inspira.

In 2008, after some 40 years as a recording artist, Isaacs released a new studio album Brand New Me, which was nominated for the Grammy Awards for 2010. The album received positive reviews from critics, such as this review from Reggae Vibes: "Gregory is back, and how! 'Brand New Me' is a very suitable album title for the cool ruler's new album. He is back in a different style, more or less like we were used to from this great 'lovers & roots' artist"^[10] This was followed in 2009 by the album My Kind Of Lady.

In 2010, Gregory Isaacs put out the last of his albums to be released while he was still living; Isaacs Meets Isaac, with Zimbabwean reggae singer, King Isaac. In November 2010, Isaacs Meets Isaac was nominated for Best Reggae Album for the 2011 Grammy Awards, giving Gregory Isaacs his fourth Grammy Nomination, and Zimbabwe's King Isaac, his first.

An advertisement for a Gregory Isaacs concert in Negril

Death[link]

After a long battle with lung cancer, Isaacs died on 25 October 2010 at his home in south London.^[11] A memorial service was held on 20 November at Kingston's National Indoor Sports Centre, including a musical tribute from artists including Lloyd Parks and We the People Band, Ken Boothe, Freddie McGregor, Shaggy, Judy Mowatt, Mavado, The Tamlins and Bongo Herman, before his remains were interred at the Dovecot Cemetery.^[12]

Discography[link]

More than 500 Gregory Isaacs albums have been released during his career, many being compilations. Studio albums of original material are listed below:

• In Person (1975) Trojan
• All I Have Is Love (1976) Trojan
• The Best Of Vol. 1 (1977) GG's
• Extra Classic (1977) African Museum
• Mr Isaacs (1977) DEB
• Cool Ruler (1978) Front Line
• Soon Forward (1979) Front Line
• Slum (Gregory Isaacs in Dub) (1978) Burning Sounds
• Gregory Isaacs Meets Ronnie Davis (1979) Plant (with Ronnie Davis)
• Showcase (1980) Taxi
• Lonely Lover (1980) Pre
• More Gregory (1981) Pre
• The Best Of Vol. 2 (1981) GG's
• Night Nurse (1982) Island/Mango
• Out Deh! (1983) Island/Mango
• Let's Go Dancing (1984)
• Judge Not (1985) Greensleeves (with Dennis Brown)
• Private Beach Party (1985) Greensleeves & RAS
• Easy (1985) Tad's
• Double Dose (1986) Blue Trac (with Sugar Minott)
• All I Have is Love Love Love (1987) Tad's
• Victim (1987) VP
• Watchman of the City (1987) Rohit
• Come Along (1988), Live & Love
• Red Rose for Gregory (1988) Greensleeves & RAS
• Warning (1989) Firehouse
• Feature Attraction (1989) VP for Mixing Lab records
• No Contest (1989) Greensleeves & VP (with Dennis Brown)
• I.O.U. (1989) Greensleeves & RAS
• On The Dance Floor (1990) Heartbeat
• Call Me Collect (1990) RAS
• Set Me Free (1991) VP, Digital B & Vine Yard
• No Intention (1991) VP
• Boom Shot (1991) Shanachie
• State of Shock (1991) RAS
• Past and Future (1991) VP
• Pardon Me! (1992) RAS
• Cooyah! (1992) Label Unknown...
• Can't Stay Away (1992) VP & Xterminator
• Rudie Boo (1992) Star Trail
• Unattended // Absent (1993) Pow Wow & Greensleeves
• Unlocked (1993) RAS
• Midnight Confidential (1994) Greensleeves for Xterminator records
• Dreaming (1995) Heartbeat
• Not a One Man Thing (1995) RAS
• Private Lesson (1996) Heartbeat
• Mr. Cool (1996) VP
• Maximum Respect (1996) House of Reggae
• Hold Tight (1997) Heartbeat
• Hardcore Hits (1997) Ikus
• Dance Curfew (1997), Acid Jazz – with Dread Flimstone
• Kingston 14 Denham Town (1998) Jamaican Vibes
• Do Lord (1998) Xterminator
• New Dance (1999) Prestige
• Turn Down The Lights (1999) Artists Only
• So Much Love (2000) Joe Gibbs Music
• Future Attraction (2000) VP
• Father & Son (2000), 2B1 – Gregory Isaacs & Son
• It Go Now (2002), 2B1
• Life's Lonely Road (2004)
• Give It All Up (2004) Heartbeat
• Rat Patrol (2004) African Museum
• Masterclass (2004) Greensleeves for Blacker Dread records
• Revenge (2005) P.O.T.
• Substance Free (2005) Vizion Sounds
• Come take my hand (2006) Mun Mun
• Hold Tight (2008) Mafia & Fluxy
• Brand New Me (2008) African Museum
• My Kind Of Lady (2009) Rude Productions
• Isaacs Meets Isaac with King Isaac (2010) King Isaac Music

Notes[link]

References[link]

• Barrow, Steve & Dalton, Peter (2004) The Rough Guide to Reggae, 3rd edn., Rough Guides, ISBN 1-84353-329-4
• Kiviat, Steve (1996) "Gregory Isaacs", Washington City Paper, December 6 – 12, 1996 (Vol. 16, #49)
• Larkin, Colin (1998) The Virgin Encyclopedia of Reggae, Virgin Books, ISBN 0-7535-0242-9
• Miles, Milo (1992) "RECORDINGS VIEW; Gregory Isaacs, the Ruler of Reggae", New York Times, 2 February 1992
• Perry, Andrew (2007) "The cool ruler of reggae makes a comeback", The Daily Telegraph, 11 January 2007
• Thomspon, Dave (2003) Reggae & Caribbean Music, Backbeat Books, ISBN 0-87930-655-6

External links[link]

Wikimedia Commons has media related to: Gregory Isaacs

• Profile @ Reggaeville.com
• Biography: Reggae Vibes
• Biography: Greensleeves Records
• RAS Records discography
• Gregory Isaacs Vinyl Page Some of Isaacs' vinyl releases
• Free Downloads @ JahSmoke.com Isaacs' albums and vinyls

Bob Marley
Bob Marley performing in concert, circa 1980.
Background information
Birth name	Robert Nesta Marley
Also known as	Tuff Gong
Born	(1945-02-06)6 February 1945 Nine Mile, Saint Ann, Jamaica
Died	11 May 1981(1981-05-11) (aged 36) Miami, Florida, U.S.
Genres	Reggae, ska, rocksteady
Occupations	Singer-songwriter, musician
Instruments	Vocals, guitar, piano, saxophone, harmonica, percussion
Years active	1962–1981
Labels	Studio One, Upsetter, Tuff Gong
Associated acts	Bob Marley & The Wailers, Wailers Band, The Upsetters, I Threes
Website	bobmarley.com

Robert Nesta "Bob" Marley, OM (6 February 1945 – 11 May 1981) was a Jamaican singer-songwriter and musician. He was the rhythm guitarist and lead singer for the ska, rocksteady and reggae band Bob Marley & The Wailers (1963–1981). Marley remains the most widely known and revered performer of reggae music, and is credited with helping spread both Jamaican music and the Rastafari movement to a worldwide audience.^[1]

Marley's music was heavily influenced by the social issues of his homeland, and he is considered to have given voice to the specific political and cultural nexus of Jamaica.^[2] His best-known hits include "I Shot the Sheriff", "No Woman, No Cry", "Could You Be Loved", "Stir It Up", "Get Up Stand Up", "Jamming", "Redemption Song", "One Love" and, "Three Little Birds",^[3] as well as the posthumous releases "Buffalo Soldier" and "Iron Lion Zion". The compilation album Legend (1984), released three years after his death, is reggae's best-selling album, going ten times Platinum which is also known as one Diamond in the U.S.,^[4] and selling 25 million copies worldwide.^[5][6]

Early life and career[link]

Bob Marley was born in the village of Nine Mile in Saint Ann Parish, Jamaica as Nesta Robert Marley.^[7] A Jamaican passport official would later swap his first and middle names.^[8] His father, Norval Sinclair Marley, was a white Jamaican of mixed and English descent whose family came from Sussex, England. Norval was a captain in the Royal Marines,^{[citation needed]} as well as a plantation overseer, when he married Cedella Booker, an Afro-Jamaican then 18 years old.^[9] Norval provided financial support for his wife and child, but seldom saw them, as he was often away on trips. In 1955, when Bob Marley was 10 years old, his father died of a heart attack at age 70.^[10] Marley faced questions about his own racial identity throughout his life. He once reflected:

I don't have prejudice against meself. My father was a white and my mother was black. Them call me half-caste or whatever. Me don't deh pon nobody's side. Me don't deh pon the black man's side nor the white man's side. Me deh pon God's side, the one who create me and cause me to come from black and white.^[11]

The Bob Marley House in Nine Mile is a home that he shared with his mother during his youth

Although Marley recognised his mixed ancestry, throughout his life and because of his beliefs, he self-identified as a black African, following the ideas of Pan-African leaders. Marley stated that his two biggest influences were the African-centered Marcus Garvey and Haile Selassie. A central theme in Bob Marley's message was the repatriation of black people to Zion, which in his view was Ethiopia, or more generally, Africa.^[12] In songs such as "Black Survivor", "Babylon System", and "Blackman Redemption", Marley sings about the struggles of blacks and Africans against oppression from the West or "Babylon".^[13]

Marley and his step brother Bunny Wailer (Bob's mother had a daughter with Bunny's father, younger sister to both of them) started to play music while he was still at school, which he left at the age of 14 to make music with Joe Higgs, a local singer and devout Rastafari. At a jam session with Higgs and Livingston, Marley met Peter McIntosh (later known as Peter Tosh), who had similar musical ambitions.^[14] In 1962, Marley recorded his first two singles, "Judge Not" and "One Cup of Coffee", with local music producer Leslie Kong. These songs, released on the Beverley's label under the pseudonym of Bobby Martell,^[15] attracted little attention. The songs were later re-released on the box set Songs of Freedom, a posthumous collection of Marley's work. Marley was also known to use an Epiphone guitar for much of his career.

Bob Marley Epiphone guitar at his birthplace in Nine Mile, Jamaica.

Bob Marley & The Wailers[link]

1963–1974[link]

Marley in concert in 1980, Zurich, Switzerland

In 1963, Bob Marley, Bunny Wailer, Peter Tosh, Junior Braithwaite, Beverley Kelso, and Cherry Smith formed a ska and rocksteady group, calling themselves "The Teenagers". They later changed their name to "The Wailing Rudeboys", then to "The Wailing Wailers", at which point they were discovered by record producer Coxsone Dodd, and finally to "The Wailers". By 1966, Braithwaite, Kelso, and Smith had left The Wailers, leaving the core trio of Bob Marley, Bunny Wailer, and Peter Tosh.^[16]

In 1966, Marley married Rita Anderson, and moved near his mother's residence in Wilmington, Delaware in the United States for a short time, during which he worked as a DuPont lab assistant and on the assembly line at a Chrysler plant, under the alias Donald Marley.^[17]

Though raised in the Catholic tradition, Marley became captivated by Rastafarian beliefs in the 1960s, when away from his mother's influence.^[18] Formally converted to Rastafari after returning to Jamaica, Marley began to wear his trademark dreadlocks (see the religion section for more on Marley's religious views). After a conflict with Dodd, Marley and his band teamed up with Lee "Scratch" Perry and his studio band, The Upsetters. Although the alliance lasted less than a year, they recorded what many consider The Wailers' finest work. Marley and Perry split after a dispute regarding the assignment of recording rights, but they would remain friends and work together again.

Bob Marley's flat in 1972 at 34 Ridgmount Gardens, Bloomsbury, London, his first UK address.^[19][20]

Between 1968 and 1972, Bob and Rita Marley, Peter Tosh and Bunny Wailer re-cut some old tracks with JAD Records in Kingston and London in an attempt to commercialise The Wailers' sound. Bunny later asserted that these songs "should never be released on an album ... they were just demos for record companies to listen to". Also in 1968, Bob and Rita visited the Bronx to see Johnny Nash's songwriter Jimmy Norman.^[21] A three-day jam session with Norman and others, including Norman's co-writer Al Pyfrom, resulted in a 24-minute tape of Marley performing several of his own and Norman-Pyfrom's compositions. This tape is, according to Reggae archivist Roger Steffens, rare in that it was influenced by pop rather than reggae, as part of an effort to break Marley into the American charts.^[21] According to an article in The New York Times, Marley experimented on the tape with different sounds, adopting a doo-wop style on "Stay With Me" and "the slow love song style of 1960's artists" on "Splish for My Splash".^[21] An artist yet to establish himself outside his native Jamaica, Marley lived in Ridgmount Gardens, Bloomsbury, London during 1972.^[19][20]

In 1972, the Wailers entered into an ill-fated deal with CBS Records and embarked on a tour with American soul singer Johnny Nash. Broke, the Wailers became stranded in London. Marley turned up at Island Records founder and producer Chris Blackwell's London office, and asked him to advance the cost of a new single. Since Jimmy Cliff, Island's top reggae star, had recently left the label, Blackwell was primed for a replacement. In Marley, Blackwell recognized the elements needed to snare the rock audience: "I was dealing with rock music, which was really rebel music. I felt that would really be the way to break Jamaican music. But you needed someone who could be that image. When Bob walked in he really was that image."^[22] Blackwell told Marley he wanted The Wailers to record a complete album (essentially unheard of at the time). When Marley told him it would take between £3,000 and £4,000, Blackwell trusted him with the greater sum. Despite their "rude boy" reputation, the Wailers returned to Kingston and honored the deal, delivering the album Catch A Fire.

Primarily recorded on eight-track at Harry J's in Kingston, Catch A Fire marked the first time a reggae band had access to a state-of-the-art studio and were accorded the same care as their rock'n'roll peers.^[22] Blackwell desired to create "more of a drifting, hypnotic-type feel than a reggae rhythm",^[23] and restructured Marley's mixes and arrangements. Marley travelled to London to supervise Blackwell's overdubbing of the album, which included tempering the mix from the bass-heavy sound of Jamaican music, and omitting two tracks.^[22]

The Wailers' first major label album, Catch a Fire was released worldwide in April 1973, packaged like a rock record with a unique Zippo lighter lift-top. Initially selling 14,000 units, it didn't make Marley a star, but received a positive critical reception.^[22] It was followed later that year by Burnin', which included the standout songs "Get Up, Stand Up", and "I Shot the Sheriff", which appealed to the ear of Eric Clapton. He recorded a cover of the track in 1974 which became a huge American hit, raising Marley's international profile.^[24] Many Jamaicans were not keen on the new "improved" reggae sound on Catch A Fire, but the Trenchtown style of Burnin' found fans across both reggae and rock audiences.^[22]

During this period, Blackwell gifted his Kingston residence and company headquarters at 56 Hope Road (then known as Island House) to Marley. Housing Tuff Gong Studios, the property became not only Marley's office, but also his home.^[22]

The Wailers were scheduled to open 17 shows for the number one black act in the States, Sly and the Family Stone. After 4 shows, the band was fired because they were more popular than the acts they were opening for.^[25] The Wailers broke up in 1974 with each of the three main members pursuing solo careers. The reason for the breakup is shrouded in conjecture; some believe that there were disagreements amongst Bunny, Peter, and Bob concerning performances, while others claim that Bunny and Peter simply preferred solo work.

1974–1981[link]

Bob Marley & The Wailers live at Crystal Palace Park during the Uprising Tour

Despite the break-up, Marley continued recording as "Bob Marley & The Wailers". His new backing band included brothers Carlton and Aston "Family Man" Barrett on drums and bass respectively, Junior Marvin and Al Anderson on lead guitar, Tyrone Downie and Earl "Wya" Lindo on keyboards, and Alvin "Seeco" Patterson on percussion. The "I Threes", consisting of Judy Mowatt, Marcia Griffiths, and Marley's wife, Rita, provided backing vocals. In 1975, Marley had his international breakthrough with his first hit outside Jamaica, "No Woman, No Cry", from the Natty Dread album. This was followed by his breakthrough album in the United States, Rastaman Vibration (1976), which spent four weeks on the Billboard Hot 100.^[26] On 3 December 1976, two days before "Smile Jamaica", a free concert organised by the Jamaican Prime Minister Michael Manley in an attempt to ease tension between two warring political groups, Marley, his wife, and manager Don Taylor were wounded in an assault by unknown gunmen inside Marley's home. Taylor and Marley's wife sustained serious injuries, but later made full recoveries. Bob Marley received minor wounds in the chest and arm.^[27] The shooting was thought to have been politically motivated, as many felt the concert was really a support rally for Manley. Nonetheless, the concert proceeded, and an injured Marley performed as scheduled, two days after the attempt. When asked why, Marley responded, "The people who are trying to make this world worse aren’t taking a day off. How can I?" The members of the group Zap Pow, which had no radical religious or political beliefs, played as Bob Marley's backup band before a festival crowd of 80,000 while members of The Wailers were still missing or in hiding.^[28][29]

Marley left Jamaica at the end of 1976, and after a month-long "recovery and writing" sojourn at the site of Chris Blackwell's Compass Point Studios in Nassau, Bahamas, arrived in England, where he spent two years in self-imposed exile. Whilst there he recorded the albums Exodus and Kaya. Exodus stayed on the British album charts for 56 consecutive weeks. It included four UK hit singles: "Exodus", "Waiting in Vain", "Jamming", and "One Love" (a rendition of Curtis Mayfield's hit, "People Get Ready"). During his time in London, he was arrested and received a conviction for possession of a small quantity of cannabis.^[30] In 1978, Marley returned to Jamaica and performed at another political concert, the One Love Peace Concert, again in an effort to calm warring parties. Near the end of the performance, by Marley's request, Michael Manley (leader of then-ruling People's National Party) and his political rival Edward Seaga (leader of the opposing Jamaica Labour Party), joined each other on stage and shook hands.^[31]

Under the name Bob Marley and the Wailers eleven albums were released, four live albums and seven studio albums. The releases included Babylon by Bus, a double live album with thirteen tracks, were released in 1978 and received critical acclaim. This album, and specifically the final track "Jamming" with the audience in a frenzy, captured the intensity of Marley's live performances.^[32]

Survival, a defiant and politically charged album, was released in 1979. Tracks such as "Zimbabwe", "Africa Unite", "Wake Up and Live", and "Survival" reflected Marley's support for the struggles of Africans. His appearance at the Amandla Festival in Boston in July 1979 showed his strong opposition to South African apartheid, which he already had shown in his song "War" in 1976. In early 1980, he was invited to perform at the 17 April celebration of Zimbabwe's Independence Day. Uprising (1980) was Bob Marley's final studio album, and is one of his most religious productions; it includes "Redemption Song" and "Forever Loving Jah".^[34] Confrontation, released posthumously in 1983, contained unreleased material recorded during Marley's lifetime, including the hit "Buffalo Soldier" and new mixes of singles previously only available in Jamaica.^[35]

Personal life[link]

Religion[link]

Bob Marley was a member of the Rastafari movement, whose culture was a key element in the development of reggae. Bob Marley became an ardent proponent of Rastafari, taking their music out of the socially deprived areas of Jamaica and onto the international music scene. He once gave the following response, which was typical, to a question put to him during a recorded interview:

• Interviewer: "Can you tell the people what it means being a Rastafarian?"
• Bob: "I would say to the people, Be still, and know that His Imperial Majesty, Emperor Haile Selassie of Ethiopia is the Almighty. Now, the Bible seh so, Babylon newspaper seh so, and I and I the children seh so. Yunno? So I don't see how much more reveal our people want. Wha' dem want? a white God, well God come black. True true."^[36]

Observant of the Rastafari practice Ital, a diet that shuns meat, Marley was a vegetarian.^[37] According to his biographers, he affiliated with the Twelve Tribes Mansion. He was in the denomination known as "Tribe of Joseph", because he was born in February (each of the twelve sects being composed of members born in a different month). He signified this in his album liner notes, quoting the portion from Genesis that includes Jacob's blessing to his son Joseph. Marley was baptised by the Archbishop of the Ethiopian Orthodox Church in Kingston, Jamaica, on 4 November 1980.^[38][39]

Family[link]

Bob Marley had a number of children: three with his wife Rita, two adopted from Rita's previous relationships, and several others with different women. The Bob Marley official website acknowledges eleven children.

Those listed on the official site are:

1. Sharon, born 23 November 1964, to Rita in previous relationship
2. Cedella born 23 August 1967, to Rita
3. David "Ziggy", born 17 October 1968, to Rita
4. Stephen, born 20 April 1972, to Rita
5. Robert "Robbie", born 16 May 1972, to Pat Williams
6. Rohan, born 19 May 1972, to Janet Hunt
7. Karen, born 1973 to Janet Bowen
8. Stephanie, born 17 August 1974; according to Cedella Booker she was the daughter of Rita and a man called Ital with whom Rita had an affair; nonetheless she was acknowledged as Bob's daughter
9. Julian, born 4 June 1975, to Lucy Pounder
10. Ky-Mani, born 26 February 1976, to Anita Belnavis
11. Damian, born 21 July 1978, to Cindy Breakspeare

Makeda was born on 30 May 1981, to Yvette Crichton, after Marley's death.^[40] Meredith Dixon's book lists her as Marley's child, but she is not listed as such on the Bob Marley official website.

Various websites, for example,^[41] also list Imani Carole, born 22 May 1963 to Cheryl Murray; but she does not appear on the official Bob Marley website.^[40]

Final years and death[link]

Marley performing in Dalymount Park in the late 1970s

In July 1977, Marley was found to have a type of malignant melanoma under the nail of one of his toes. Contrary to urban legend, this lesion was not primarily caused by an injury during a football match in that year, but was instead a symptom of the already existing cancer. Marley turned down doctors' advice to have his toe amputated, citing his religious beliefs.^[42] Despite his illness, he continued touring and was in the process of scheduling a world tour in 1980. The intention was for Inner Circle to be his opening act on the tour but after their lead singer Jacob Miller died in Jamaica in March 1980 after returning from a scouting mission in Brazil this was no longer mentioned.^[43]

The album Uprising was released in May 1980 (produced by Chris Blackwell), on which "Redemption Song" is particularly considered to be about Marley coming to terms with his mortality.^{[citation needed]} The band completed a major tour of Europe, where they played their biggest concert, to a hundred thousand people in Milan. After the tour Marley went to America, where he performed two shows at Madison Square Garden as part of the Uprising Tour.

The final concert of Bob Marley's career was held 23 September 1980 at the Stanley Theater (now called The Benedum Center For The Performing Arts) in Pittsburgh, Pennsylvania. The audio recording of that concert is now available on CD, vinyl, and digital music services.

Shortly after, Marley's health deteriorated and he became very ill; the cancer had spread throughout his body. The rest of the tour was cancelled and Marley sought treatment at the Bavarian clinic of Josef Issels, where he received a controversial type of cancer therapy (Issels treatment) partly based on avoidance of certain foods, drinks, and other substances. After fighting the cancer without success for eight months, Marley boarded a plane for his home in Jamaica.^[44]

While flying home from Germany to Jamaica, Marley's vital functions worsened. After landing in Miami, Florida, he was taken to the hospital for immediate medical attention. He died at Cedars of Lebanon Hospital in Miami (now University of Miami Hospital) on the morning of 11 May 1981, at the age of 36. The spread of melanoma to his lungs and brain caused his death. His final words to his son Ziggy were "Money can't buy life".^[45] Marley received a state funeral in Jamaica on 21 May 1981, which combined elements of Ethiopian Orthodoxy and Rastafari tradition.^[46] He was buried in a chapel near his birthplace with his red Gibson Les Paul (some accounts say it was a Fender Stratocaster).^[47]

On 21 May 1981, Jamaican Prime Minister Edward Seaga delivered the final funeral eulogy to Marley, declaring:

His voice was an omnipresent cry in our electronic world. His sharp features, majestic looks, and prancing style a vivid etching on the landscape of our minds. Bob Marley was never seen. He was an experience which left an indelible imprint with each encounter. Such a man cannot be erased from the mind. He is part of the collective consciousness of the nation.^[48]

Legacy[link]

Marley has remained popular for decades after his death—one of many memorials to him is this representation at Madame Tussaud Wax Museum in Amsterdam

Bob Marley was the Third World's first pop superstar. He was the man who introduced the world to the mystic power of reggae. He was a true rocker at heart, and as a songwriter, he brought the lyrical force of Bob Dylan, the personal charisma of John Lennon, and the essential vocal stylings of Smokey Robinson into one voice.

— Jann Wenner, at Marley’s 1994 posthumous introduction into the Rock and Roll Hall of Fame^[49]

In 1999 Time magazine chose Bob Marley & The Wailers' Exodus as the greatest album of the 20th century.^[50] In 2001, he was posthumously awarded the Grammy Lifetime Achievement Award, and a feature-length documentary about his life, Rebel Music, won various awards at the Grammys. With contributions from Rita, The Wailers, and Marley's lovers and children, it also tells much of the story in his own words.^[51] A statue was inaugurated, next to the national stadium on Arthur Wint Drive in Kingston to commemorate him. In 2006, the State of New York renamed a portion of Church Avenue from Remsen Avenue to East 98th Street in the East Flatbush section of Brooklyn "Bob Marley Boulevard".^[52] In 2008, a statue of Marley was inaugurated in Banatski Sokolac, Serbia.^[53]

Internationally, Marley’s message also continues to reverberate amongst various indigenous communities. For instance, the Aboriginal people of Australia continue to burn a sacred flame to honor his memory in Sydney’s Victoria Park, while members of the Native American Hopi and Havasupai tribe revere his work.^[54] There are also many tributes to Bob Marley throughout India, including restaurants, hotels, and cultural festivals.^[55][56]

Marley has also evolved into a global symbol, which has been endlessly merchandised through a variety of mediums. In light of this, author Dave Thompson in his book Reggae and Caribbean Music, laments what he perceives to be the commercialized pacification of Marley's more militant edge, stating:

Bob Marley ranks among both the most popular and the most misunderstood figures in modern culture ... That the machine has utterly emasculated Marley is beyond doubt. Gone from the public record is the ghetto kid who dreamed of Che Guevara and the Black Panthers, and pinned their posters up in the Wailers Soul Shack record store; who believed in freedom; and the fighting which it necessitated, and dressed the part on an early album sleeve; whose heroes were James Brown and Muhammad Ali; whose God was Ras Tafari and whose sacrament was marijuana. Instead, the Bob Marley who surveys his kingdom today is smiling benevolence, a shining sun, a waving palm tree, and a string of hits which tumble out of polite radio like candy from a gumball machine. Of course it has assured his immortality. But it has also demeaned him beyond recognition. Bob Marley was worth far more.^[57]

Film adaptations[link]

In February 2008, director Martin Scorsese announced his intention to produce a documentary movie on Marley. The film was set to be released on 6 February 2010, on what would have been Marley's 65th birthday.^[58] However, Scorsese dropped out due to scheduling problems. He was replaced by Jonathan Demme,^[59] who dropped out due to creative differences with producer Steve Bing during the beginning of editing. Kevin Macdonald replaced Demme^[60] and the film, Marley, was released on 20 April 2012.

In March 2008, The Weinstein Company announced its plans to produce a biopic of Bob Marley, based on the book No Woman No Cry: My Life With Bob Marley by Rita Marley. Rudy Langlais will produce the script by Lizzie Borden and Rita Marley will be executive producer.^[61]