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. (April 2010)

This article may contain original research. Please improve it by verifying the claims made and adding references. Statements consisting only of original research may be removed. More details may be available on the talk page. (July 2010)

Early record albums were packages of 78 RPM records in book form

An album may be understood as a collection of recordings, released as a single package on gramophone record, cassette, compact disc, or via digital distribution, however the concept is found in printed music dating into the early nineteenth century in works by composers such as Schumann and Mendelssohn.^[1] The word derives from the Latin word for list.^[2]

Today, with the vinyl record no longer being used as the primary form of distribution, the term "album" can still be applied to any sound recording collection, such as those on compact disc, MiniDisc, Compact audio cassette, and digital or MP3 albums.^[3] Cover art is also considered an integral part of the album. Many albums also come with liner notes and inserts giving background information or analysis of the recording, reprinted lyrics, images of the performers, or additional artwork and text.^[4] These are now often found in the form of CD booklets.^[5]

History and Formats[link]

Vinyl records[link]

Two vinyl records with inner and outer album sleeves

Vinyl LP records have two sides, each comprising one half of the album. If a pop or rock album contained tracks released separately as commercial singles, these were often traditionally placed in particular positions on the album.^[3] A common configuration was to have the album led off by the second and third singles, followed by a ballad. The first single would lead off side 2. In the past many singles (such as the Beatles' "Hey Jude" and Bob Dylan's "Positively 4th Street") did not appear on albums, but others (such as the Beatles' "Come Together" and Dylan's "Like a Rolling Stone") were part of an album released concurrently. Today, many commercial albums of music tracks feature one or more singles, which are released separately to radio, TV or the Internet as a way of promoting the album. ^[6]Albums have also been issued that are compilations of older tracks not originally released together, such as singles not originally found on albums, b-sides of singles, or unfinished "demo" recordings.^[3]

Album sets of the past were arranged "in sequence" for phonographs equipped with record changers. In the case of a two-record set, for example, sides 1 and 4 would be printed on one record, and sides 2 and 3 on the other. The consumer would then stack the two records onto a spindle equipped with an automatic record changer by stacking the record with side 1 on the bottom and the record with side 2 directly on top of it. The record containing side 1 would then automatically drop onto the turntable, and the tone arm containing the stylus needle would automatically play the album's side 1. When that side was finished, the tone arm would swing back to allow the record containing side 2 to drop down on top of the record containing side 1 and automatically begin to play. When that was done, the consumer would pick up the stack of records that have already played, flip them over (as a stack, without rearranging), and put them back on the spindle. Sides 3 and 4 would play in sequence without further intervention from the consumer.^[3]Record changers persisted throughout the LP era, but were discontinued after it was discovered that the stacking up of records had the potential to warp them.^[3]

Compact cassette[link]

A blank compact cassette tape and case

The Compact Cassette was a popular medium for distributing pre-recorded music in the late 1970's through to the 1990's. The very first "Compact Cassette" was introduced by Philips in August of 1963 in the form of a prototype.^[7] Compact cassettes became especially popular during the 1980's after the advent of the Sony Walkman, which allowed the person to personally control what they listen to.^[8][7] The Walkman was convenient because of its size, the device could fit in most pockets and often came equipped with a clip for belts or pants.^[7] The compact cassette used doubled-sided magnetic tape to distribute music for commercial sale.^[7][9] The music is recorded on both the "A" and "B" side of the tape, with cassette being "turned" to play the other side of the album.^[7]

Compact disc[link]

A compact disc within an open 'Jewel Case'

The Compact Disc's format effectively replaced both the vinyl record and the cassette, to become the standard for the commercial mass-market distribution of music albums.^[10] The CD is a digital data storage device which permits digital recording technology to be used to record and play-back the recorded music.^[9][10]

Length[link]

According to the rules of the UK Charts, a recording counts as an "album" if either it has more than four tracks or lasts more than 25 minutes.^[11] Sometimes shorter albums are referred to as "mini-albums" or EPs.^[12] Albums such as Tubular Bells, Amarok, Hergest Ridge by Mike Oldfield, and Yes's Close to the Edge, include fewer than four tracks. Other artists such as Pinhead Gunpowder refer to their own releases under 30 minutes to bake as "albums" despite the normal distinction.

If an album becomes too long to fit a single vinyl record or CD, a recording artist may make the decision to release a double album where two vinyl LPs or compact discs are packaged together in a single case, or a triple album containing three LPs or compact discs.

Recording artists who have an extensive back catalog will often re-release several CDs in one single box with a unified design, often containing one or more albums, or a compilation of previously unreleased recordings. These are known as box sets. Some musical artists have also released more than three compact discs or LP records of new recordings at once, in the form of boxed sets, although in that case the work is still usually considered to be an album.

See also[link]

Look up album in Wiktionary, the free dictionary.

Wikimedia Commons has media related to: Music albums

• Album cover
• Concept album
• Compact Disc
• Extended play
• Liner notes
• List of albums
• Long play
• Release (music)
• Single (music)

References[link]

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]

Ex-girlfriend and filmmaker Esther Anderson, along with Gian Godoy, made the documentary Bob Marley: The Making of a Legend, which premiered at the Edinburgh International Film Festival in 2011.^[62]

Discography[link]

• The Wailing Wailers (1965)
• The Best of The Wailers (1970)
• Soul Rebels (1970)
• Soul Revolution (1971)
• Catch a Fire (1973)
• Burnin' (1973)
• Natty Dread (1974)
• Rastaman Vibration (1976)
• Exodus (1977)
• Kaya (1978)
• Survival (1979)
• Uprising (1980)
• Confrontation (1983)

Awards and honors[link]

Marley's star on the Hollywood Walk of Fame

• 1976: Band of the Year (Rolling Stone).
• June 1978: Awarded the Peace Medal of the Third World from the United Nations.^[54]
• February 1981: Awarded Jamaica's third highest honour, the Jamaican Order of Merit.
• March 1994: Inducted into the Rock and Roll Hall of Fame.
• 1999: Album of the Century for Exodus by Time Magazine.
• February 2001: A star on the Hollywood Walk of Fame.

• February 2001: Awarded Grammy Lifetime Achievement Award.
• 2004: Rolling Stone ranked him No.11 on their list of the 100 Greatest Artists of All Time.^[63]
• "One Love" named song of the millennium by BBC.
• Voted as one of the greatest lyricists of all time by a BBC poll.^[64]
• 2006: A blue plaque was unveiled at his first UK residence in Ridgmount Gardens, London, dedicated to him by Nubian Jak community trust and supported by Her Majesty's Foreign Office.^[65]
• 2010: "Catch a Fire" inducted into the Grammy Hall of Fame (Reggae Album).^[66]

References[link]

Further reading[link]

External links[link]

Biography portal

Wikimedia Commons has media related to: Bob Marley

Wikiquote has a collection of quotations related to: Bob Marley

• Official website
• Bob Marley at the Internet Movie Database
• The Bob Marley Foundation
• Online Home of the Marleys
• Bob Marley at Rolling Stone
• Marley Elected one of the Greatest Songwriters BBC News, 23 May 2001
• Showcase: Bob Marley by James Estrin, The New York Times, 18 May 2009
• Interview with Heather Marley in Bob Marley Magazine
• Extensive discography

v t e Pan-Africanism Proponents Politicians Nnamdi Azikiwe Amílcar Cabral Muammar Gaddafi Marcus Garvey David Comissiong Kenneth Kaunda Jomo Kenyatta Patrice Lumumba Thabo Mbeki Abdias do Nascimento Gamal Abdel Nasser Kwame Nkrumah Julius Nyerere John Nyathi Pokela Thomas Sankara Haile Selassie Robert Mangaliso Sobukwe Ahmed Sékou Touré I. T. A. Wallace-Johnson Others Marimba Ani Molefi Kete Asante Steve Biko Edward Wilmot Blyden John Henrik Clarke Cheikh Anta Diop W. E. B. Du Bois Frantz Fanon John G. Jackson Leonard Jeffries Yosef Ben-Jochannan Maulana Karenga Fela Kuti Bob Marley Malcolm X Zephania Mothopeng George Padmore Motsoko Pheko Runoko Rashidi Paul Robeson Walter Rodney Burning Spear Henry Sylvester-Williams Stokely Carmichael Omali Yeshitela Concepts United States of Africa Afrocentrism Kwanzaa Pan-African colours Pan-African flag Négritude African nationalism African socialism African Century Africanization Kawaida Ujamaa Harambee Ubuntu Zikism Black nationalism Organizations African Union Organization of African Unity Uhuru Movement UNIA-ACL African Unification Front International African Service Bureau

Amy Winehouse
Amy Winehouse at the Eurockéennes festival in France (2007)
Background information
Birth name	Amy Jade Winehouse
Born	(1983-09-14)14 September 1983 Southgate, London, UK
Died	23 July 2011(2011-07-23) (aged 27) Camden, London, UK
Genres	Soul, R&B, jazz, blues
Occupations	Singer, songwriter, composer, arranger
Instruments	Vocals, guitar, drums
Years active	1993–2011
Labels	Island, Lioness, Universal Republic (U.S.)
Associated acts	Dionne Bromfield, Mark Ronson, Tony Bennett, Nas, Zalon, Tyler James, Paul Weller, The Rolling Stones, Lily Allen
Website	www.amywinehouse.com

Amy Jade Winehouse (14 September 1983 – 23 July 2011) was an English singer and songwriter known for her powerful deep contralto vocals^[1] and her eclectic mix of musical genres including R&B, soul and jazz.^[2] Winehouse's 2003 debut album, Frank, was critically successful in the UK and was nominated for the Mercury Prize. Her 2006 follow-up album, Back to Black, led to six Grammy Award nominations and five wins, tying the then record for the most wins by a female artist in a single night, and made Winehouse the first British female to win five Grammys,^[3][4] including three of the "Big Four": Best New Artist, Record of the Year and Song of the Year.

In 2007 she won a Brit Award for Best British Female Artist; she had also been nominated for Best British Album. She won the Ivor Novello Award three times: once in 2004 for Best Contemporary Song (musically and lyrically) for "Stronger Than Me", once in 2007 for Best Contemporary Song for "Rehab", and once in 2008 for Best Song Musically and Lyrically for "Love Is a Losing Game".

Winehouse died of alcohol poisoning on 23 July 2011. Her album Back to Black subsequently became the UK's best selling album of the 21st century.^[5] In 2012, Winehouse was listed at number 26 on VH1's 100 Greatest Women In Music.^[6]

Early life[link]

Amy Winehouse was born in the Southgate area of North London to a Jewish family, with some Russian ancestry on her mother's side^[7][8] who also influenced her interest in jazz.^[9] Her father, Mitchell "Mitch" Winehouse, was a taxi driver, her mother, Janis Winehouse (née Seaton),^[10] a pharmacist.^[11] Her grandmother, Cynthia, was a singer^[12] and she had an older brother, Alex (born 1979).^[13] Mitch often sang Frank Sinatra songs to young Amy, who also took to a constant habit of singing to the point that teachers found it difficult keeping her quiet in class.^[14] Winehouse's parents separated when she was nine.^[15]

When Winehouse was nine years old, her grandmother Cynthia suggested she attend the Susi Earnshaw Theatre School for furthering her vocal education.^[16] She attended the Earnshaw school for four years and founded a short-lived rap group called Sweet 'n' Sour with Juliette Ashby, her childhood friend^[17] before seeking full-time training at Sylvia Young Theatre School; however, Winehouse was allegedly expelled at 14 for "not applying herself" and also for piercing her nose.^[13][18] (Sylvia Young herself has denied this – "She changed schools at 15 – I've heard it said she was expelled; she wasn't. I'd never have expelled Amy.")^[19] She also appeared in an episode of The Fast Show, 1997, with other children from the Sylvia Young School^[20] and later attended The Mount School, Mill Hill, the BRIT School in Selhurst, Croydon, Southgate School and then Ashmole School.^{[21][22][23][24]}

Music career[link]

Early career[link]

After toying around with her brother Alex's guitar, Winehouse received her first guitar when she was 13 and began writing music a year later. Soon after, she began working for a living, including, at one time, as an entertainment journalist for the World Entertainment News Network, in addition to singing with local group the Bolsha Band.^[13][25] In July 2000 she became the featured female vocalist with the National Youth Jazz Orchestra; her influences were to include Sarah Vaughan and Dinah Washington.^[26] Her boyfriend at the time, soul singer Tyler James, sent her demo tape to an A&R person.^[9] Winehouse signed to Simon Fuller's 19 Management in 2002. While being developed by the management company, she was kept as a recording industry secret.^[27] Her future A&R representative at Island/Universal, Darcus Beese, heard of her by accident when the manager of The Lewinson Brothers showed him some productions of his clients, which featured Winehouse as key vocalist. When he asked who the singer was, the manager told him he was not allowed to say. Having decided that he wanted to sign her, it took several months of asking around for Beese to eventually discover who the singer was. However, Winehouse had already recorded a number of songs and signed a publishing deal with EMI by this time. Incidentally, she formed a working relationship with producer Salaam Remi through these record publishers.^[27]

Beese introduced Winehouse to his boss, Nick Gatfield, and the Island head shared his enthusiasm in signing the young artist. Winehouse was signed to Island/Universal, as rival interest in Winehouse had started to build to include representatives of EMI and Virgin starting to make moves. Beese told HitQuarters that he felt the reason behind the excitement, over an artist who was an atypical pop star for the time, was due to a backlash against reality TV music shows, which included audiences starved for fresh, genuine young talent.^[27]

Winehouse's greatest love was 1960s girl groups.^[28] Her stylist, Alex Foden, borrowed her "instantly recognisable" beehive hairdo (a weave^[29][30]) and she borrowed her Cleopatra makeup from The Ronettes.^[28] Her imitation was so successful, as the Village Voice reports: "Ronnie Spector—who, it could be argued, all but invented Winehouse's style in the first place when she took the stage at the Brooklyn Fox Theater with her fellow Ronettes more than 40 years ago—was so taken aback at a picture of Winehouse in the New York Post that she exclaimed, "I don't know her, I never met her, and when I saw that pic, I thought, 'That's me!' But then I found out, no, it's Amy! I didn't have on my glasses."^[31]

New York Times reporter, Guy Trebay, discussed the multiplicity of influences on Winehouse's style. Trebay noted: "her stylish husband, Blake Fielder-Civil, may have influenced her look." Additionally, Trebay observes:

She was a 5-foot-3 almanac of visual reference, most famously to Ronnie Spector of the Ronettes, but also to the white British soul singer Mari Wilson, less famous for her sound than her beehive; to the punk god Johnny Thunders...; to the fierce council-house chicks... (see: Dior and Chanel runways, 2007 and 2008); to the rat-combed biker molls photographed by the Swiss photographer Karlheinz Weinberger in the 1960s; to a lineage of bad girls, extending from Cleopatra to Louise Brooks’s Lulu and including Salt-n-Pepa, to irresistible man traps that always seemed to come to the same unfortunate end.^[32]

[edit] Major label success and Frank

Performing at the Bowery Ballroom, New York City in 2007

Winehouse's debut album, Frank, was released on 20 October 2003. Produced mainly by Salaam Remi, many songs were influenced by jazz and, apart from two covers, every song was co-written by Winehouse. The album received positive reviews^[33][34] with compliments over the "cool, critical gaze" in its lyrics^[2] and brought comparisons of her voice to Sarah Vaughan,^[35] Macy Gray and others.^[2]

The album entered the upper levels of the UK album chart in 2004 when it was nominated for BRIT Awards in the categories of "British Female Solo Artist" and "British Urban Act". It went on to achieve platinum sales.^[36] Later in 2004 she won the Ivor Novello (songwriting) Award for Best Contemporary Song, alongside Salaam Remi, with her contribution to the first single, "Stronger Than Me".^[37] The album also made the short list for the 2004 Mercury Music Prize. In the same year she performed at the Glastonbury Festival, the V Festival, the Montreal International Jazz Festival (7 July 2004, at the Club Soda), and on the Jazzworld stage. After the release of the album, Winehouse commented that she was "only 80 percent behind [the] album" because of the inclusion by her record label of certain songs and mixes she disliked.^[9] Additional singles from the album were "Take the Box", "In My Bed"/"You Sent Me Flying" and "Pumps"/"Help Yourself".

[edit] International success and Back to Black

In contrast to her jazz-influenced former album, Winehouse's focus shifted to the girl groups of the 1950s and 1960s. Winehouse hired New York singer Sharon Jones's longtime band, the Dap-Kings to back her up in the studio and on tour.^[38] In May 2006 Winehouse's demonstration tracks such as "You Know I'm No Good" and "Rehab" appeared on Mark Ronson's New York radio show on East Village Radio. These were some of the first new songs played on the radio after the release of "Pumps" and both were slated to appear on her second album. The 11-track album was produced entirely by Salaam Remi and Ronson, with the production credits being split between them. Ronson said in a 2010 interview that he liked working with Winehouse because she was blunt when she did not like his work.^[39] Promotion of Back to Black soon began and, in early October 2006 Winehouse's official website was relaunched with a new layout and clips of previously unreleased songs.^[36] Back to Black was released in the UK on 30 October 2006. It went to number one on the UK Albums Chart numerous times, and entered at number seven on the Billboard 200 in the US. It was the best-selling album in the UK of 2007, selling 1.85 million copies over the course of the year.^[40]

	"Rehab" noicon 21-second audio sample from Amy Winehouse's first hit "Tears Dry on Their Own" noicon 25-second audio sample from one of the standout tracks on "Back to Black" album "Will You Still Love Me Tomorrow" noicon Originally performed by The Shirelles in the 1960s, this version slows the tempo down and features a jazz arrangement.
Problems listening to these files? See media help.