Showing posts with label jamaica. Show all posts
Showing posts with label jamaica. Show all posts
Saturday, June 19, 2010
"One Love / People Get Ready" by Bob Marley and the Wailers (1977)
There's just some things not worth arguing about. Yes, this song espouses religious beliefs I do not share ('a thumper's song', my father calls it). Yes, it takes a full verse from Curtis Mayfield's "People Get Ready". Yes, it's a re-recording of a twelve-year-old song, in a dearth of inspiration that plagued Marley throughout the seventies. Yes, by now it's entirely enveloped in that haze of sunny benevolence that takes certain works of art away from the field of objective criticism (or even enjoyment) into the realm of admiration-by-default. "One Love" is so universally loved and uncritically adored that it almost seems that there's nothing to say about it...
Which is fine, really. It's ultimately a song so simple and yet so gorgeous, so full of hope and beauty, that silence might well be the best way to approach it. Or, of course, singing along with it. If music differs from other forms of art in that it is ultimately communal, if an artist's work is irretrievably tied to the people who consume it, then this is about as high as the art of music climbs. If any song deserves to be considered a 'treasure of mankind', this one does. It may be an expression of belief in a very tiny religious movement indigenous to a very tiny island, but somehow it's universal. People knowing nothing about Rastafarianism or Jamaica can still find themselves in this music, can still find joy and uplift: the equalising power of music. Bob Marley, a Jamaican signed to a British record label and a symbol for people in pretty much every country of the world, was a global phenomenon in a way an American act simply couldn't be at the time (until "Thriller", at least).
Of course, by the very nature of its existence, this song is a political statement. Its idealism is political, but for all of its cheeriness, the lyrics are primarily about judgement, about condemnation. Even if they weren't, though, the song would still be about empowerment: about the small having power over the large, about the weak having power over the strong. The song is about unity, and the inherent power of unity. Bob Marley's lyrics may say nothing about that, but the message still remains strong and clear.
To the point that it's still there even if you choose to tune it out entirely. As political as Bob Marley inevitably was, there's no need to have a political bent to enjoy this music: it basks in a sunshine of its own making. It is an irrepressibly optimistic good-time song that lets in no rainclouds. It's all but impossible to be cynical about this song. It represents, and evokes, all that is good about life on earth. What else does that?
Saturday, January 23, 2010
"Curley Locks" by Junior Byles (1974)
I don't know that much about reggae. I'm not going to pretend to be an expert just in order to make this list as 'international' or 'eclectic' as possible. I like a lot of the reggae I've heard, but again I'm not an expert. This means, of course, that in including reggae on this list I run the risk of either choosing some incredibly wack song that happened to 'cross over' or genuflecting to reggae tastemakers to the point of convincing myself that some song with suitable cred is good - that is to say one of the 'best songs ever'.
So I include this without knowing much about it for the simple fact that I love it extremely. In fact, I've been quite obsessed with it lately, to the point of listening to dozens of versions of it to see which one I like best. I've settled on this one. The different versions, by different performers, range a lot in style but they all seem to have a certain beguiling sweetness to them.
So I guess that our protagonist has become a Rastafarian. His childhood sweetheart has been told by her father (presumably a Christian) to stay away. He is singing his heart out to her in an attempt to win her back. The balance between the never-mind sweetness ("The sun is shining...") and the trouble's-brewing warning ("Two roads before you...") is very delicately struck, and yet the overall feeling coming from the boy (who just might possibly be in prison or some place like that if I'm to understand anything from the "Thank you for the letter" part) seems to be a delicate, loving sensitivity. The end result is really very powerful - where so many political songs (and a song about religious conversion and family pressures is political) are strident, this one just seems to envelop its message in a kind of sweetness that proves its righteousness by not being consciously righteous.
It's difficult to imagine the Curley Locks in question not being swayed by this paean into ignoring her father and running away with the protagonist.
Wikipedia tells me that Junior Byles recorded this song with Lee "Scratch" Perry, who also has a version of it released in his own name which seems to bear more of the "Scratch" Perry sonic trademarks that I'm familiar with. I mean, "Scratch" Perry songs don't all sound the same, but I always associate him with dub, and this recording (which I believe is in the genre called 'lovers' rock') doesn't bear much of a dub feel to it. Instead, its gentle skank plays like a lullaby, lulling its message into the Curley Locks' heart...
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- Reggae Revolution (timesunion.com)
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- Damian Marley : Road to Zion (favoritentips.com)
- Sardinia Bass Legalize - "Timeless" (A Quiet Bump) (phlow-magazine.com)
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