Word: marley
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LAST NEW YEAR'S EVE, the sagging economy claimed another victim. Max's Kansas City, one of Manhattan's best known and most innovative rock clubs closed its doors for good, symbolically ending an era of popular music. At Max's, Bruce Springsteen once opened for Bob Marley, the New York Dolls got their start, and a plethora of unknowns enjoyed brief moments of fame, But above all, the Village hangout will be remembered by veterans of the 60s as the birthplace of Lou Reed's Velvet Underground, perhaps the most influential group to ever emerge form New York City...
...Marley, 36, Jamaican prince of reggae, the distinctive, pulsing Caribbean blend of calypso and soul music that carries a weighty message of black pride, peace and Rastafarian religion. Marley rose from the slums of Kingston to become a national hero and international star...
DIED. Bob Marley, 36, reggae superstar who became the foremost proponent of the jagged, pulsing Caribbean sound and a major factor in its popularity and influence; of cancer; in Miami. Son of an English army captain and a Jamaican native, he founded his band, the Wailers, in 1964, but did not achieve commercial success until more than a decade later. Marley, whose song I Shot the Sheriff was made a hit by Eric Clapton in 1974, was an outspoken advocate of Rastafarianism, a Jamaica-based political-religious cult embracing a variety of ideas and trends: reggae music, marijuana...
...import sales can sometimes exert a marked influence on major labels. Warner Bros. was forced to rush-release Dire Straits' Communique, fearful that imports would cut heavily into domestic sales figures. Both Deep Purple's Live in Japan and Bob Marley & the Wailers Live earned domestic release as a result of their enormous import popularity. Cheap Trick's Live at Budokan was Jem's fastest-selling import earlier this year. Epic took heed, rushing a domestic release that finally established the band's long-predicted stardom...
...reggae in Rockers (which features Peter Tosh and Burning Spear, among others) seems noticeably contemporary. It slowly unveils a political awareness less violent than Bob Marley's recent activist songs; and it feels more polished, more heavily produced than traditional Rasta music. A guitar, a bongo, and smooth, taffy-flavored voices don't appear to be enough anymore. One introduction sounds remarkably similar to several measures on Elvis Costello's recent album. And a tuxedoed concert performer carries himself like Barry Manilow onstage. These isolated moments don't detract, however, from the music's mirthful, sensuous beauty...