Bob Marley was a first among equals, of course, and after this album his partners, Peter Tosh and Bunny Wailer, quit the group, which thereafter was renamed Bob Marley and the Wailers. Such songs illuminated the desperation of poor Jamaican life, but they also looked forward to religious salvation, their themes accentuated by the compelling rhythms and the alternating vocals of the three singers. Here, on "Burnin' and Lootin'," they take issue with fellow Jamaican Jimmy Cliff's song of the previous year, "Many Rivers to Cross," asking impatiently, "How many rivers do we have to cross/Before we can talk to the boss?" "I Shot the Sheriff," the album's most celebrated song, which became a number one hit in the hands of Eric Clapton in 1974, claims self-defense, admits consequences ("If I am guilty I will pay"), and emphasizes the isolated nature of the killing ("I didn't shoot no deputy"), but its central image is violent. The three bonus tracks on the 2001 reissue are all by Tosh and Wailer, though recorded at the album's sessions, suggesting the source of their frustration. The Wailers are explicit in their call to violence, a complete reversal from their own 1960s "Simmer Down" philosophy. Bob Marley was a first among equals, of course, and after this album his partners, Peter Tosh and Bunny Wailer, quit the group, which thereafter was renamed Bob Marley and the Wailers. The confrontational nature of the group's message is apparent immediately in the opening track, "Get Up, Stand Up," as stirring a song as any that emerged from the American Civil Rights movement a decade before. But they fit in seamlessly with the newer material, matching its religious militancy and anthemic style. Given that speed, it's not surprising that several tracks - "Put It On," "Small Axe," and "Duppy Conqueror" - are re-recordings of songs dating back a few years.
Additionally, Live! underscores the underrated talents of the Wailers as musicians. With this evidence, there is no denying that Bob Marley & the Wailers were becoming the unlikeliest of pop music icons.
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The mutual affinity that binds Marley with his audience is evident in the roars of approval that greet the opening notes of "Them Belly Full (But We Hungry)," "I Shot the Sheriff," and "Kinky Reggae." Likewise, "No Woman, No Cry" elicits a group singalong as the sheer volume of the audience challenges that of the amplified musicians. Anderson's bluesy guitar runs liberate "Burnin' and Lootin'" as well as "Trench Town Rock," the only new composition on Live! Anderson bobs and weaves his supple-toned fretwork among the somewhat staid rhythms common to reggae. With the addition of lead guitarist Al Anderson during the recording sessions for their previous long-player, Natty Dread, the Wailers took increasing strides toward a seamless transition into the consciousness of the rock music audience. Passionate and symbiotic energies constantly cycle between the band and audience, the net result of which is one of the most memorable concert recordings of the pop music era. As the title implies, this is indeed Bob Marley & the Wailers captured in performance at the Lyceum Ballroom in London during the final U.K.
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