Bob Marley & The Wailers: Confrontation - 1983

 

Confrontation was released in 1983, posthumously, and was made up of session material left off the previous two or three albums. There is an understandable patchiness to it, but it still functions as a perfectly credible album. It is not just a collection of demos. It is much better than that.

Chant Down Babylon was based on the Rasta chanting tradition, but it is not a chant, like Rasta Man Chant from Burnin'. It is a lilting, energetic, skanking workout - lively and catchy. Its message is one of rejecting the evils of Babylon and the oppressor. 

Buffalo Soldier is a horn-driven, bassy and melodic singalong number that became a huge hit, with its "woy-yo-yo" chorus. Its history lesson is interesting too - the first time I heard it I had no idea that Jamaicans had been taken to fight in the US army in the early/mid nineteenth century, before emancipation. The album's other material is all of a high standard too. 

Jump Nyabingi is a joyful I-Threes and sexy guitar-dominated rasta number that dated back to the early days and the synth and keyboard-driven and catchy Mix Up Mix Up goes back even further. Both have had instrumentation added to them, making them sound like new songs.

Give Thanks And Praises is a peaceful, devotional song with a lovely brass-backed rhythm that came from the Uprising sessions. I really like the vibe on this one. Blackman Redemption is a typically brassy and really infectious roots number, with its "cool runnings" lyric, that dated from 1978. Also enhanced by brass and a sumptuous bassline is the seductive skank of Trench Town. These latter two feature some fine backing vocals from the I-Threes too. 

Stiff Necked Fools is a solid, keyboard bass and guitar skank that has Bob ranting at whoever these fools might be. For some, I Know is the worst song in Marley's catalogue. I can see what they mean and understand why it was left on the cutting room floor. It is bedevilled by a cheesy synthy backing that tries to imitate I Shot The Sheriff but ends up what it is - a poor attempt to do a radio-friendly pop number. 

As with many previous Marley albums, a "chant" style Rasta song in Rasta Man Live Up! ends proceedings. The chant here is backed by an infectious skank and some great guitar. "Rastaman live up - kinky man don't give up...". You said it Bob.

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