Natty Dread

Bob Marley and a revamped Wailers challenge uncharted musical territories on their third international release, Natty Dread. There is an immediate sense of the overwhelming influence that American jazz and soul continued to have on sonic textures newly integrated into reggae. Additionally, Natty Dread was the first album to be created somewhere other than the Wailers' native Jamaica. Before recording commenced on Natty Dread, both Bunny Livingston (aka Bunny Wailer) and Peter Tosh departed the Wailers, citing their respective desires for creative independence. The importance of the addition of American guitarist Al Anderson cannot be overstated. Anderson's economic, albeit overdubbed, fretwork on "Lively Up Yourself" and "No Woman, No Cry" reveals his uncanny ability to effortlessly incorporate rock and jazz phrasings into reggae. The unique vocal blend that Tosh and Livingston brought to the Wailers was likewise supplanted by the I-Threes, a female trio of backing vocalists that included Bob's wife, Rita Marley. The addition as well as the contrast of the female vocalists uncover a new texture to the Wailers, especially on "Talkin' Blues," "Rebel Music," and the Rita Marley co-composed title track. The song was to be named "Knotty Dread"; however, due to a misunderstood Jamaican accent, "Knotty" was interpreted as "Natty" instead. Natty Dread also marks the first time that Marley had seemingly recorded material from outside of the active group. Rightly considered a standard in the Bob Marley & the Wailers canon, "No Woman, No Cry" is credited to Vincent Ford (aka Jack Tartar), a lifelong friend of Marley's from the early '60s in Trenchtown. It is generally accepted mythology that the song was actually composed by Marley, with credits (read: royalties) bestowed upon Ford as a form of karmic recompense. The 2001 Definitive Remasters edition also includes the track "Am-A-Do," which was recorded during the Natty Dread sessions but shelved until the 1991 compilation, Talkin' Blues. It is restored here to its proper chronological context.