Music

Bob Marley & The Wailers: Legend (Deluxe Edition)

Jason MacNeil

Bob Marley & The Wailers

Legend (Deluxe Edition)

Label: Deluxe Edition
US Release Date: 2002-02-12
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To commemorate the 20th anniversary of his death last year, Robert Nesta Marley releases and greatest hits collection popped up periodically in record stores, but for most people, the greatest hits were superbly captured with the release of Legend back in 1984. The album remains the biggest selling reggae album of all time. Now, this past February saw the album re-released as a remastered double-album deluxe edition, including remixes and a few bonus tracks not on the original. A staple of most record collections, the record is a testament that good music is good music is good music, regardless of time, place or situation. The only sad aspect is that he would only be 56 had he still been living today.

Starting off with Disc One, the first track sets the album off on an easy, relaxing course. "Is This Love", one of the later hits recorded in 1977 on his Kaya, sounds just as relevant and fresh now as it did then. And what can be said that hasn't been already said about the classic "No Woman No Cry"? Recorded at the Lyceum Ballroom in London, this song encapsulates the political message with the same infectious rhythms and beats, culminating with the audience joining him in song. "Get Up Stand Up" fits equally into the same niche, but comes off as a bit more militant. Even in his political messages though, the upbeat and uplifting, spiritual quality to the songs shines through, particularly on "Buffalo Soldier" on the closing "Woe yoe yoe, woe woe yoe yoe/Woe yoe yoe yo, yo yo woe yo, woe yo yoe".

The first disc does have some bonus tracks that only appeared on the original British cassette version, including the spliff happy party atmosphere of "Easy Skanking". The song is a bit of a disappointment though, seeming a bit out of place with its less than impressive arrangements and definitely out of place given the quality of the other songs. But such is the case with deluxe editions at times. The other bonus track, "Punky Reggae Party", sounds similar to what the Clash were doing on its Sandanista album, mixing both British and Jamaican rhythms. Produced by Lee Perry, the song even mentions the Clash as well as the Jam and the Damned.

Another trait of the songs is that while all were recorded in the 1970s except for the stunning "Redemption Song", recently performed by Wyclef Jean at the America: A Tribute To Heroes telethon, the songs don't have the sounds of most seventies albums. The various touches of organs and guitar effects are minimal, except for a brief instance near the finish of "Stir It Up". "One Love/People Get Ready", "Jamming" and "I Shot the Sheriff" are other gems found here, making it difficult to select highlights from a highlights heavy record.

Disc Two contains several remixes released as singles throughout 1984 and 1985. While there are five various remixers contained on the record, there are mainly two which are of significance. Julian Mendelsohn and Eric "E.T." Thorngren are responsible for the bulk, including "Jamming", "Coming in from the Cold", "Could You Be Loved" and "Exodus". Together here as a complete set for the first time, the songs aren't the contemporary idea of a "remix" but more just a slightly altered version to near perfection songs. "One Love/People Get Ready" is presented here in extended and dubbed version, but nothing particularly of note can be discerned aside from the obvious treatments. Only "Lively Up Yourself" is the collector's gem, previously unreleased. Most of the songs tend to go one to two minutes over the original song.

A small bonus is also in the album's presentation with lyrics, liner notes and picture-heavy sleeves. Much information is provided along with several unreleased photos and personal pictures, which creates a sense of completeness. On the whole this album is one of the few you can play start to finish and repeat. A great collection and a layman's substitute for Prozac all rolled into one.

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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​'The Ferryman': Ephemeral Ideas, Eternal Tragedies

The current cast of The Ferryman in London's West End. Photo by Johan Persson. (Courtesy of The Corner Shop)

Staggeringly multi-layered, dangerously fast-paced and rich in characterizations, dialogue and context, Jez Butterworth's new hit about a family during the time of Ireland's the Troubles leaves the audience breathless, sweaty and tearful, in a nightmarish, dry-heaving haze.

"Vanishing. It's a powerful word, that"

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9

If The Prince of Nothingwood will popularly be remembered for celebrating the creative spirit of its star Salim Shaheen, it is equally an important communication on Afghanistan, it's culture and its people.

"Now I am just more tired and poor. So no, I haven't changed. I'm just older and more tired," says French radio journalist and documentarian Sonia Kronlund, as she looks back on the experience of making The Prince of Nothingwood (2017).

Joining Salim Shaheen, the most popular and prolific actor-director-producer in Afghanistan on his 111th no budget feature, Kronlund documents the week-long shoot and the events surrounding it. She crafts an insight into a larger than life persona, yet amidst the comedy and theatricality of Shaheen and his troupe of collaborators, she uncovers the heavier tones of the everyday reality of war and patriarchal oppression. If The Prince of Nothingwood will popularly be remembered for celebrating the creative spirit of its star, it is equally an important communication on Afghanistan, it's culture and its people. Alongside the awareness of the country cultivated by mainstream media news outlets, Kronlund's film offers an insight into a country that can humanise the prejudice and xenophobic tendencies of a western perspective towards Afghanistan.

In October of this year at the UK premiere at the BFI London Film Festival, Kronlund spoke with PopMatters about being driven by questions rather than inspiration. She also reflected on the subjective nature of documentary filmmaking, the necessary artistic compromises of filming in Afghanistan, and feeling a satisfaction with imperfections.

Why filmmaking as a means of expression? Was there an inspirational or defining moment?

Not really, no. I have always done documentary. I used to write scripts and TV series but I only make documentaries myself for radio and television. For this story, I figured out after a while that it deserved a bigger ambition and a bigger screen and that's why I don't very much believe in inspiration. To be honest, I made this film because I had to do something. I didn't have a big project where I thought: I want to make this. I went there and I found a little money and at the end the ambition and the inspiration came along the way. But there was not an urgent necessity to make this film. It fits with a lot of things that I'm interested in, like popular culture -- What does art stand for and why do we go to the cinema? What is the purpose? This is a question I'm interested in, but inspiration, not so much.

Has The Prince of Nothingwood provided you with the answers to those questions?

It has, and I hope it helps people to think about this question. It tells you that there is an urgent need to make images, to make films, even during war,and even if you don't have the money. And even if the films are not very good, they will find somebody who will like them. So something is going to happen, and I think that's very touching. I don't like Shaheen's films, I hardly watched them -- I paid somebody to watch them. But I'm very moved by all these people that do like his films, and it makes you think about the value of art and the purpose of why we make cinema. I used to study aesthetics in London, so it was one of the questions I had and while the film is lighter than this, that's what was in mind.

The film uses Shaheen as a doorway, beginning as a story about one man which becomes a story about Afghanistan, its people and culture.

Yeah, but it's not so much about Afghanistan and it's not my purpose is to say things about the country. There's one guy like him in Iran who makes cowboy movies in the Iranian desert and there's also a guy like that in Tunisia. I mean you have this person with an urgent need to film whatever they have under their hand and since it's war, then it tells you something about the war. But it's not so much interested in him.

There was a lot of editing, 148 hours that you haven't seen [laughs]. Making a documentary is really telling a story and I don't have any idea of objectivity -- it is my point of view on Shaheen. Some people say to me that they would like to show his films, that they really want to see his films, and I say: "You don't see how much I have edited. I show you the very nice parts of his films." People think he's a great filmmaker and that's the story I wanted to tell -- but I could have told another story.

To my mind, objectivity is a human construct, a falsity that does not exist.

Except mathematics maybe, and sometimes physics.

The purist opinion of documentary as objective is therein built on a faulty premise. From the subjective choices of the filmmakers that bleed into the film to the subjectivity of the subjects, it's not purely objective. Hence, it calls into question the traditional dividing line of the objectivity of documentary and the subjectivity of narrative fiction.

Totally! It's the editing, and why you chose this guy, how you film it and what you show, or what you don't show. It's not only subjectivity, it's storytelling. Not many people ask me about this, they take it for granted that it's the real Shaheen. But I'm not lying, I'm not saying things that aren't true, but I am telling a story, a fictional story out of what I filmed. I took scenes that happened one day and I put them with another story that happened three months later and that's why we had seven months of editing with three editors. So it was a lot of work.

One of the striking aspects of the film are the light and comedic moments offset by a darker and heavier sensibility, which include moments when, for example, Shaheen talks about arranged marriages.

We made 70rough cuts and there was one version we tested and you couldn't believe you were in Afghanistan. People would say: "Oh this is too funny. You don't see Afghanistan, it's just a bunch of crazy guys." I then said: "Let's put in a little more darkness." You then have to strike a balance and to me, if it's not perfect, I'm happy.

Shooting the film in a dangerous and volatile part of the world, was the approach that once you had enough footage you then looked to shaping the film in the edit?

It's not when you feel you have enough, it's finding a balance between security and artistic concerns. That's it. You have a plan and you have an agenda. There are things you want to do, but it has to be balanced with security concerns. The real story I was going to tell about Shaheen I found in the editing room and in the end, I only kept five days of the shoot. The whole film takes place in Bamyan (Province), nothing in Kabul, although I had weeks and weeks of footage there that I had to take away.

There's a moment when Shaheen asks if you are scared, which sees him verbalise our silent recognition of your boldness and courage to bring this story to the screen.

It's very difficult and it's not like you are walking in the street and there's a bomb. This is not what's difficult. The difficulty is to cope with your fear and to have rules and to follow or to not follow those rules. There are many foreign people that never go out at all in Kabul -- it is forbidden. You have British diplomats who do not even drive their car from the airport to the embassy -- they will take an helicopter that costs £2,000 each way. Then you have foreign people who walk in the street without a scarf -- these girls get kidnapped.

In between these you have Shaheen, who is telling me all the time that I'm too scared, because it's a man's value to be brave and he's a brave guy, there's no question about that. He was in an attack two weeks ago. There was a bomb in a Shia Mosque and he helped to carry out the bodies. So there's no kidding about the fact that he's a brave guy and he has to be because he's been fighting to make his films. But you are in the middle of this and I'm not a brave person at all and I don't think being brave is a very important question. It is, but I'm not brave, I'm very scared and so in the middle of all of this stress it's enough just to manage to not go crazy, or to not drink too much [laughs].

Salim Shaheen and Sonia Kronlund (courtesy of Pyramide Films)

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