The Wailers”Burnin”

The Wailers”Burnin” is their fourth album featuring Bob Marley, Peter Tosh and Bunny Wailer and released on October 19, 1973.

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Track Listing : 1.Get Up, Stand Up (Bob Marley, Peter Tosh) – 03:19 . 2.Hallelujah Time (Jean Watt) – 03:29 . 3.I Shot The Sheriff (Bob Marley) – 04:42 . 4.Burnin’ And Lootin’ (Bob Marley) – 04:14 . 5.Put It On (Bob Marley) – 04:00 . 6.Small Axe (Bob Marley) – 04:01 . 7.Pass It On (Jean Watt) – 03:36 . 8.Duppy Conqueror (Bob Marley) – 03:45 . 9.One Foundation (Peter Tosh) – 03:42 . 10.Rastaman Chant (Traditional, The Wailers) – 03:45

Musicians : Peter Tosh – Guitar, Vocals, Keyboards . Bob Marley – Guitar, Vocals . Bunny Wailer – Percussion, Vocals . Aston “Family Man” Barrett – Bass, Guitar . Carlton “Carlie” Barrett – Drums . Earl Lindo – Keyboards

Production : Produced By Chris Blackwell And The Wailers . Tony Platt – Engineer . Phill Brown – Engineer

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Recorded April 1973 At Harry J. Studios, Kingston, Jamaica, .

Released On October 19, 1973 By Island/Tuff Gong.

(Source Official Site)

The Wailers

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Sputnikmusic.com
Reggae-Vibes.comBurnin’ is not the greatest record that these iconic reggae-men put out, though it does an excellent job at displaying their consistency. All the music may not jump out at you and take hold, but it will leave you with a peaceful smile on your face. […]

Reggae-vibes.com
Now that the second album has been released it confirms that the social/political/musical path which they took with their last LP has been adhered to strictly. But the refinement in the music and in the dialectic quality of the vocals only go to show that the search for commerciality has meant a loss in authenticity, no matter how small. […]

PopMatters
Nevertheless, the more understated numbers are also deserving of attention, especially “Small Axe”—one of several songs on the album that the Wailers had already recorded with Lee “Scratch” Perry—with its infectious rhythms and harmonies and its pseudo-biblical lyric of resistance. Just as the central metaphor of the song addresses the transcendent potential of the dispossessed and the weak before the oppressor, the modest groove of the music has an enormous hook. […]

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