Exodus
by Bob Marley & The Wailers

First Released: 3rd June 1977

Island

Bob Marley And The Wailers Exodus Album Cover

Review

Hot off the heels of an assassination attempt against him and the subsequent performance at the Smile Jamaica concert, an attempt to reduce political tensions in the country, Bob Marley moved to England and began to record this album. By this point, only Marley remained from the original Wailers, and was the sole credited writer for the first time. The album takes an interesting approach, in that the first half has a more religious and political focus, with a slightly darker tone and theme. The second half flips that and explores themes of love, sexuality and peace, leaning more into hooky melodies and a lighter, more mainstream approach to songwriting. In many ways that split is a perfect summary of Marley as a man. On one hand you have the activist and social justice icon, aiming to promote pan-africanism and standing on a platform of unity and peace. On the other, you have the more relaxed, weed smoking, peace and love focused guy with a penchant for catchy melodies and up-tempo grooves. I actually think that, with that in mind, the first half of this record is actually more interesting. There are the expected top-quality grooves and layered rhythms, but things are often delivered with a bit more subtlety and production flair. There’s interesting use of effects and reverb to build a darker vibe, with an almost sinister edge in places, while Marley’s lyrics call out guilt, wickedness and deliver a message of religious righteousness. There’s some fantastic bass work, and the careful use of the I Threes’ backing vocals works really well to add depth to the work. The second half on the other hand, leaps straight into one of Marley’s most well-known tracks, latching straight on to brilliant melodic hooks, infectious reggae grooves and brilliantly balanced production. And it doesn’t let up from there. He touches on moments of pop-reggae magic, dips into some sultry and sexy grooves, particularly on Turn Your Lights Down Low, and then delivers a one-two punch of Three Little Birds and One Love that again epitomise the sunnier side of Marley’s talents. There is simplicity to a lot of the instrumental parts, but the magic comes from the layering of those parts into a body-conquering groove that somehow feels brilliantly fluid and almost forensically tight at the same time. The band are superb, knowing exactly when to push forward with moments of flair and virtuosity, like the piano at the end of Jamming, the guitar on Waiting in Vain and the superb drumming work on One Love. And then at the centre of it all, you have the immense charisma and laid back swagger of Marley himself, who throws out hooks like they’re nothing at all and elevates even the simpler elements of his work with an almost perfect balance of control and freedom. It’s really masterful stuff. For me, I think the combination of the relatively short run-time and the tonal contrast between sides one and two make this the ultimate expression of Marley’s range and the two sides of his character and musicianship. Sadly, the lasting caricature of Marley, at least in mainstream society, has minimised the serious political side to his work, while elevating the more surface level message of peace, love and smoking weed. I think it’s fine to uplift that message with one hand, but I think it’s important to use the other hand to highlight his more political work, and his belief in promoting ways in which to build the world of peace and love that he ultimately wanted to see.

Track by Track

Natural Mystic

The slightly dark edge to this, especially through the bass line, adds an interesting edge to the reggae vibe. It does lift up in various places, but the depth of the production, use of reverb and considered pace make for a great blend with Marley’s lyrics and vocal performance, which has a more reluctant, tired edge to it. Because of that, there feels like there’s a good emotional heft to the track, though it also doesn’t lack in groove, which makes for a tasty blend. A solid opener.

So Much Things To Say

This takes a more upbeat tone, but lyrically continues discussing darker topics, though through the eyes of Marley’s faith, which gives justification for the more upbeat delivery. The rolling groove is delicious, working beautifully with the descending bass line. There are some lovely moments of lead guitar that tickle their way out from the shuffling rhythmic layers, and the bridge is a delightful variation on the central theme, especially the backing vocals. A gorgeous track that does an awful lot in a short time.

Guiltiness

Back to something that wallows a little more in darkness. The groove is more withdrawn and the spread of the rhythm across the instrumentation a little thinner, but it works brilliantly with the theme of the track. The transition into the chorus is lush and the vocal hook in the chorus is excellent too. It’s perhaps one of the simpler tracks on the record, but the vibe is super strong.

The Heathen

It’s another with that dark edge, but it plays a bit more with production and sonic experimentation, with the distorted lead guitar and synth bass particularly giving this a different flavour to the more straight reggae work of the previous tracks. It works with repetition to punch in its message, but there’s enough musical interest that dances around that repetition to give it range. It’s not what people would often associate with Bob Marley’s music, but I think it shows a broader appreciation of production and a willingness to bend his music in different directions than he’s often credited with.

Exodus

We’re back into the shuffling, layered grooves that are contributed to by each of the different instrumental parts. The bass line is great, with its beefy low presence that climbs up here and there to inject a bit of lightness. As an almost 8 minute track, there are similarities in this to the work of Fela Kuti, working with repeating central patterns, but dancing around them and pulsing with an organically shifting centre that naturally occurs as musicians circle around a pattern. There’s so much to pick out from this that I think you could have a great time just following a specific instrument and how it interacts with everything else. The production is dense, but there is space for interesting effects use and bits of sonic trickery, and it has a great hypnotic feel to it. Quality.

Jamming

On to side two and we get the other side of Marley. This is overplayed, no doubt, but you can see why. It’s super hooky, has easy to remember lyrics and the vibe and groove are absolutely first class. I think my favourite part of this track has always been the lead guitar, which dances around Marley’s vocal and pokes its head above the parapet now and again with a fun little fill when he has a pause for breath. The piano towards the end is lush too. A banger of a track.

Waiting In Vain

It feels like we take a slightly quicker and more front foot approach to rhythm here, but the general vibe is a bit more subtle too. It’s deliciously produced and the bouncing rhythms have got great punch, despite the leant back stylings of the songwriting. The bridge out of the chorus into the guitar solo is gorgeous, and the solo itself perfectly delivered to gel with the vibe of the track. This is a perfect balance of vibe, groove, hook and charisma. Beautiful stuff.

Turn Your Lights Down Low

Bob settles in for something even smoother now. It’s slick and sultry stuff and he’s backed up by some incredibly soulful performances from each of the instrumental parts. It always amazes me when musicians sound like the work is flowing out from their instrument as if for the very first time, so natural and effortless is the performance, and this track does exactly that. The backing vocals are superb and Bob himself wraps it all up with a performance so full of character and charisma that it’s all but impossible to resist. Lush in every way.

Three Little Birds

Another classic. Yes, it’s been co-opted by part time weed smokers on their trips to Amsterdam, and has been sung in way too many cod Jamaican accents for it to ever be comfortable. But it’s still fucking brilliant. At its core, this is so simple that it’s one of the first songs that gets wheeled out for kids to learn in school, but there’s a lot of bits of lovely playing from the lead guitar that give it extra musical interest. The grooves are impossible to ignore, and the backing vocals are superb. It’s cheesy as anything, at least in part due to the way it’s been used since, but there’s nothing wrong with cheese now and again, is there?

One Love/People Get Ready

So many classics stuffed onto a single album. This second half has been hit after hit. The drumming on this track is actually one of its strongest parts, and I bet a lot of people barely notice it. The fills, rolls, punches of cowbell and off-beat rim shots that are scattered across the track are fucking gorgeous and give so much life and movement to the groove. Melodically and lyrically, it’s super hooky, and the backing vocal work from the I Threes are exquisite. The whole thing is just such a vibe and a perfect way to bow out. Beautiful.

Exodus by Bob Marley & The Wailers