- 01Screaming TargetAfter all, there always was (and still is) a hardcore of a few thousand white British reggae fans, as shown by some of the successes that came about before Bob broke big: Big Youth's Screaming Target was 1973; The Harder They Come was 1972; the Maytals' Funky Kingston was 1974; and as late as 1976, Dillinger's CB 200 album could be found in a lot more student bedsits than Marley's Rastaman…from the chapter
- 02Funky Kingston…all, there always was (and still is) a hardcore of a few thousand white British reggae fans, as shown by some of the successes that came about before Bob broke big: Big Youth's Screaming Target was 1973; The Harder They Come was 1972; the Maytals' Funky Kingston was 1974; and as late as 1976, Dillinger's CB 200 album could be found in a lot more student bedsits than Marley's Rastaman Vibrations.from the chapter
- 03CB 200…all, there always was (and still is) a hardcore of a few thousand white British reggae fans, as shown by some of the successes that came about before Bob broke big: Big Youth's Screaming Target was 1973; The Harder They Come was 1972; the Maytals' Funky Kingston was 1974; and as late as 1976, Dillinger's CB 200 album could be found in a lot more student bedsits than Marley's Rastaman Vibrations.from the chapter
- 04Rastaman Vibrations…all, there always was (and still is) a hardcore of a few thousand white British reggae fans, as shown by some of the successes that came about before Bob broke big: Big Youth's Screaming Target was 1973; The Harder They Come was 1972; the Maytals' Funky Kingston was 1974; and as late as 1976, Dillinger's CB 200 album could be found in a lot more student bedsits than Marley's Rastaman Vibrations.from the chapter
- 05Legalize ItA master musician, maybe a better tunesmith than Bob, his Legalize It and Equal Rights LPs made a big impact.from the chapter
- 06Equal RightsA master musician, maybe a better tunesmith than Bob, his Legalize It and Equal Rights LPs made a big impact.from the chapter
- 07“Rasta Bandwagon”Max Romeo's ‘Rasta Bandwagon’ predicted such a situation very early in the eighties, as it ran down a roll call of improbable Rastafarians – from an ethnic point of view - and paid off with the chorus line Everyone riding Rasta bandwagon…from the chapter
- 08Dangerous Dub: King Tubby Meets Roots RadicsCheck out Dangerous Dub: King Tubby Meets Roots Radics or Sly & Robbie's Raiders of the Lost Dub, as examples.from the chapter
- 09Raiders of the Lost DubCheck out Dangerous Dub: King Tubby Meets Roots Radics or Sly & Robbie's Raiders of the Lost Dub, as examples.from the chapter
- 10King Tubby's Meets Rockers UptownIn fact these LPs coming when they did, around the time of Bob's death, pointed up how very little things had changed since the glory days of King Tubby's Meets Rockers Uptown – cut, coincidentally, around the time Bob broke big.from the chapter
- 11“Bobby Bobylon”It was much the same with the singers, too: Freddie McGregor's ‘Bobby Bobylon’ or Willie Williams' ‘Armagideon Time’ or the Wailing Souls' ‘Jah Jah Give Us Life‘… or most of Culture's turn-of-the-decade material – it could all have been released five years before it actually was and nobody would have needed to step back in amazement.from the chapter
- 12“Armagideon Time”It was much the same with the singers, too: Freddie McGregor's ‘Bobby Bobylon’ or Willie Williams' ‘Armagideon Time’ or the Wailing Souls' ‘Jah Jah Give Us Life‘… or most of Culture's turn-of-the-decade material – it could all have been released five years before it actually was and nobody would have needed to step back in amazement.from the chapter
- 13Warrior ChargeAlso, there were several recent precedents for reggae moving into completely new areas without compromising what it fundamentally was – witness Third World's first three albums; practically anything Steel Pulse did; Warrior Charge by Aswad; Black Uhuru with Sly & Robbie; or the jazzy fusions Rico Rodriguez was trying out, most of which can be found on the Roots to the Bone album.from the chapter
- 14Roots to the BoneAlso, there were several recent precedents for reggae moving into completely new areas without compromising what it fundamentally was – witness Third World's first three albums; practically anything Steel Pulse did; Warrior Charge by Aswad; Black Uhuru with Sly & Robbie; or the jazzy fusions Rico Rodriguez was trying out, most of which can be found on the Roots to the Bone album.from the chapter
- 15“Shine Eye Gal”Even after Black Uhuru tunes like ‘Shine Eye Gal’, ‘Sensimilla’ and ‘Sponji Reggae’ dominated Jamaican dancehalls there was no effort made to follow Sly & Robbie in that direction.from the chapter
- 16“Sensimilla”Even after Black Uhuru tunes like ‘Shine Eye Gal’, ‘Sensimilla’ and ‘Sponji Reggae’ dominated Jamaican dancehalls there was no effort made to follow Sly & Robbie in that direction.from the chapter
- 17“Sponji Reggae”Even after Black Uhuru tunes like ‘Shine Eye Gal’, ‘Sensimilla’ and ‘Sponji Reggae’ dominated Jamaican dancehalls there was no effort made to follow Sly & Robbie in that direction.from the chapter