Who doesn’t know Bob Marley? Among the most widely beloved musicians of all time, he and his band The Wailers brought reggae from Jamaica to the international stage and were one of the most powerful forces of the 1970s. It’s hard to overstate Bob Marley’s influence on the world, as he’s just as popular as ever. They even released a biopic about him last year, more than 40 years after his untimely death from cancer in 1981. His songs are well-known for their relaxing vibes—promoting peace, love, and standing up against oppression. There can be mellow vibes in something like “Positive Vibration,” support for political demonstrations in songs like “Get Up, Stand Up,” or the evocation of generational trauma and racial inequality in songs like “Slave Driver.” Other honorable mentions include the bass-driven “Lively Up Yourself,” the compelling metaphor in “Small Axe,” and too many more to list them all.
The following twenty tracks represent what makes Bob Marley and The Wailers so enduring—how they operated masterfully in several different modes and wrote about topics that range from romance to war to systemic oppression. The songs have been ordered in a way that basically prioritizes complexity, intensity, ambition, and (obviously) how good the music sounds. Like all lists about music, this one is subjective and will probably have some controversial rankings. Regardless of one’s opinion of what the ultimate Marley track is, however, one thing we should all be able to agree on is that listening to Bob Marley always reminds us to live our best lives.
20
“Kaya”
‘Kaya’ (1978)
“Got to have kaya now,” Bob Marley repeats in this lively second track to Kaya. It should come as no surprise that he’s talking about marijuana, which makes the song have an even lighter tone than most others. Maybe it’s a bit concerning that the narrator has only just woken up, but whatever; this is Bob Marley. “Kaya” has such a sunny spring to its step that you can’t help but get into it. The verse is fast-paced, almost celebratory, as if the narrator has already found what he’s looking for.
He certainly has by the chorus, singing “I feel so high / I even touch the sky / above the falling rain.” Musically, the chorus is an even stronger hook than the verse. There is also a section where the guitar stops playing briefly, a nice touch that helps change things up a bit as the song prepares to fade away. In the end, we get one of Bob Marley’s most cheerful songs; it makes you want to let loose for a while (whether you’re smoking or not).
19
“Redemption Song”
‘Uprising’ (1980)
The final song on Uprising, “Redemption Song” doesn’t sound like most of Bob Marley’s music. That largely has to do with the fact that it’s an acoustic song with no other instruments in it. Of course, Marley’s voice is unmistakable, and his lyrics are as powerful as ever. Balancing the legacy of slavery (“Old pirates, yes, they rob I / sold I to the merchant ships”) with hope for the future (“Emancipate yourselves from mental slavery / None but ourselves can free our minds”).
The lyrics are among his most religious, and you can feel the sincerity of Marley’s call when he asks “Won’t you help to sing / these songs of freedom?” The minimalist approach gives the track a reflective quality, and it really needs no embellishments to establish its tone and bring its message home. Even that sudden ending gives the song a weightier feel to it, which in retrospect feels like a noble goodbye from one of the greatest musicians of all time.
18
“Three Little Birds”
‘Exodus’ (1977)
The keyboard riff in “Three Little Birds” is unmistakable, and so are the lyrics: “Don’t worry about a thing / ’cause every little thing is gonna be all right.” At the tail end of Exodus, it’s easily one of Bob Marley’s most famous songs. This is definitely one of the most relaxing songs of any artist’s repertoire, as the rhythm keeps things swinging along in the A-major key. If you need to try and look on the bright side of things, then you can hardly do better than this.
“Three Little Birds” is pretty repetitive when you pay attention to it, not deviating much at all from its verse and chorus. That’s fine, since what we’re hearing is so catchy, though it would have been cool to have a solo or bridge to give the song an extra layer or two. Of course, while this characteristic prevents it from being Marley’s best or most interesting song, it’s easily one of his most important. After all, there is no denying that it has warmed the hearts of countless fans.
17
“One Love”
‘Exodus’ (1977)
One of the most famous Bob Marley songs is also one of the simplest: “One Love/People Get Ready.” It was first recorded for The Wailers’ debut album in 1965, but the version everyone knows is from 1977’s Exodus. It’s a cheerful ode to God that’s led by a catchy piano melody which makes this under-three-minute track feel as light as a feather. It’s hard to think of a more optimistic end to an album.
The background singers repeating “one heart” and “one love,” the way Marley essentially talks through the verse as if he’s preaching, the rhythm—all these factors help this song stand out. “One Love” is undoubtedly one of those examples of when a band has improved a song they already recorded. This would potentially be even more interesting with a solo or bridge, but oh well; its lack of complexity also demonstrates that simplicity is sometimes just what the doctor ordered.
16
“Iron Lion Zion”
‘Songs of Freedom’ (1992)
But there’s another, even better Bob Marley track that came out after his death: “Iron Lion Zion.” First released on the Songs of Freedom box set, this song begins with a relentless momentum and never lets up. The keyboards, bass, and drums drive the rhythm forward that reminds one of “Exodus,” and with a similar amount of power. This song could easily have gone on for just as long; one can only imagine the solos that could have come out of this jam. (The saxophone is fine, though it can feel a bit over-the-top.)
The lyrics describe a narrator who’s “on the run,” which certainly goes well with the fast pace. The verses pass by quickly, giving the chorus more time to soar. It’s also a great example of presenting a difficult situation in a positive tone, which is irresistably inspiring here. Every time the chorus shows up, you want to sing along. The organ that comes in for the chorus is a very nice touch, and the background singers add the volume that such a chorus requires. Overall, this has got to be one of the best posthumously released songs of any singer.
15
“Midnight Raiders”
‘Catch a Fire’ (1973)
The line “Their mind is confused with confusion” would sound silly and redundant coming from any other artist, but somehow it feels perfectly natural in the smoky atmosphere of The Wailers’ final entry to their 1973 record Catch a Fire. The music is immediately absorbing and quickly establishes a unique mood in the A-minor key, one that’s strong enough to last a long while without growing tired whatsoever.
While the vocals often follow the riff in the verse, Marley proves especially creative when he’s basically doing his own thing. Catch a Fire is full of different moods, and “Midnight Ravers” ends things on a fittingly disorienting note that’s on par with what preceded it. Clocking in at over five minutes, the song makes sure that this lingering sense of illusion really surrounds you like a fog. Marley can be just as (if not more) complex and interesting in his darker phases, and “Midnight Ravers” is a great example of that.
14
“Buffalo Soldier”
‘Confrontation’ (1983)
Released after Bob Marley’s death on the Confrontation album, “Buffalo Soldier” showed that the reggae legend could still surprise and move us from beyond the grave. The horns serve as a nice intro, leading to a standard reggae rhythm that can soothe the soul while presenting a dark story of slavery and perseverance. Singing about the buffalo soldier “stolen from Africa / brought to America / fighting on arrival / fighting for survival,” he delivers every line in the verse in a similar way, as if to suggest that he’s still struggling for survival to this day.
The chorus is excellent too, preventing the vocals from getting too monotonous while hammering some more lyrics that hit home: “If you know your history / then you would know where you’re coming from.” The horns add another layer that helps this track really stand out, but the rest of the band is great here too. The bass compliments the rhythm, the background singers are as strong as ever, and the keyboards constantly working in the background are especially memorable. Along with another cool shift in vocals for the outro, this track keeps on giving.
13
“Waiting in Vain”
‘Exodus’ (1977)
There is a countdown, followed by yet another classic love song: “Waiting in Vain.” The keyboard serves as a nice introduction, and starting off with the chorus is the right choice. Marley sings from the point of someone who’s waiting to go out with a woman he’s willing to wait a very long time. As only he can, he combines the sorrowful ache of unrequited love with the uptempo joy of hopeful spirits. The way he sings “Don’t talk to me” is emblematic of how he can make little but terrific nuances in the verse.
The Wailers rarely featured guitar solos at this point, but “Waiting in Vain” is a wonderful exception. The solo starts off relaxed and slow, gradually building up to a faster section that perfectly leads us back into the next verse. The outro, which repeats “I don’t wanna” five times before finishing the sentence with “wait in vain,” fades away gorgeously—giving the impression of someone who is still, tragically, waiting for his turn.
12
“Jamming”
‘Exodus’ (1977)
These opening four chords of B-minor on the piano are so iconic that it’s hard to mistake them for any other than “Jamming.” For that matter, so is the percussion that precedes them. The band often has songs about love or inequality or rebellion, but this one stands out as a song that mostly wants to jam. Lines including “Jamming in the name of the Lord” give it a religious connotation and “Love that now exist, true love I can’t resist” give the track a romantic touch.
In a way, this song is for everyone. It’s so positive, so easy to play, and so easy to play along with. “Jamming” is shorter than one might hope from its title, but it sure is a good time while it lasts. You can definitely just play this on a loop and solo away forever, as this charming handful of chords is enough to drive endless amounts of jam sessions. Sure enough, live versions have surpassed its three-and-a-half length on the album. The 1977 show at the Rainbow Theater, for instance, has a version over six minutes long.
11
“Sun is Shining”
‘Kaya’ (1978)
“Sun is Shining” bursts to life immediately, like waking up with the sun in your eyes. The atmosphere in this track is so bright and full of life that the moments where Marley isn’t singing are just as immersive as when he is. It’s not trying to be a hit single, either; it shoots for a vibe that chills you out, and it succeeds completely. Every detail works here, from Marley screaming “where I stand!” to the brief keyboard solo to the background vocals.
The nearly constant licks and improvisation from that electric guitar in the background is fantastic, and the solo is very strong. The Wailers could have used some more improvisation in their later albums, and this gem is a perfect argument for that. This song sets out to “make you want to move your dancing feet,” but it’s also a song that feels like jamming. More than anything else, though, “Sun is Shining” feels like it’s clearing away the clouds in real time.
