Rastafarianism is a canon that hides its accommodating adherence beneath aggressive metaphors. Since his afterlife in 1981, Bob Marley has been both Rasta saint and administrator in chief. His authority came from his universality, and his best work, from "No Woman No Cry" to "Redemption Song," alloyed acrimony with amore and incantational melodies. This following anthology accordingly avalanche far abbreviate of his best. It was aggregate by his wife, Rita, and Island Records arch Chris Blackwell from three reworked Jamaican singles ("Blackman Redemption," "I Know" and "Trench Town") and from flat advance dating aback to the 1979-1980 sessions amid the Survival and Uprising LPs. Called Confrontation, in band with Marley's ambition to accept a leash of affiliated conceptual names, the anthology is broadcast in its impact. Marley's scratchy-soothing articulate appearance and consummate delivery boss the songs, appropriately and sometimes powerfully, but the answerable atmosphere that came about if he led the Wailers and the magically acknowledging advancement singers, the I-Threes, artlessly can't be bifold by overdubs. Confrontation is an anthology of abundant baby pleasures - the water-bug airiness of "Jump Nyabinghi," the bull acumen of "Buffalo Soldier," the gospel-like adamancy of "Rastaman Live Up!" - and it is a valuable, acceptable document. But the bewitched allotment of Marley's affluent bequest is best approved out on antecedent releases.
From The Archives Issue 75: February 4, 1971
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