Natty Dread

This is a pretty dang iconic album. It's a top-shelf cocktail of groove, blues, and blistering social commentary. Honestly, I'm at a loss for what to say about this album other than it's just damn good. It ticks all the boxes. It's iconic, in the pocket, vocals are on point, lyrics are heavy, production is excellent, and it's so thick with sheer musicality it practically oozes. Just a real fine record.

This was an album of great transition for Bob, he had split with his childhood friends and original Wailers, Peter Tosh and Bunny Wailer. Bob's influence over the band was becoming more and more pronounced and Tosh and Wailer decided that is not the direction they wished to go. The revamped band was now, for the first time, known as "Bob Marley and The Wailers" as opposed to just "The Wailers" thus solidifying Marley as the primary leader of the band. Bob truly took charge of the overall focus and direction of the group and wrote all the songs. In an interesting twist of fate and one of the best business moves in music history, he assigned the credits for many of his songs to his close family memebers and friends as a way to make sure they were taken care of financial, certain charities he believed in and supported were funded and as a way to avoid contractual obligations to his former publishing company, Cayman Music. Although this is a transition album of sorts, it sports some of his most memorable songs and one in particular that would be one of his defining moments, "No Woman, No Cry" which would gain much fame due to his incredible live performances of the record. He would introduce the "I-Threes" a female vocal group that included his wife, Rita Marley, Marcia Griffiths and Judy Mowatt. Their vocals addeded a wonderful compliment to Bob's on songs such as one of my personal favorites on the album, "Them Belly Full (But We Hungry)". The writing on this album seems very personal and almost takes you on a journey through Bob's life in Jamaica and some of the obstacles he had to overcome. This record is also a canvas for Bob to infuse some of his Rastafarian beliefs and he does a marvelous job of this on songs such as "So Jah Seh" and the title track "Natty Dread". This album is almost like Bob saying "Here I Am, The Real Me" and he gives us a fairly detailed revelation of where his heart was and where his and the bands focus was now going to be. I believe this to be one of his most profound works and it's one of my personal favorites. It's only years after it's release and in particular after his death that I think many truly appreciated this album for it's greatness. There are many wonderful songs beyond "No Woman, No Cry" that make this a truly wonderful album and it gives it's listener a front row seat into some of the many tragic situations going on in his homeland and, indeed, many of the places dear to his heart such as the other island nations, Africa and United States. Bob Marley was a revolutionary in every since of the word and he would spend the remainder of his tragically short life fighting for the cause, "Revolution".

I seem to only listen to reggae when barbecuing in the summer. It's very much a time and place thing for me. Foggy scottish evening -2deg doesn't cut it

Yeah man.

The first time I got around to listen to this album, I couldn't give it my full attention because I was distracted. The second go around, things began to click. I've avoided Bob Marley for quite a long while, seen his documentaries but never listened to his music. He was just a poster adorning college campuses and a shining beacon for good vibes. The deep cuts here in Natty Dread showcase the Bob Marley I'd like to encounter with more often, someone who possessed a need to tell about the happenings around him and it was makes Natty Dread a pivotal piece in the reggae puzzle. Favorites: Lively Up Yourself, Them Belly Full (But We Hungry), Rebel Music (3 O'Clock Roadblock), Natty Dread, Bend Down Low, Talkin' Blues.

Is it even possible to enjoy Bob Marley while not being high? Not that I enjoy his music in any way when I am. It's just soooooo boooooring. It's boring to the point that I get really annoyed. I listened to parts of the first 6 songs but I couldn't bare any of them.

Forty years ago, I would have pretended to like this. But I've never really enjoyed most reggae. This is no exception. It includes "No Woman No Cry", but it's not the live version that everyone knows. I didn't enjoy this at all.

Today I learned that I really, really, really do not like reggae. I'm sure this was an important album and all, but man do I not enjoy this. I'd rather listen to the Kid Rock album again than this one.

What a pleasant surprise this album choice was this morning. Bob Marley is one of the goats, and this album was just the perfect soundtrack to my morning. While No Woman, No Cry is not the version that gets the most play, it is still fun to listen to the non-Live recording.

Bob Marley's ability to write feel-good music that is rich in cultural and political commentary make him one of the most iconic musicians of the 20th century. Natty Dread is a masterwork; my enjoyment of it was dampened only by the knowledge that his 1975 live London version of "No Woman No Cry" is vastly superior.

I don't really care for reggae, even if it is the great Bob Marley. It's nice to listen to on certain occasions, but I never find myself in the mood for it. It's a bit boring and repetitive for me. The songs are a bit too similar sounding. I found myself tuning it out half the time, so it's hard to focus on and appreciate. While it's not a bad record, I don't see myself returning to this anytime soon.

Gotta give Bob Marley 4 stars ya heard!

Natty Dread Looking back at Catch a Fire I feel similarly about this, although I think the grooves and overall song quality is better here; Lively Up Yourself, No Woman No Cry (although it’s not quite as good as the more well known live version), Them Belly Full, Rebel Music, Natty Dread, Talkin Blues and Revolution are all excellent, but in truth all the tracks are good and it’s a very listenable album. The rhythm section is fantastic, brilliantly in the pocket and the keys are also great, and the overall sound seems a bit better than Catch a Fire. Not sure it’s quite a 5, but it's definitely a high 4. 🐳🐳🐳🐳 Playlist submission: Lively Up Yourself

Classic Reggae album if you’re in the mood for a bunch of reggae at once.

Better than the Peter Tosh album I had awhile back, but 40 minutes of reggae is still just too much for me. I'm not chill or laid back enough for this.

The vibes... THE VIBES! Marley, through the sadness in his voice, communicated and empathized with Jamaica in a way that nobody ever could.

This album is chill as fuck. I need to listen to more Bob Marley. Makes me long for warm summer nights with friends

Absolut berechtigt für die Liste der 1001 Alben

This is such an incredible listen. There isn't a single song that I skipped through in all my listens. There is a quality to Bob Marley's voice that reggae artists since have seemed incapable of emulating (and that all of the exaggerated imitations do absolutely no justice to). The album hinges on Marley's performance—the airy themes that might otherwise be a bit unbearable, the repetitions that could start the grate—but Marley never seems to fail. A truly incredible album. 9/10.

catchy, timeless, music with a distinctive vibe

OH YEAAAAAAAAA. Lively Up Yourself. No Woman No Cry, though I don't know that I have every heard it this upbeat and gospel. it almost feels rushed. dude this fucking album is so great.

Absolutely loved this. It’s so artistic and creative. It’s no wonder Bob Marley is a legend.

Muy buen disco

I had listened to a lot of Bob Marley but had somehow never heard this album. In retrospect, I don’t know how that is possible. Great album and really interesting versions of well known songs.

Fantastic. So good. And picked on his birthday.

Great album, tons of BM and the Wailers greatest hits.

Mellow and chill.

Great album, revolutionary sounds and lyrics

Buen Bob

Bob Marley's street creds characterizes his music. You imagine open air, street noises, people meeting and greeting, dogs wandering and yipping, produce stands. It's flavored with righteous R&B. He doesn't shy from good will, either. ("No Woman, No Cry," "Them Belly Full But We Hungry"). Through it all is that relentless reggae beat pulsing through.

Reggae is 100% not a genre of expertise for me but I really really enjoyed this one. Bob is just such an expressive vocalist, and his ability to convey such pressing social concerns with so little is always remarkable. This record made me tear up a bit with No Woman No Cry, even.

Chill and easy to listen. Doesn't last too long, so it doesn't drag, it takes you for a smooth ride with deep lyrics and sentiment. Good all around.

In listening to this I realized I don't think I've ever heard the 'No Woman No Cry" studio version. The live version seems to be the one we've all grown up hearing. Which is a great version. This is fine but...the drum machine just sounds out of place to me. Regardless, it's hard to find a bad song performed by Bob. And this album definitely foretold the quality of the rest of his 70s output. I hope we get some more reggae on this list.

Pretty Good. Has some bangers but a lot of the songs are tonally similar. Talkin’ Blues was a standout one I really liked

I used to be a big Bob Marley fan, but the past couple of decades I've drifted more towards Ska sounds like Toots & The Maytals, or some other notable Reggae artists. But it's definitely a classic.

Only just falls flat of a 5 for me, awesome album with awesome grooves and lyrics, 9/10

"Lively Up Yourself" what a really amazing song, I'm not a huge reggae fan but this one had a different vibe with the guitar and it worked pretty nicely, like more of a rock vibe but the mix of rock and reggae was amazing and what a damn f*ckin good sax solo. "No Woman No Cry" is a classic for sure but actually I'm not really impressed by it like I feel it's a bit overrated, it's a good song but nothing makes it special. "So Jah S'eh" was really nice, the lyrics were really great and well what a really special and viby voice Bob has, once again not a huge fan of reggae but this one hitted differently and was really enjoyable. In general, Bob's strenght comes from his lyrics which are insane for example in "Revolution" but also his voice and his singers which add something really attractive and catchy so basically as a non reggae listener I really enjoyed this album !

oh that's gonna be good Really strong start with Lively up yourself setting the tone for the rest of the album No one i this world can resist to sing along to No woman no cry it's so good Rebel music : Danakil marley instrumental gimmick!! Talkin' blues : "Your feet are too big for your shoes" quite ironic Really strong album overall, bob is a legend 4

Overall: 8/10 I'm not normally a "wake and bake" type of person but I usually listen to these albums in the morning and it would just feel wrong if I didn't burn some herb to listen to this one. I don't think this album is as good as Exodus but it's pretty close. The highlights here are definitely Bob's voice/lyrics and the guitar playing. It's just classic reggae which is awesome if you're into that sort of thing (I am). Get chill and listen to this one, folks, cause it's great. Fav Song: Natty Dread Least Fav Song: Bend Down Low

Amazing album. Exactly what I was expecting from a Bob Marley album and I enjoyed every moment of it. I’m a fan of reggae and this is what I think of when I think reggae. Bob Marley is a legend and I love his music. There’s something about the vibe of his music and that unique sound that belongs to this genre of music that just makes me happy. This is a great album to throw on when you just want to relax, sit on the beach and have a beer. Even songs that have such depth and sadness to them, find a way to soothe you on another level.

So fire, so chill, so laid-back. Bob Marley at its finest.

Bob Marley & The Wailers - Natty Dread Great reggae album coming from Bob Marley which features a lot of political depth into almost every song on here. Short and conscise album, overall this is great! 1.- Lively Up Yourself = 9/10 2.- No Woman No Cry = 9/10 3.- Them Belly Full (But We Hungry) = 8/10 4.- Rebel Music (3 O'Clock Roadblock) = 10/10 5.- So Jah S'eh = 9/10 6.- Natty Dread = 7/10 7.- Bend Down Low = 7/10 8.- Talkin' Blues = 9/10 9.- Revolution = 10/10 FINAL SCORE: 8.7/10

I enjoyed listening to this album while I made banana bread french toast this morning. It was very catchy and easy to vibe with. I love Bob Marley, I recently watched the Bob Marley movie.

There are few artists so ubiquitous that they are instantly associated with an entire genre, a nation-state, and a faith movement. Bob Marley is one such figure—his image alone evokes thoughts of reggae, Jamaica, and Rastafarianism. Released in 1974, Natty Dread is particularly significant as it is the first album credited solely to Bob Marley & The Wailers, following the departure of Peter Tosh and Bunny Wailer. This album also features some of Marley's best-known early hits, marking a key moment in his solo ascension. Like many of his 1970s contemporaries—Queen, The Eagles, Elton John, and Stevie Wonder, to name a few—Marley is often regarded as a “greatest hits” artist. Indeed, Rolling Stone Magazine even included the Legend compilation on its 500 Greatest Albums of All Time list. Given that Marley released 13 albums between 1970 and 1980, it’s understandable that some might reduce his legacy to his hits. However, albums like Natty Dread reveal how much more there is to explore within Marley’s body of work. The album kicks off with "Lively Up Yourself," a prime example of reggae’s inherently uplifting vibe. The song's groovy rhythm and positive message encourage self-confidence, positivity, and unity, inviting listeners to relax and feel joyful. Tracks like "Them Belly Full (But We Hungry)" and "Rebel Music (3 O'Clock Roadblock)" serve as powerful social commentaries, addressing pressing issues of inequality, oppression, and political resistance. Marley’s ability to weave these themes into accessible, rhythmic music helped raise awareness of struggles beyond Jamaica, resonating deeply with marginalized communities around the globe. The title track, "Natty Dread," celebrates Marley’s Rastafarian faith, introducing spiritual and cultural elements that would become central to his work. Most notably, the album features "No Woman, No Cry," which, while its live version from Live! would gain mass popularity, offers a quieter, more intimate glimpse into the song’s origins in its studio form. Reggae as a genre sometimes faces criticism for its slower tempo, offbeat rhythm, and repetitive chord progressions, which some may find simplistic. Additionally, the association with marijuana culture has led to unfair stereotyping. Marley himself is often reduced to a commodified image, destined to adorn t-shirts and posters worldwide, rather than being appreciated as a true artist—a disservice to his immersive legacy. Marley’s voice stands as one of his greatest assets. His passionate, emotive delivery on Natty Dread enhances the album's messages, whether he’s singing about personal struggles in "No Woman, No Cry" or issuing a call to action in "Rebel Music." His charisma and sincerity make the music feel deeply personal and resonate powerfully with listeners. The addition of the I-Threes, with their rich vocal harmonies, adds a new dimension to the sound, making it more dynamic and textured. Notably, the drum and percussion work throughout the album is utterly joyous, enriching the compositions with vibrant texture. Ultimately, with such a vast discography, it’s challenging to pinpoint a single definitive Bob Marley album. However, Natty Dread is indicative of Marley’s artistic vision coming into full focus, as he steps into the forefront without Peter Tosh and Bunny Wailer. This album marks a pivotal moment where Marley’s own voice and message begin to take center stage—a trajectory he would continue to develop until his untimely death. Did I own this release? No, I likely owned Legend. Does this release belong on my list? Yes. Would this release make my personal list? From start to finish, this was a compelling listen. As I prefer to have one album per artist on my list, I would like to listen to a few more deep cuts before making a final selection. Will I be listening to it again? There is always a right time and place for reggae.

Despite being overexposed to Bob Marley’s music by way of the trust fund hippies I’ve known over the years, I can’t deny that this record, along most of his catalog, is great.

Threw this album on, listened to the first two tracks then the rest just kind of blurred into the background. I guess that's the problem with reggae, even a really great album just sounds meh. A very generous 3 stars here

I'm not mad at it, but I also still don't really get the Bob Marley hype. I probably wouldn't ever seek this out and put it on, but if it's already playing I'd be OK with listening to it Standouts No Woman No Cry 3/5

I like a bit of Bob Marley but this is far from his best album. Perfectly ok but not outstanding.

reggae né achei legal até, tem uma pegada pro blues em alguns momentos. letras bem políticas, btw. não é minha pira não, mas é divertidim

Reggae is a genre I've never been totally hot on, but this is very listenable. Was already very familiar with 'No Woman, No Cry', but it doesn't overshadow the rest of the album which surprised me. Probably helps that its sandwiched by two good songs in 'Lively Up Yourself' and 'Them Belly Full' which helps set the tone for the record.

Good

Great Marley album and I heard pretty much what I expected. Not a massive fan of Reggae but always love listening to Bob. Nothing earth-shattering here to be totally honest. Just a good honest representation of early Bob Marley. And always great to chill to.

Definitely the best of the BM albums I have heard on this list. Still just not really my jam.

I think I was more familiar with the live recordings of some of these songs: "No Woman No Cry" sounds very clean and less impassioned in this studio cut. It's a general theme here that these tracks seem very clean and tidy which is to say that they lack some of the emotion that I usually associate with Mr. Marley. I admire his careful and delicate control of his voice and while I'm firmly out of my reggae phase, this album was a nice way to revisit the roots of that time in my life.

I am a proponent of using Bob Marley's music and methods as a coping mechanism for when the world goes sideways, or for when it doesn't. Thanks, Bob, for reminding me today that all will be well.

Smoke-ah da weed and everyting gone be ahhright child Little Jacob mission music from gta 4 is a nice change from 2 weeks of rock, but we can do better. #bravetweet but all reggae sounds the same, ESPECIALLY the drums.

It's nice for listening one or two songs, but the whole album wound up being tiring

Optimistic. Thank you for the kind words, Bob.

I used to love ska and reggae. Bob Marley is obviously a master. That said, it’s a repetitive genre that is hard for me to get into for very long anymore. The revolutionary subjects of the lyrics make his albums more worth it than most, and I wasn’t repulsed two tracks in like I have been with a couple of previous albums on this list, but reggae is not my go to anymore. 3/5

There are people who love reggae and people who cannot care. I'm in the latter camp. It's so inoffensive you can't bother to hate it, but that's also why it's so boring. It does not get the toe tappin' nor head bangin'. This is background pool music during a hot, summer day which is the only time I ever hear Bob Marley in the wild.

not really a bob fan, but there’s nothing offensive about this record sort of drags on after a while. very mid tempo i did enjoy the more ska focused tracks, though there weren’t many. 5/10

Not my style again, but I respect the sound and feels from Bob

Even if you don't know anything about Jamaican music, chances are you know Bob Marley. He's far and away the most popular Jamaican musician of all time. You can kind of understand why listening to Natty Dread. The musicians lock into these gentle grooves like they've been playing together forever. Marley has a knack for writing simple lyrics that evoke an idea while not actually saying a whole lot. The musical textures are as slick as whale shit. Put together, these attributes make Natty Dread accessible as hell. But for me, it comes across as protest music for the Benneton crowd. I'm sure Bob Marley & The Wailers were perfectly sincere about their music and weren't intentionally pandering to the lowest common denominator, but it sure comes across that way. Thankfully, compared to previous albums, Natty Dread is more focused, with shorter song running times, the arrangements are more varied, and the first two tunes, Lively Up Yourself and No Woman No Cry actually have decent melodic and rhythmic hooks. Still, even putting my personal distaste for this kind of mainstream reggae aside, over the course of even a relatively short 42 minutes, my eyes rolled up into my head with boredom.

Mein Reggae Gaumen ist schwachbrüstig, wenn es um Unterscheidung von gutem oder mittelmäßigem Reggae geht. Er schlägt selten aus und so würde ich allzu häufig von der Mittelmäßigkeit des Genres schlechthin überzeugt sein, aber darf ich das überhaupt, wenn das Sensorium so unbedarft urteilt? Vielleicht will Reggae ja auch gar nichts anderes sein? Nur kann ich auch zwischen dem Fehlen vermeintlicher Ambitionen und dem Fehlen von Qualität nicht unterscheiden. Hier jedenfalls fehlt mir beides. Doppelfehle(r)nde 1.6

This one was cool, not enough to get me into Bob.

Trash, I hate jamaican songs, they all sound the same and sing about the same shit

I'll search for detailed information about this classic album to provide you with an accurate and comprehensive review. Let me get more specific details on the production and recording context. **Natty Dread** (1974) represents the pivotal moment when Bob Marley transformed from a Jamaican cult figure into an international icon. Released on October 25, 1974, it was the first album credited to **Bob Marley & The Wailers**—a deliberate rebranding that signaled the departure of founding members Peter Tosh and Bunny Wailer, and Marley's ascension as undisputed leader. What emerged wasn't merely a breakup record, but a masterclass in balancing militant political consciousness with accessible, groove-oriented songwriting that would define reggae's global breakthrough. --- ### **Historical Context & Lineup Changes** The album arrives at a crucial inflection point. Following the critical success but modest commercial performance of *Catch a Fire* (1973) and *Burnin'* (1973), Tosh and Wailer exited due to tensions over billing and creative direction. Marley responded by assembling arguably his finest studio ensemble: the Barrett brothers—Aston "Family Man" on bass and Carlton on drums—formed the elastic, rock-solid rhythm section; Al Anderson contributed blues-rock lead guitar; and most significantly, the **I-Threes** (Rita Marley, Marcia Griffiths, and Judy Mowatt) replaced the original Wailers' harmonies with gospel-tinged, feminine warmth that softened Marley's grittier edges . This was also the first Marley album to benefit from Eric Clapton's cover of "I Shot the Sheriff," which hit #1 in the US in September 1974—just weeks before *Natty Dread*'s release—creating unprecedented mainstream curiosity about reggae's prime auteur . --- ### **Production & Musical Architecture** Produced by Island Records founder **Chris Blackwell** alongside The Wailers, *Natty Dread* was recorded at Harry J Studios in Kingston, Jamaica, with overdubs at Island Studios in London, and mixed at Basing Street Studios by Syd Bucknor . The technical approach was revolutionary: utilizing new 16-track Helios desks in both locations, engineer **Sylvan Morris** captured the deep, melodic bass lines that would become the album's signature, while achieving high-end clarity that rivaled American soul records . Blackwell's "gloss"—subtle overdubs of keyboards and guitar—never sanitized the Kingston grit. Instead, it created a hybrid sound: roots reggae's one-drop rhythms infused with rock's textural density and soul's melodic sophistication. The Barrett brothers' telepathic interplay provides the foundation—Aston's bass doesn't merely keep time; it sings counter-melodies that dance around Marley's vocals . --- ### **Lyrical Analysis & Thematic Depth** **Revolutionary Politics** The album opens with the deceptively breezy **"Lively Up Yourself"** before plunging into visceral social commentary. **"Them Belly Full (But We Hungry)"** delivers one of Marley's most potent warnings: "A hungry mob is an angry mob." Over a deceptively upbeat skank, Marley links food insecurity to revolutionary potential, noting that "cost of livin' gets so high" while the poor suffer . **"Rebel Music (3 O'Clock Roadblock)"** transforms a police harassment narrative—being pulled over and forced to ditch contraband—into an anthem of cultural resistance. Marley brands reggae itself as "rebel music," weaponizing the genre against state oppression . **Rastafarian Identity & Spirituality** The title track, **"Natty Dread,"** celebrates Rastafarian culture with conversational ease, referencing "dreadlock Congo Bongo I" and traveling through Kingston's streets. It demystifies dreadlocks as both spiritual commitment and cultural identity, while **"So Jah S'eh"** uses the metaphor of natural enemies (cats and dogs) living in harmony to envision human unity . **Existential Defiance** **"Talkin' Blues"** stands as the album's darkest moment and Marley's most radical statement. Over a minor-key crawl, he confesses: "I feel like bombing a church / Now that you know that the preacher is lying." This isn't nihilism but spiritual crisis—Marley rejecting institutional corruption while maintaining personal integrity ("My feet is just too big for your shoes") . **Nostalgia & Hope** **"No Woman, No Cry"** (co-written with Vincent Ford) occupies the album's emotional center. Despite its status as a global anthem of comfort, the lyrics paint stark portraits of Trench Town poverty—"burning and looting tonight"—while finding salvation in community memory: "Everything's gonna be alright." Significantly, the studio version presents a more urgent, gospel-inflected reading than the famous 1975 live recording, with Jean Roussel's organ work creating a hymnal atmosphere . --- ### **Strengths: Why It Endures** **The I-Threes Synthesis**: The transition from Tosh/Wailer's masculine harmonies to the I-Threes' angelic backing was transformative. On tracks like "Them Belly Full," their call-and-response with Marley creates a church-like intensity that bridges sacred and secular . **Concise Songcraft**: Unlike earlier Wailers albums that occasionally meandered, *Natty Dread* maintains taut focus. Tracks average 3-4 minutes, with **"Bend Down Low"** and **"Revolution"** delivering complete narratives without bloat . **Musical Versatility**: Al Anderson's guitar work—particularly the solos on "Lively Up Yourself" and "Rebel Music"—introduced blues-rock textures that expanded reggae's palette without diluting its essence. The harmonica flourishes on "Talkin' Blues" add pastoral folk elements . **Universal Messaging**: While deeply rooted in Jamaican suffering, the themes transcended geography. "Revolution"'s biblical imagery and "No Woman, No Cry"'s poverty narratives resonated with marginalized communities globally, establishing Marley as a "transcendent global statesman" rather than merely a Jamaican artist . --- ### **Criticisms & Limitations** **The Live Version Problem**: The studio cut of "No Woman, No Cry"—while excellent—was permanently overshadowed by the 1975 *Live!* recording from London's Lyceum Theatre. The live version's extended coda and audience participation became definitive, making the album version feel slightly clinical by comparison . **Production Choices**: Some critics note that Chris Blackwell's "international" production occasionally smoothed away the raw edges that characterized Tosh and Wailer's contributions to earlier records. The brass arrangements on the title track have been described as "dry" and "forced," lacking the organic warmth of the rhythm section . **Repetition**: For listeners unaccustomed to reggae's rhythmic stasis, tracks like "Rebel Music" (6:46) and "Revolution" can feel monotonous. The album's mid-tempo consistency, while cohesive, offers limited dynamic range . **Filler Material**: **"Am-A-Do"** (included as a bonus track on some pressings) and to a lesser extent **"Bend Down Low"**—while pleasant—lack the political weight and melodic distinction of the album's core tracks, functioning more as relaxed codas than essential statements . --- ### **Cultural Impact & Legacy** *Natty Dread* achieved what no previous reggae album had: it cracked the Top 100 in both the UK (#43) and US (#92), selling over 100,000 copies and establishing the commercial viability of roots reggae . Its influence rippled through punk (The Clash covered "Police and Thieves," indebted to Marley's militant stance), rock, and world music. The album codified the **"Natty Dread" persona**—the dreadlocked prophet standing against Babylon—that would define Marley's visual iconography until his death. As one critic notes, this was the moment Marley assumed "the mantle of the visionary Rasta rebel, someone to believe, someone to follow" . Ranked #181 on *Rolling Stone*'s 500 Greatest Albums and included in *1001 Albums You Must Hear Before You Die*, it remains the template for politically engaged reggae that doesn't sacrifice groove for message. "Them Belly Full" was recently ranked #12 on *Rolling Stone*'s "100 Best Protest Songs of All Time," affirming its continued relevance . --- ### **Final Verdict** *Natty Dread* succeeds because it refuses to choose between pleasure and politics. It is simultaneously the perfect introduction to reggae for novices (accessible, melodic, polished) and a deep well of substance for dedicated listeners (revolutionary, spiritually complex, musically sophisticated). While the loss of Tosh and Wailer removed some of the group's harmonic diversity and militant edge, it gained focus and universal accessibility. **Essential for**: Anyone interested in protest music, reggae's global evolution, or the intersection of spirituality and political resistance. The album proves that "rebel music" need not be abrasive—it can be smooth, even soothing, while still carrying a blade. **Tracklisting Highlights**: "Talkin' Blues" (for lyrical audacity), "Them Belly Full" (for political economy), "No Woman, No Cry" (for cultural endurance), and "Lively Up Yourself" (for pure rhythmic joy). In the end, *Natty Dread* isn't merely Bob Marley's first true solo statement—it's the album that taught the world how to listen to reggae, one groove at a time.

I own a pair of Bob Marley weed pants but I've both never worn them and never listened to Bob Marley so let's see how this goes. Yeah I can get down to this. Tis the vibe methinks. Very vibey very carefree I suppose this is the first reggae record I've ever heard as well. I think I'm more of the reggae variety than the ska type. Or maybe it was just white boy ska that got me. Who knows. The lyrics on Spotify do not match what he's saying it's kinda funny. Preach Bob women should never cry. Speak on it Mr. Marley. I don't think I have the vocabulary to really understand this tbh. But I can definitely enjoy it. So harmonica work okay. I really like this it's very chill on the surface but the lyrics are actually goated to be honest. Favourite: Lively Up Yourself Least favourite: I liked em all

gooood

Another Bob Marley album and another 5. He's such a great artist - I like the socially conscious lyrics on some of these tracks. In many ways he's quite punk, obviously the musical delivery aside. This album is full of subtle elements, guitar licks and the like - it's not just about the smooth reggae rhythm, which would be pleasing enough alone. And it's the first time I'd heard the original version of No Woman No Cry, having been used to the live recording used for the Legend compilation

I wrote an essay on this album in high school - its phenomenal. I'll still give the full album a listen, but I'm telling you now this is 5/5. Easy.

Even if reggae wasn't my favorite genre according to this project, this album would still be a 5.

Reggae classic

Iconic album by an iconic artist.

This is unmistakably a fine album.

Honestly wasn't too excited to listen to this but my expectations immediately changed. 5/5

I have locs and my parents are always calling Rasta woman or bob Marley and I have never listened to his music before. My life changed when I did.

Love this album. Could listen to it anytime anywhere

not my style but man it was sooo goood

Loved it

More like this please! Some really good music here, it's been a while since I've listened to this album. So many great songs.

I like it!

Lovely. A balm for the soul. Took my daughter to school in -6C. On a bike. Her school was closed for teacher training. Took her to 2 different friends' houses while I went to my first day back at work after Christmas. At home, this album came through for me with it's generous, uplifting spirit. Great cover art.

Remains one of my favorite no-skip albums.

personal fav: revolution amei

groovy

Great album! Love it <3

For me, all pre 1978 Bob Marley albums are a high 4 minimum. Kaya and onwards they get patchier and patchier. Natty Dread is superb though. No filler on here. Has to be a 5.

Pocos estilos musicales pueden considerarse tan influyentes hasta el punto que desde que nacieron nos acompañan y gozan de buena salud y pocos artistas merecen tanto crédito como Marley por ser prácticamente los creadores del mismo. No hay músico de reggae hoy en día de lo que hizo Bob Marley con sus Wailers antes. Este álbum, además de tener la espléndida “No Woman No Cry”, cuenta con otras maravillas como “Rebel Music” o “Lively Up Yourself” o “Revolution”. Otro sobresaliente para el bueno de Marley.

Pretty good

Verão, calor e boas vibes.

One for di island gyals bless UP 10/10

Groovy as hell. Love it, especially those Hammond organs. Highlights: No Woman No Cry, Them Belly Full

This album is just *chefs kiss. I was super happy when it popped up, it’s very nostalgic for me. Every single song is a hit, but Them Belly Full is still my favorite. Listening to this just makes me happy, even after all these years I still feel the same way I did when I was 15.

4.5

made me discover

One of the best atound

Tänker inte bli lika pladdrig som jag vanligtvis blir när Bob ska avhandlas utan nöjer mig med att konstatera att detta är ett av mina absoluta favoritalbum och att det är en av vår tids stora bluffar att den där liveversionen av No Woman No Cry skulle vara bättre än studioversionen. Och ett stort bandage om svansen.

Even better than Legend

A GOAT. Every bit of music from Bob Marley & The Wailers brings peace and love and happiness to me.