Guest Columnist By Isaac Asabor
Another song of his that has political relevance is “Redemption Song” which urged the oppressed to emancipate themselves from mental slavery as nobody can do it for them as it is a thing of the mind. Without a doubt, the song which was recorded by Bob Marley is considered by many to be one of his most beautiful songs by many, particularly as it was recorded with just his voice and his guitar with one take.
There is no denying the fact that Robert Nesta Marley, popularly known as Bob Marley was an extraordinaire reggae artist and a diplomat for peace across the world, particularly as his musical works are familiar with both the millennial and Gen Z generations who still find his messages of peace and love relevant and worth listening to, and nodding heads over.
Though he died on May 11, 1981; exactly 42 years today, messages that are lyrically conveyed in most of his hit tracks still find relevance and meaning in Nigeria’s politics, even though he was not a politician. However, he was seen and regarded by not a few of his fans that transcend demographic divides to be a spiritual leader and a sign of hope that peace and love will eventually infect everyone around the globe. The reason for the foregoing widely-held perception about him cannot be farfetched as he was able to use his infectious musical works to pave the way for a united Jamaica and to also discuss race relations with all people.
In fact, Marley can be best described as a legend in music. His power of influence came from his musical lyrics that address social and economic injustice. Surprisingly, Marley was not in favor of politics, as earlier stated in the foregoing, but was seen as a political figure through his politicized lyrics. In turn, it gave the Jamaican people a sense of identity and popularized the Rastafarian religion during the 1970s. He and his band were called “The Wailers” who blended traditional Jamaican music with various other forms such as blues with a rhythm into a style known today as Reggae. Reggae quickly became a vehicle for social protests and political messages. Not only did it identify with the Rastafarians but mostly people in poverty and unfavorable circumstances which was the majority of the population.
Against the foregoing backdrop, permit this writer, who has since his secondary school days remained a lover of all Bob Marley’s music, to in this context critique his top political songs within the context of today’s politics as a way of celebrating his life and a testimony of his pursuit of freedom, equality, and peace and love for all.
First to be critiqued in this context is unarguably “Get Up, Stand Up” which he lyrically wailed thus: “Get Up, Stand Up, Stand Up for your rights.”
To not a few reggae enthusiasts, the foregoing track is solely the work or rather the copyright of Peter Tosh, one of his pals in the music industry during his lifetime, and who today is unfortunately late. For the sake of clarity, it is expedient to say in this context that in 1973 Bob Marley and Peter Tosh collaborated on the song, rated to be one of the most iconic protest songs at the time. The song was a call to action for people in Jamaica to stand up against racism. The pair were an unstoppable force for change in Jamaica, and it is widely understood that what broke the pair up was a difference in ideologies as Bob Marley believed peace and love were the only way Jamaica could unite and Peter Tosh believed that equal rights and justice are the way to go towards the emancipation Jamaicans needed in the era, and it is believed that their idealism had caused them to split.
To the view of this writer, the political message in this track is that it is a wake-up call to the people and encouraged them to “stand up for their rights.” The message to anyone that has listened to the music is clear as it urged such a person to stand up against injustice, fight for his or her freedom, and never give up. Thus, “Get Up, Stand Up” remains a rallying cry for the people, and it has become a symbol of hope and resistance against oppression.
In a similar vein, one of his hit tracts, “Small Axe”, conveys the lyrical line that says, “If you are a big-big tree, we are some axe waiting, ready to cut you down, waiting to cut you down”. To not a few reggae enthusiasts who are usually at home with the jargons that are generally infused into reggae music, the track is a warning to those in power who seek to oppress others and unabashedly exploit them. In fact, the song is a metaphor singing about how the small axe, symbolizing the oppressed, can bring down a powerful, oppressive big tree. It is a warning to those in power not to try and dig a pit, as they will be the ones to fall into it. In the end, it is sung to empower the oppressed and tell them to continue fighting for justice and equality. The song recorded in 1968 represents the political and spiritual message of the importance of equality and equal rights.
Another song of his that has political relevance is “Redemption Song” which urged the oppressed to emancipate themselves from mental slavery as nobody can do it for them as it is a thing of the mind. Without a doubt, the song which was recorded by Bob Marley is considered by many to be one of his most beautiful songs by many, particularly as it was recorded with just his voice and his guitar with one take. With lyrics that were partly dubbed from a speech by Marcus Garvey, there is no denying the fact that the song makes the argument that slavery; political slavery in this context, should be abolished.
Still in the same vein, in another of his hit track, “War” where he wailed that “Until the philosophy which holds one race superior and another inferior is finally and permanently discredited and abandoned, everywhere is war, me say war”, is unarguably a clear and forthright message against racism, classism, and poverty. It speaks specifically to troubles in Africa but also more generally about the same issues around the world, but in this context, the message finds expression in today’s Nigerian political landscape.
Again, it is expedient to opine in this context that Bob Marley’s song “Africa Unite” through which he lyrically says, “Cause we’re moving right out of Babylon and we’re going to our father’s land” forms one of his efforts toward a friendly and inclusive political atmosphere.
Also, one of his tracks, “Them Belly Full (But We Hungry)” has remained one of the platforms that the famous music activist leveraged by bringing his voice to bear as he literarily cried on behalf of the masses. Originally released as a part of Natty Dread, the song was one of Marley’s top picks to perform in concerts. While the song suggests that further oppression by the moneyed classes could lead to a form of revolution from the masses, it also preaches peace within the latter. The lyrics go on to encourage the masses to seek happiness amidst suffering, through music, dance, religion, or any other solace to their pain. It speaks about the greater power of the masses, telling them that ‘now the weak must get strong’. With the ongoing conflicts between the authority and the masses across the world, this song rings true even today because, as Marley put it, the power is still in our hands.
Against the foregoing, it is not an exaggeration to assert against the backdrop of 42 years down the line when the reggae maestro died that the impact and legacy he created in his life through his music will continue to linger, even for generations to come.
Isaac Asabor is a Public Affairs Analyst.
