BURNIN’

For years The Wailers worked hard to establish a foothold in Jamaica’s competitive music scene, yet they were almost completely unknown elsewhere. Whilst in the UK in 1972 they met Chris Blackwell whose Island label had recently been home to reggae star Jimmy Cliff. Struck by their poverty but intrigued by their hunger and angry charisma, Blackwell advanced the band the money to make a record. The result was Catch A Fire, released in April 1973.

Although now seen as a classic its impact at the time was limited, to say the least. The LP scraped into the US top 200 and did not make the charts anywhere else. Yet there was enough interest—in the UK, at least—for the band to tour and for Blackwell to fund a second Island album. Bunny Wailer remembers:

“We did twenty-odd Polytechnic colleges, and one or two big nightclubs, including four nights at the Speakeasy, which was our breakthrough. We were like the biggest thing with reggae coming in town, ever since Jimmy Cliff or Desmond Dekker. The Wailers were now definitely the star of the lot."¹

In the studio, tension between Bob Marley, Peter Tosh, and Bunny Wailer was building. Simmering resentments over whose songs were prioritised could not be soothed by herbal remedies. When Burnin’ was finished, so was the core triad of musicians; Peter T and Bunny W went their separate ways and the outfit was rebranded as Bob Marley and The Wailers. The second Island LP was released in October 1973.

Two of the strongest tracks on Burnin’ had been released as singles earlier in the year. In fact "I shot the Sheriff" came out the month before Catch A Fire but didn’t make the charts. "Get up, stand up" was released the month before Burnin’ and scarcely fared any better chart wise, though it did sell in the UK and New Zealand.

Though only a modest success commercially, "Get up, stand up" was a powerful opening song for the new album. Anthemic yet catchy, its righteous anti-establishment message set the tone for both the LP and indeed, Marley’s subsequent career. In a nod to Tosh’s complaints about being sidelined, Bob invited him to sing a verse, making it a bittersweet swansong as well as the album’s opening salvo.

"Hallelujah Time" was written by Bunny Wailer, but credited to a family member (Jean Watt) to avoid sharing royalties. The song itself has a gentle, insistent message of spiritual hope in this vale of tears; the harmonies displaying the hard-won musical closeness of a band that was disintegrating as the studio clock ticked.

Next comes the song so successfully covered by Eric Clapton. Even Jamaican radio stations played the 1974 Clapton version in preference to that of the song’s creators. The story goes that this changed when some persuasive emissaries visited local DJs and 'encouraged' them to be more supportive of The Wailers.

Other stand-out tracks include the provocative "Burnin’ and lootin’" amply articulating the rage that inevitably builds when a people are oppressed and disenfranchised. A re‑recording of an earlier Wailers song, “Small axe” is constructed as an extended metaphor—the “small axe” that can fell the “big tree” (entrenched power). Musically it’s compact but driving: a focused bassline, crisp rimshots and clipped guitar. A personal favourite is "One foundation," one of the album’s most melodic cuts. Musically the track builds on a repeating, almost hymn-like chord progression that allows the harmonies to shine. The arrangement is uncluttered—acoustic rhythm guitar, steady bass and subtle organ—which puts the emphasis squarely on vocal delivery and lyrical clarity.

Burnin’ is a tight, focused record. Even the title points towards increasing confidence. They caught fire and are now well and truly alight, flickering between militancy and confrontation, spirituality and connection. It remains a cornerstone of Bob Marley’s legacy.

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SOURCES

1. Roger Steffens (2006) Burnin’—The Wailers. Essay for the Library of Congress National Recording Registry, accessed 12 August 2025.
2. William Ruhlmann Burnin’. Allmusic Guide, accessed 12 August 2025.

© Bruce Jenkins—August 2025