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Bob Marley: Exodus

 A l b u m   D e t a i l s


Label: Island Records
Released: 1977.06.03
Time:
 34:24
Category: Reggae
Producer(s): See Artists ...
Rating: *******... (7/10)
Media type: CD
Web address: www.bobmarley.com
Appears with:
Purchase date: 2001.04.23
Price in €: 6,99



 S o n g s ,   T r a c k s


[1] Natural Mystic (B.Marley) - 3:28
[2] So Much Things to Say (B.Marley) - 3:08
[3] Guiltiness (B.Marley) - 3:19
[4] The Heathen (B.Marley) - 2:32
[5] Exodus (B.Marley) - 7:39
[6] Jamming (B.Marley) - 3:31
[7] Waiting in Vain (B.Marley) - 4:15
[8] Turn Your Lights Down Low (B.Marley) - 3:39
[9] Three Little Birds (B.Marley) - 2:60
[10] One Love/People Get Ready (B.Marley/C.Mayfield) - 2:53

 A r t i s t s ,   P e r s o n n e l


BOB MARLEY - Lead Vocal, Rhythm & Acoustic Guitar, Percussion, Producer

ASTON BARRETT - Fender Bass, Guitar, Percussion, Mixing, Producer
CARLTON BARRETT - Percussion, Drums, Producer
TYRONE DOWNIE - Keyboards, Percussion, Backing Vocals, Producer
ALVIN "SAECO" PATTERSON - Percussion, Producer
JULIAN "JUNIOR" MARVIN - Lead Guitar, Producer

I-THREES:
RITA MARLEY - Backing Vocals
JUDY MOWATT - Backing Vocals
MARCIA GRIFFITHS - Backing Vocals

The Wailers - Producer
KARL PITTERSON - Engineer, Mixing
TERRY BARHAM - Assistant Engineer
GUY BIDMEAD - Assistant Engineer
ASTON BARRETT - Mixing
CHRIS BLACKWELL - Mixing
NEVILLE GARRICK - Photography, Cover Design
ADRIAN BOOT - Photography

 C o m m e n t s ,   N o t e s


1977 CD Tuff Gong 422-846208-2
1977 LP Tuff Gong 9498
1077 CS Tuff Gong ILPS 9498
1995 LP Mobile Fidelity 221
1995 CD Mobile Fidelity 628
1995 LP Tuff Gong 422-846208-1
1995 CS Tuff Gong 422-846208-4

Less than 48 hours after escaping assassin's bullets, Marley played the Smile Jamaica concert to emphasize the need for peace amid pre-election chaos in December 1976. He left Jamaica immediately following the show and arrived in London in January 1977, where he recorded Exodus. It was rush released in May 1977 and remained on the UK charts for 56 straight weeks, properly establishing the band's international status.

Following the assassination attempt in December 1976, Bob and Neville Garrick left Jamaica for Compass Point in the Bahamas, then onto England.

Bob was on a creative high, as though the shooting had only strengthened his resolve; Bob was also now working closely with Tyrone Downie who was becoming more prominent as the group arranger than Family Man had been. By the end of February Bob was ready to lay the tracks down and the group moved to Basing Street to record. Songs had flown out of these sessions, many of them inspired by events around the shooting. The new album was to be called Exodus, decreed Bob, even though that was one of the only songs he hadn't yet written.



Recorded in London following an attempt on his life, Exodus shows Marley mellowing a bit. Despite some powerful political tracks, Marley adopts a less fiery, more reflective approach than his previous outings. Still, it's hard to find reggae as good as this. Exodus has all one would expect from a Bob Marley album; rumbling statements like "Exodus" and "The Heath" as well as poetic love songs like "Turn Your Lights Down Low." Considering how good these tracks are, Exodus does not stop here. Marley also unleashed the huge international hits "Jamming," "Waiting In Vain" and "One Love/People Get Ready." These inspired tracks, perhaps more than any others, came to define Marley around the world. They are irresistible no matter how many times they are played. Never one to dodge innovation, "Exodus" hints that Marley was taking cues from the emerging dub scene. Exodus, even though it contains some of Marley's best work, has an underlying nostalgic feel to it hinting that Marley was getting a little formulaic.

Matthew Hilburn, All-Music Guide



There is a contradiction here between the enormous abilities of the Wailers—particularly the magnificent rhythm section of Aston Barrett, bass, and Carlton Barrett, drums, and the spidery lead guitar of Julian "Junior" Marvin—and the flatness of the material Bob Marley has given them to work with. The more I listen to this album, the more I am seduced by the playing of the band; at the same time, the connection I want to make with the music is subverted by overly familiar lyric themes unredeemed by wit or color, and by the absence of emotion in Marley's voice. There are some well-crafted lines here, but given Marley's singing, they don't come across. The precise intelligence one hears in every note of music cannot make up for its lack of drama, and that lack is Marley's.

This is very odd. From the time the Wailers' first American album, Catch a Fire, was released here, it was drama that carried the Wailers' music across the water and made it matter to people who had never heard of reggae, and who may well have had to look up Jamaica on a map to figure out exactly where it was. "Concrete Jungle" was as dramatic as Muddy Waters' "Rollin' Stone"; "I Shot the Sheriff" was a one-act play that crossed the boards in under five minutes. On the Wailers' disappointing last album, Rastaman Vibration, there was still "War," where Marley summoned up visions of eternal conflict merely by chanting excerpts from a speech by Haile Selassie. For that matter, Bob Marley onstage defines the kind of drama that grows naturally out of the music of a people who refuse to accept their native land as their true home, whose music, again and again, points them toward the temporally impossible but mystically necessary goal of a return to Africa. As with the overwhelming "Jah Guide" on ex-Wailer Peter Tosh's exciting new album, Equal Rights, Marley onstage is ominous, determined, full of barely suppressed violence. At the same time he offers a suggestion of warmth, of unshakable confidence, of an invitation to the audience to follow him on a heroic quest.

Exodus doesn't reach these heights, nor does it seem to aim for them, save on the seven-minute title performance, which sounds like War on a slow day and wears out long before it is half over. If I didn't have more faith in Marley I'd think he was trying to go disco—the tune is that mechanical. The four songs on the first side that lead up to "Exodus" — songs of religious politics—are all well made, but within the most narrow limits; the best of them is "Natural Mystic," Marley's "Blowin' in the Wind" (though where Dylan seemed to say the answers were blowing away, Marley is certain they are blowing straight to anyone whose soul is pure enough to receive them). On the second side the album falls apart; the mix of sex songs (on "Jamming," Marley sometimes sounds like an obsequious nightclub singer) and tunes about keeping faith simply do not sustain one's interest. Marley's performance never reaches out; it seems to collapse inward. There's no sense of the dangerous, secret messages one half heard on earlier albums; on Exodus there are no secrets to tell.

It is very hard to make any sort of more than superficial judgment on a Wailers album until one knows who it is made for—Jamaicans? American whites? Jamaicans in England? whites in England? Africans?—and I don't know. What bothers me is that I have the feeling Marley, likely pressed by his label to continue the search for an American breakthrough without losing his original base in Jamaica and England, does not know either. The complete lack of extremes on Exodus—of deep emotion, intensely drawn situations or memorable arrangements and melodies—does not mean Marley is playing it safe, but it does seem to imply some sort of paralysis that must be broken before he can again strike with real power.

Of course, there may be another reason for that lack of extremes: last year, Marley and his band were attacked by hitmen just before they were to play at an election rally for Michael Manley, Jamaica's prime minister. Marley and his wife Rita—she is one of the I Threes, whose singing on Exodus is first-rate—were both shot. It is a fact that Marley's music and his religion and his politics, which are hardly separable, could cost him his life. If he has pulled back from that event in his music and in his singing, then it is a withdrawal we are bound to respect; but if it lasts, Marley's would-be assassins will have gotten some of what they came for. Jamaica's most distinctive voice will forfeit its strength. I don't expect that to happen on any permanent basis, but it may be what we are now hearing.

GREIL MARCUS - RS 243
© Copyright 2001 RollingStone.com



Zwischen dem treibenden Rock-Reggae des Titelsongs und der wehmütigen Liebesballade Waiting In Vain offerierte König Bob viele Reggae-Facetten - und zwar durchweg von der feinsten Sorte.

© Audio



Fünf der zehn Titel dieses Albums finden sich auch auf der Best-Of-Kopplung "Legend", was den hohen Stellenwert der Aufnahme im musikalischen Nachlaß des 1981 verstorbenen Reggae-Königs unterstreicht. "Exodus" machte Bob Marley 1977 zum internationalen Superstar - primär über die Sogkraft des Titelsong und der Hymne "Jamming". Die MFSL-Tontechnik brachte für ihre Gold-Edition den Sound der Masterbänder auf den Stand des heute Machbaren - mit konturiertem, tief reichenden Baß, silbrigem Beckenklang, sauber ziselierten Bläsern und klarem Gesang. ** KLang.: 07-08

© Stereoplay



In 1999 Exodus was rightfully voted by Time Magazine the most important album of the 20th century. This is the visionary Bob Marley's masterpiece, a concept album that distills the myriad experiences of both our daily lives and collective unconsciousness into 46 minutes of aural perfection. The CD release of Exodus has been flawlessly remastered from the original recordings and showcases what is probably the Wailers' tightest recorded performance. The initial notes of the album's opening track, "Natural Mystic," fade up from a deep silence, giving the listener the impression that the music generates from within a continuum of the past, present, and future. The first half of Exodus bears witness to Marley's shift in focus away from the mundane problems of Babylon existence and toward a greater understanding of vital universal truths. The second half features songs like "Jamming" and "Waiting in Vain," which take a gently wistful look at the more interpersonal aspect of human relations.

Rebecca Levine, Amazon.com
 

 L y r i c s


NATURAL MYSTIC

There's a natural mystic blowing through the air;
If you listen carefully now you will hear.
This could be the first trumpet, might as well be the last:
Many more will have to suffer,
Many more will have to die - don't ask me why.

Things are not the way they used to be,
I won't tell no lie;
One and all have to face reality now.
'Though I've tried to find the answer to all the questions they ask.
'Though I know it's impossible to go livin' through the past -
Don't tell no lie.

There's a natural mystic blowing through the air -
Can't keep them down -
If you listen carefully now you will hear.

There's a natural mystic blowing through the air.

This could be the first trumpet, might as well be the last:
Many more will have to suffer,
Many more will have to die - don't ask me why.

There's a natural mystic blowing through the air -
I won't tell no lie;
If you listen carefully now you will hear:
There's a natural mystic blowing through the air.
Such a natural mystic blowing through the air;
There's a natural mystic blowing through the air;
Such a natural mystic blowing through the air;
Such a natural mystic blowing through the air;
Such a natural mystic blowing through the air.

   [Fadeout]


SO MUCH THINGS TO SAY

Ooh yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah!
Ooh yeah, yeah!
They got so much things to say right now;
They got so much things to say.
They got so much things to say right now;
They got so much things to say.

Eh!  But I'll never forget no way: they crucified Je-sus Christ;
I'll never forget no way: they stole Marcus Garvey for rights.
   Oo-ooh!
I'll never forget no way: they turned their back on Paul Bogle.
   Hey-ey!
So don't you forget (no way) your youth,
   who you are and where you stand in the struggle.

They go so very, so very, so very, so very, so very, so very,
   so very, so very, so very, so very, so very -
      everything they say - so much to say.
They got so much things to say, so much things to say.

I'n'I nah come to fight flesh and blood,
But spiritual wickedness in 'igh and low places.
So while they fight you down,
Stand firm and give Jah thanks and praises.
'Cos I'n'I no expect to be justified
   by the laws of men - by the laws of men.
Oh, true they have found me guilty,
But through - through Jah proved my innocency.

Oh, when the rain fall, fall, fall now,
It don't fall on one man's housetop.  Remember that:
When the rain fall,
It don't fall on one man's housetop.

They singin': so very much, so very much, oh so very much,
   so very, very -
They got so much things to say right now;
   yeah, they got so much things to say.

Hey, but I'n'I - I'n'I nah come to fight flesh and blood,
But spiritual wickedness in 'igh and low places.
So while, so while, so while they fight you down,
Stand firm and give Jah thanks and praises.
I'n'I no expect to be justified
   by the laws of men - by the laws of men.
Oh, hey through Jah to prove my innocency,
I told you wicked think they found me guilty.

They got la, la, la, la, la, la, la, la;
   la, la, la, la, la, la, la, la;
      la, la, la, la, la, la, la, la;
         la, la, la, la, la, la, la, la
- they "la" very much all the time.

So much things to say, rumour about,
   they got so much without humour,
      they don't know what they're doin', yeah.


GUILTINESS

Guiltiness (talkin' 'bout guiltiness)
Pressed on their conscience.  Oh yeah.
And they live their lives (they live their lives)
On false pretence everyday -
   each and everyday.  Yeah.

These are the big fish
Who always try to eat down the small fish,
   just the small fish.
I tell you what: they would do anything
To materialize their every wish.  Oh yeah-eah-eah-eah.

Say: Woe to the downpressors:
They'll eat the bread of sorrow!
Woe to the downpressors:
They'll eat the bread of sad tomorrow!
Woe to the downpressors:
They'll eat the bread of sorrow!
   Oh, yeah-eah!  Oh, yeah-eah-eah-eah!

Guiltiness
Pressed on their conscience.  Oh yeah.  Oh yeah.
These are the big fish
Who always try to eat down the small fish,
   just the small fish.

I tell you what: they would do anything
To materialize their every wish.  Oh, yeah-eah-eah-eah-eah-eah.

But: Woe to the downpressors:
They'll eat the bread of sorrow!
Woe to the downpressors:
They'll eat the bread of sad tomorrow!
Woe to the downpressors:
They'll eat the bread of sad tomorrow!
Oh, yeah-eah!  Oh yeah-e-e-e-e-e!

Guiltiness.  Oh yeah.  Ah!
They'll eat the bread of sorrow everyday.


THE HEATHEN

De heathen back dey 'pon de wall!
De heathen back, yeah, 'pon de wall!
De heathen back dey 'pon de wall!
De heathen back, yeah, 'pon de wall!

Rise up fallen fighters;
Rise and take your stance again.
'Tis he who fight and run away
Live to fight another day.
With de heathen back dey 'pon de wall!
De heathen back, yeah, 'pon de wall!
De heathen back dey 'pon de wall!
De heathen back, yeah, 'pon de wall!

As a man sow, shall he reap
And I know that talk is cheap.
But the hotter the battle
A the sweeter Jah victory.
With de heathen back dey 'pon de wall!
De heathen back, yeah, 'pon de wall!
De heathen back dey 'pon de wall!
De heathen back, yeah, 'pon de wall!
---
/Guitar solo/
        De heathen back dey 'pon de wall!
        De heathen back, yeah, 'pon de wall!
        De heathen back dey 'pon de wall!
        De heathen back, yeah, 'pon de wall!
---
Rise up, fallen fighters:
Rise and take your stance again.
'Tis he who fight and run away
Live to fight another day.
De heathen back dey 'pon de wall!
De heathen back, yeah, 'pon de wall!
De heathen back dey 'pon de wall!
De heathen back, yeah, 'pon de wall!
De heathen back dey 'pon de wall!
De heathen back, yeah, 'pon de wall!
De heathen back dey 'pon de wall!
De heathen back, yeah, 'pon de wall!
De heathen back dey 'pon de wall!
De heathen back, yeah, 'pon de wall!
De heathen back dey 'pon de wall!
De heathen back, yeah, 'pon de wall!

    [Fadeout]


EXODUS

Exodus: Movement of Jah people!  Oh-oh-oh, yea-eah!
.......
Men and people will fight ya down    (Tell me why!)
When ya see Jah light.               (Ha-ha-ha-ha-ha-ha-ha!)
Let me tell you if you're not wrong; (Then, why?)
Everything is all right.
So we gonna walk - all right! - through de roads of creation:
We the generation                    (Tell me why!)
(Trod through great tribulation) trod through great tribulation.

Exodus, all right!  Movement of Jah people!
   Oh, yeah!  O-oo, yeah!  All right!
Exodus: Movement of Jah people!  Oh, yeah!

Yeah-yeah-yeah, well!
Uh!  Open your eyes and look within:
Are you satisfied (with the life you're living)?  Uh!
We know where we're going, uh!
We know where we're from.
We're leaving Babylon,
We're going to our Father land.

2, 3, 4:  Exodus: movement of Jah people!  Oh, yeah!
(Movement of Jah people!)  Send us another brother Moses!
(Movement of Jah people!)  From across the Red Sea!
(Movement of Jah people!)  Send us another brother Moses!
(Movement of Jah people!)  From across the Red Sea!
Movement of Jah people!
---
/Instrumental break/
---
Exodus, all right!  Oo-oo-ooh!  Oo-ooh!
Movement of Jah people!  Oh, yeah!
Exodus!
Exodus!  All right!
Exodus!  Now, now, now, now!
Exodus!
Exodus!  Oh, yea-ea-ea-ea-ea-ea-eah!
Exodus!
Exodus!  All right!
Exodus!  Uh-uh-uh-uh!

Move!  Move!  Move!  Move!  Move!  Move!

Open your eyes and look within:
Are you satisfied with the life you're living?
We know where we're going;
We know where we're from.
We're leaving Babylon, y'all!
We're going to our Father's land.

Exodus, all right!  Movement of Jah people!
Exodus: movement of Jah people!
Movement of Jah people!
Movement of Jah people!
Movement of Jah people!
Movement of Jah people!

Move!  Move!  Move!  Move!  Move!  Move!  Move!

Jah come to break downpression,
Rule equality,
Wipe away transgression,
Set the captives free.

Exodus, all right, all right!
Movement of Jah people!  Oh, yeah!
Exodus: movement of Jah people!  Oh, now, now, now, now!
Movement of Jah people!
Movement of Jah people!
Movement of Jah people!
Movement of Jah people!
Movement of Jah people!
Movement of Jah people!

Move!  Move!  Move!  Move!  Move!  Move!  Uh-uh-uh-uh!
Move(ment of Jah people)!
Move(ment of Jah people)!
Move(ment of Jah people)!
Move(ment of Jah people)!  Movement of Jah people!
Move(ment of Jah people)!
Move(ment of Jah people)!
Movement of Jah people!
Movement of Jah people!
Movement of Jah people!


JAMMIN'

Ooh, yeah!  All right!
We're jammin':
I wanna jam it wid you.
We're jammin', jammin',
And I hope you like jammin', too.

Ain't no rules, ain't no vow, we can do it anyhow:
I'n'I will see you through,
'Cos everyday we pay the price with a little sacrifice,
Jammin' till the jam is through.

We're jammin' -
To think that jammin' was a thing of the past;
We're jammin',
And I hope this jam is gonna last.

No bullet can stop us now, we neither beg nor we won't bow;
Neither can be bought nor sold.
We all defend the right; Jah - Jah children must unite:
Your life is worth much more than gold.

We're jammin'  (jammin', jammin', jammin')
And we're jammin' in the name of the Lord;
We're jammin'  (jammin', jammin', jammin'),
We're jammin' right straight from Yah.

Yeh!  Holy Mount Zion;
Holy Mount Zion:
Jah sitteth in Mount Zion
And rules all creation.

Yeah, we're - we're jammin' (wotcha-wa),
Wotcha-wa-wa-wa, we're jammin' (wotcha-wa),
See, I wanna jam it wid you
We're jammin' (jammin', jammin', jammin')
I'm jammed: I hope you're jammin', too.

Jam's about my pride and truth I cannot hide
To keep you satisfied.
True love that now exist is the love I can't resist,
So jam by my side.

We're Jammin' (jammin', jammin', jammin'), yeah-eah-eah!
I wanna jam it wid you.
We're jammin', we're jammin', we're jammin', we're jammin',
   We're jammin', we're jammin', we're jammin', we're jammin';
Hope you like jammin', too.
We're jammin', we're jammin' (jammin'),
We're jammin', we're jammin' (jammin').
I wanna (I wanna jam it wid you) - I wanna -
I wanna jam wid you now.
Jammin', jammin' (hope you like jammin' too).
Eh-eh!  I hope you like jammin', I hope you like jammin',
'Cause (I wanna jam it wid you).  I wanna ... wid you.
I like - I hope you - I hope you like jammin', too.
I wanna jam it;
I wanna jam it.


WAITING IN VAIN

1, 2, 3:

I don't wanna wait in vain for your love;
I don't wanna wait in vain for your love.
From the very first time I rest my eyes on you, girl,
My heart says follow t'rough.
But I know, now, that I'm way down on your line,
But the waitin' feel is fine:
So don't treat me like a puppet on a string,
'Cause I know I have to do my thing.
Don't talk to me as if you think I'm dumb;
I wanna know when you're gonna come - soon.
I don't wanna wait in vain for your love;
I don't wanna wait in vain for your love;
I don't wanna wait in vain for your love,
'Cause if summer is here,
I'm still waiting there;
Winter is here,
And I'm still waiting there.
---
/Guitar solo/
---
Like I said:
It's been three years since I'm knockin' on your door,
And I still can knock some more:
Ooh girl, ooh girl, is it feasible?
I wanna know now, for I to knock some more.
Ya see, in life I know there's lots of grief,
But your love is my relief:
Tears in my eyes burn - tears in my eyes burn
While I'm waiting - while I'm waiting for my turn,
See!

I don't wanna wait in vain for your love;
I don't wanna wait in vain for your love;
I don't wanna wait in vain for your love;
I don't wanna wait in vain for your love;
I don't wanna wait in vain for your love, oh!
I don't wanna - I don't wanna - I don't wanna - I don't wanna -
   I don't wanna wait in vain.
I don't wanna - I don't wanna - I don't wanna - I don't wanna -
   I don't wanna wait in vain.
No, I don't wanna  (I don't wanna - I don't wanna - I don't wanna -
   I don't wanna - I don't wanna wait in vain) -
No I - no I  (I don't wanna - I don't wanna - I don't wanna - I don't
   wanna - I don't wanna wait in vain) -
No, no-no, I, no, I  (I don't wanna - I don't wanna - I don't wanna -
   I don't wanna - I don't wanna wait in vain) -
It's your love that I'm waiting on (I don't wanna - I don't wanna -
   I don't wanna - I don't wanna - I don't wanna wait in vain);
It's me love that you're running from.
It's Jah love that I'm waiting on (I don't wanna - I don't wanna -
   I don't wanna - I don't wanna - I don't wanna wait in vain);
It's me love that you're running from.

          [Fadeout]


TURN YOUR LIGHTS DOWN LOW

Turn your lights down low
And pull your window curtains;
Oh, let Jah moon come shining in -
Into our life again,
Sayin': ooh, it's been a long, long (long, long, long, long) time;
I kept this message for you, girl,
But it seems I was never on time;
Still I wanna get through to you, girlie,
On time - on time.
I want to give you some love  (good, good lovin');
I want to give you some good, good lovin' (good, good lovin').
Oh, I - oh, I - oh, I,
Say, I want to give you some good, good lovin' (good, good lovin'):
Turn your lights down low;
Never try to resist, oh no!
Oh, let my love come tumbling in -
Into our life again,
Sayin': ooh, I love ya!
And I want you to know right now,
I love ya!
And I want you to know right now,
'Cause I - that I -
I want to give you some love, oh-ooh!
I want to give you some good, good lovin';
Oh, I - I want to give you some love;
Sayin': I want to give you some good, good lovin':
Turn your lights down low, wo-oh!
Never - never try to resist, oh no!
Ooh, let my love - ooh, let my love come tumbling in -
Into our life again.
Oh, I want to give you some good, good lovin' (good, good lovin').


THREE LITTLE BIRDS

"Don't worry about a thing,
'Cause every little thing gonna be all right.
Singin': "Don't worry about a thing,
'Cause every little thing gonna be all right!"

Rise up this mornin',
Smiled with the risin' sun,
Three little birds
Pitch by my doorstep
Singin' sweet songs
Of melodies pure and true,
Sayin', ("This is my message to you-ou-ou:")

Singin': "Don't worry 'bout a thing,
'Cause every little thing gonna be all right."
Singin': "Don't worry (don't worry) 'bout a thing,
'Cause every little thing gonna be all right!"

Rise up this mornin',
Smiled with the risin' sun,
Three little birds
Pitch by my doorstep
Singin' sweet songs
Of melodies pure and true,
Sayin', "This is my message to you-ou-ou:"

Singin': "Don't worry about a thing, worry about a thing, oh!
Every little thing gonna be all right.  Don't worry!"
Singin': "Don't worry about a thing" - I won't worry!
"'Cause every little thing gonna be all right."

Singin': "Don't worry about a thing,
'Cause every little thing gonna be all right" - I won't worry!
Singin': "Don't worry about a thing,
'Cause every little thing gonna be all right."
Singin': "Don't worry about a thing, oh no!
'Cause every little thing gonna be all right!

   [Fadeout]


ONE LOVE/PEOPLE GET READY

One Love!  One Heart!
Let's get together and feel all right.
Hear the children cryin' (One Love!);
Hear the children cryin' (One Heart!),
Sayin': give thanks and praise to the Lord and I will feel all right;
Sayin': let's get together and feel all right.  Wo wo-wo wo-wo!

Let them all pass all their dirty remarks (One Love!);
There is one question I'd really love to ask (One Heart!):
Is there a place for the hopeless sinner,
Who has hurt all mankind just to save his own beliefs?

One Love!  What about the one heart?  One Heart!
What about - ?  Let's get together and feel all right
As it was in the beginning (One Love!);
So shall it be in the end (One Heart!),
All right!
   Give thanks and praise to the Lord and I will feel all right;
Let's get together and feel all right.
One more thing!

Let's get together to fight this Holy Armagiddyon (One Love!),
So when the Man comes there will be no, no doom (One Song!).
Have pity on those whose chances grows t'inner;
There ain't no hiding place from the Father of Creation.

Sayin':  One Love!  What about the One Heart?  (One Heart!)
What about the - ?  Let's get together and feel all right.
I'm pleadin' to mankind! (One Love!);
Oh, Lord! (One Heart)  Wo-ooh!

Give thanks and praise to the Lord and I will feel all right;
Let's get together and feel all right.
Give thanks and praise to the Lord and I will feel all right;
Let's get together and feel all right.

     [Fadeout]

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