Exploring
Bob Marley & The Wailers
discography

by KAZO

 KAZO records a/b sides
Black Vinyl Series

Selection of best sources for 7' and/or 12' singles, sometimes complemented with some additional issued vinyl takes. Priority has been given to lossless tracks, however few lossy ones have been selected when they really were the best available sound. Level averaging has been performed using a sound editor (Goldwave).

Remaining imperfections (cracks, skips) are inherent to the nature of vinyls. If you have better lossless sound, please contact me.

What you have here is the result of hundreds of hours of a very tiring work. Please respect it. Do not sell, do not distribute in MP3 form. If you see KAZO discs for sale, somebody somewhere is selling what he received for free.

(Special thanks to all friends who encouraged or helped me)

• BV 1-xx series:   Bob Marley & The Wailers, 1962-1966
• BV 2-xx series:   Bob Marley & The Wailers, 1966-1972
• BV 3-xx series:   Bob Marley & The Wailers, 1972-1981 (release 2.0)
• BV 4-xx series:   Bob Marley & The Wailers, Posthumous (release 2.0)
• BV P-xx series:   Peter Tosh, solo recordings
• BV B-xx series:  Bunny Wailer, solo recordings (release 2.0)
• BV S-xx series:  "Sisters", Rita Marley, Judy Mowatt, Marcia Griffiths, The I-Threes recordings

The No-Copy issue:

This is a poisonning problem. There are people (used to be good friends) who are absolutely and firmly convinced that I'm doing badly in this direction. I mean, collecting, compiling and finally distributing my compilations. Why?

Because, I'm trying to be exhaustive like an historian would do. Then, I believe that any track should be included, that none should be skipped. But... But some tracks are repudly very rare and worth of a lot of money on the vinyl market. So, according to those friends, doing what I do would be spoiling everything.

I understand that point of view. But I think there is mistake. A vinyl collector is first directed to ... collect vinyl. When he buys a vinyl, he buys an object with a strong historical and sentimental content. There is the black disc, the artwork, the cover. It's an object. He has got what he paid for. He has collected and he should be happy.

What I'm doing is to circulate some binary data only. This data bears the music but it is the same than when I'm publishing a photograph of a museum art piece. You get the photo, you don't get the piece. But, with the photo, you know what the piece is about, you see it. That is culture. With the music, it's the same. You get the file, you can listen to the music but you don't have the record. It is culture as well. Culture should be free.

This how I define what I'm doing here. My wish is that work becomes a reference for lovers, researchers of Wailer's music. I consider that it would be a pity to contribute to burry a song. I don't think no song was ever recorded to be burried. So, I don't subscribe to the no-copy concept.

I know what I'm doing. I am in peace with my conscience. I want to make a majority of people happy. I want people to be happy, I don't want people to be jealous of what I have and they don't have. I hope that you who is reading this, you understand me.