Ziggy Marley Albums (12)
What The Critics Say
Ziggy Marley has switched directions for his third solo album, Family Time, but then again, not really. First off, it's a children's album, and a delightful one, and while he has always been an advocate for children's rights (he is the founder of U.R.G.E., a nonprofit organization that supports charitable children's causes in Jamaica, Ethiopia, and other parts of the world) and has contributed both his voice and songs to various children's programming, this is the first time Marley has done a full children's album. That said, the bright Jamaican rhythms and joyous vocals on display here aren't any different than what he has been doing all along, and children's songs or not, this is a wonderful roots release and is far from age-specific. Co-produced by Marley and Don Was, Family Time has a host of guest stars, including Rita Marley (Ziggy's mother), Cedella Marley (his sister), Judah Marley (his daughter), Paul Simon, Jack Johnson, Willie Nelson, Toots Hibbert (of Toots & the Maytals), Elizabeth Mitchell, Laurie Berkner, and Paula Fuga, and the album closes with two stories narrated by Jamie Lee Curtis, but even so, this is Marley's show, and his warm vocals make everything else possible. Highlights include the impressive "Cry, Cry, Cry," a fun re-imaging of "This Train," and an it-just-makes-you-smile version of the island traditional "Hold Him Joe," but all of the songs have a like sort of sunny charm. The two stories narrated by Curtis that close things kind of break the musical mood a bit, but that's a minor complaint for an album that is so much fun, so positive, and just so darn delightful. ~ Steve Leggett, All Music Guide
'Love Is My Religion'
Release Date 7/2/2006
Tracks 12
Label Tuff Gong Worldwide
See Album Tracklist and Review
What The Critics Say
More than two decades into his successful career -- yes, he has now been recording for more years than his dad Bob did -- Ziggy Marley should not have to fend off comparisons to his iconic father. But like his also-performing younger brothers Damian, Julian, and Stephen, one supposes he always will, and one has to wonder just what Bob Marley would have made of an album as disappointing and insignificant as Love Is My Religion, Ziggy Marley's second album outside of his group the Melody Makers. With the Melody Makers -- comprised largely of other Marley offspring -- Ziggy proved that he possessed a voice of his own (even if its physical qualities were eerily similar to those of Bob's). On albums such as 1988's Conscious Party, the Melody Makers broke far enough away from the familiar Marley style to demonstrate that Ziggy was developing into a formidable songwriter and vocalist, without losing sight of his legacy. Fast-forward nearly two decades, and Ziggy Marley has not grown much -- if anything, he has seemingly run out of forward-looking ideas. With his familial genre-defining roots -- and more contemporary reggae variations -- still underpinning his songs, Ziggy is never afraid to step out of bounds. But as he did on his first solo album, 2003's Dragonfly, Ziggy again takes the safest routes, watering down the arrangements and the playing until the tracks veer close to lounge-reggae territory. More appalling is that Marley's lyrics have become sophomoric at best, cliché-ridden faux anthems that one might have expected from him as a teenager but certainly not as a seasoned adult artist. With Damian "Jr. Gong" Marley, in particular, having reached the top of the charts with his monumental, cutting-edge Welcome to Jamrock album in 2005, it would seem that Ziggy, once the great hope for the next generation of Marleys, has been surpassed ~ Jeff Tamarkin, All Music Guide
What The Critics Say
It's an interesting irony that as Ziggy Marley's singing voice ages and becomes more and more similar to that of his late father, the music he makes gets more and more distant from the reggae mainstream. And on Dragonfly, his first album without the Melody Makers, his explorations go even further afield, leading him to spend far more time with hip-hop beats and spare rock & roll than one-drop reggae grooves. There are plenty of great beats and well-crafted instrumental textures (thanks in part to such high-profile guest musicians as Flea, David Lindley, and DJ Chris Kilmore), with "Looking," with its lilting highlife guitars, standing as a highlight. ~ Rick Anderson, All Music Guide
'Ziggy Marley & the Melody Makers Live, Vol. 1'
Release Date 11/7/2000
Tracks 13
Label Elektra
See Album Tracklist and Review
What The Critics Say
This recording, the first live album to feature Ziggy Marley & the Melody Makers, shows the Marley family-based group continuing on the same path cut by legendary father Bob Marley. The strongest performances on the album may not be from Ziggy, but rather the powerful backup vocals provided by his sisters. The manic pace of the performance seems to undermine the relaxed vibe that reggae is known for, but Ziggy's talented songwriting and performance skills still shine through. Fans will find a number of classic songs that span Ziggy's career, as well as a nice performance of the Bob Marley classic "Could You Be Loved." ~ Stacia Proefrock, All Music Guide
What The Critics Say
From Taj Mahal's soulful harp playing on the opening track to the striped-down, pure sound of the entire CD, it's loud and clear that Ziggy Marley has returned to his roots. Rumored to have gone through a near-death experience, it appears that he and his siblings have done away with all the inconsequential pop music experiments and flimsy lyrics that have plagued recent releases and decided to get serious about the heart of reggae music: flowing rhythms with a spiritual/political message. Both the singing and the lyrics on Spirit of Music are sublime, recalling Bob Marley's early work. In fact, Stephen Marley's delivers haunting and effective versions of his father's tunes "All Day All Night" and "High Tide or Low Tide." Filled with soulful singing and easygoing melodies, this album is a must-have for even casual reggae fans. ~ Rosalind Cummings-Yeates, All Music Guide
What The Critics Say
Throughout the 1990s, Ziggy Marley & the Melody Makers had seen their stature diminish from the heady heights of the previous decade. However, even as record sales abated, the group continued releasing exciting and adventurous albums. Their patience was finally rewarded when Fallen Is Babylon was honored with a Grammy. With the songwriting split among Ziggy, Stephen, and brother David, the album is surprisingly diverse, even by the Melody Makers' usual standards. Swinging from a retro '60s sound to dancehall and from R&B to rootsy reggae, and shifting across a myriad of moods and themes, the quartet members prove themselves to be masters of all genres. The majority of the album is self-produced, and the whole set boasts a clean sound that perfectly balances the vocals, instruments, and beats. Cowboy goes hip-hop on one of the most original numbers, "Everyone Wants to Be," which works in snatches of "The Good, the Bad & the Ugly" and a powerful rap from guest star Wyclef Jean. The title track is a sleekly smooth and soulful R&B number, while Stephen and guesting brother Damian toast their way through the dancehall-laced "Day by Day." Among many more highlights is a phenomenal reggae-fied cover of Curtis Mayfield's "People Get Ready." A masterful album from a group whose sound is forever evolving and maturing. ~ Jo-Ann Greene, All Music Guide
'Free Like We Want 2 B'
Release Date 1/1/1995
Tracks 13
Label Elektra
See Album Tracklist and Review
What The Critics Say
Ziggy Marley rightfully carries the torch that was ignited by his father decades earlier. Ziggy and brother Stephen write and produce all of the tracks on the album and, as expected, reggae beats litter every song. However, R&B and extensive use of keyboards enhance and strengthen the record, demonstrating that the band has the ability to grow and experiment while staying true to their Jamaican roots. Sharon and Cedella Marley step out from behind their usual background singing roles on the track "Today," bringing a strong R&B feel which transmutes the Marley sound. Lyrically, poverty, racism, and mother earth continue to be issues which resonate deeply in the hearts and minds of the group. "Hand to Mouth" specifically addresses the plight and exploitation of the Jamaican worker and the hunger of the children on the island. While there are few surprises on Free Like We Want 2 B, Ziggy Marley & the Melody Makers prove once again that nobody does reggae like a Marley. ~ Erik Crawford, All Music Guide
What The Critics Say
Joy and Blues is Ziggy Marley & the Melody Makers' most personal album to date. Within the album, the group members explore their beliefs, adeptly expanding them into universal themes. Of course, they have done this from their earliest days, but now they've reached a new height of lyrical power. "Lies, they sell cheaper than bread, what they do starve the people of truth," is a line worthy of Mutabaruka, while "We are living in a partial world, they make so the fight is never done" equally resonates. "Mama," Stephen Marley's heartfelt tribute to his mother, Rita, has some of the most moving lyrics and is one of the most poignant songs on the album. Father Bob is honored by a cover of his "There She Goes," itself a song haunted by memories and emotions, which fits well within the album's own tendency to glance backwards while resolutely moving forward. A cover of Richie Havens' "African Herbsman" is similarly well chosen; Stephen makes the song his own, while Harry J.'s tribal drumming takes the track to its true roots. Previous albums have been acclaimed for their productions and intriguing crossover stylings, but Joy and Blues focuses firmly on the message. The arrangements are more subtle than in the past, quietly enhancing the songs' atmospheres and lyrics. This may disappoint the group's dance fans, while reggae aficionados will equally miss the heavier roots numbers. However, their more mature sound bodes well for the long term. There's still a sense of exploration, as on Stephen's bluesy "Rebel in Disguise," while songs like the funky "X Marks the Spot" and the bouncy title track keep the band in touch with its past. Although the album did not equal past records in sales, it proved that the band would outlive its pop past. ~ Jo-Ann Greene, All Music Guide
What The Critics Say
From their earliest days, Ziggy Marley & the Melody Makers had gloried in crossing over sounds and blending genres, shoving reggae into the pop world, then dragging it out to the discos. But now the group was swiftly outgrowing this teenybop phase, maturing into adults with more sophisticated tastes. Ziggy was no longer the main songwriter, as his siblings joined in, notably David, who composed many of the tracks on Jahmekya. The album has a much tougher sound than previous records, and its digitized beats are indebted to Jamaica's dancehalls. Stephen's growing interest in this scene is evident on "Raw Riddim," a pure dancehall number, stripped down to the beats. However, the other members of the group are pulling away from influences of their homeland toward the urban contemporary sounds pouring from the U.S. Much of Jahmekya explores this style, twining in funk, soul, and modern R&B into the group's mix. Of course there's still a sprinkling of reggae pop tracks and rootsy dance numbers, but it's clear that the group is moving beyond these old sounds and evolving a more contemporary style. This album would lose Ziggy Marley & the Melody Makers much of their pop fan base, but earn them a more loyal adult audience. Once again, it was nominated for a Grammy; however, this time the group did not win. ~ Jo-Ann Greene, All Music Guide
What The Critics Say
Ziggy Marley's One Bright Day, his follow-up to his breakthrough Conscious Party, is a solid, satisfying album, possessing an air of optimism and self-empowerment without sounding preachy or arrogant. Each track shines with its mix of intelligent lyrics, sunny music, and intoxicating rhythms. The album spawned the hit "Look Who's Dancing," an irresistible slice of ragga-dance augmented by a rap in the breakdown and the Marley sisters' always-appealing background vocals. Other highlights include the funky title track, where the Marley sisters' vocals truly take center stage, the Middle Eastern-influenced "Pains of Life," and the celebratory "Black My Story," which is a mini-cultural geography lesson in and of itself. The mid-tempo "Justice" and "Love Is the Only Law," the soulful "Urban Music," and the singles "Who Will Be There" and "When the Lights Go Out" are all standout cuts as well. As a matter of fact, there's not a single dud on this thoroughly engaging set, which helped to further cement Ziggy Marley & the Melody Makers as first-rate artists in their own right. ~ Jose F. Promis, All Music Guide
