
No Woman, No Cry
Marley credited it to Tata Ford, whose Trenchtown soup kitchen the royalties kept running; the title means woman, don't cry.

Marley credited it to Tata Ford, whose Trenchtown soup kitchen the royalties kept running; the title means woman, don't cry.
A single voice and acoustic guitar close Uprising, with a line lifted from Marcus Garvey and Marley already ill.
A 1965 Studio One ska tune rebuilt for Exodus, with Mayfield credited to keep the borrowing legal.

Written with Tosh after Marley toured Haiti, and the last song he ever sang onstage, Pittsburgh, September 1980.

Cliff coined the phrase on set, Henzell made it the film's title, and the Dynamic Sounds session was filmed.
Reportedly inspired by canaries at his Hope Road windowsill, cut in London, and the gentlest reassurance in reggae.
Marley swapped police for sheriff to avoid a government fuss, and Clapton's 1974 cover became his only American number one.
Fifteen minutes on foot to a New York studio was all the writing time, and Blackwell approved it instantly.
Hibbert's prison number for a title, eighteen months served on a charge he disputed, Leslie Kong producing.

Costello wrote it after a night with the first Clash album; Nieve's piano stalks it like Bernard Herrmann.

An Ini Kamoze sample under it, Stephen Marley at the desk, and verses answering the postcard version of Jamaica.
Kaya's warmest track went top ten in Britain, and its London video gave a young Naomi Campbell her debut.

Three guitar chords, spoken city names saluting Havana's Radio Reloj, and a list of small pleasures that lands on you.

Recorded on portable gear while Chao roamed Latin America, an undocumented migrant's lament carried by the lightest guitar.
Self-produced by the Wailers, and the track that opened the Lyceum nights Island taped in July 1975.

A Paragons rocksteady tune from 1967, Jimmie Haskell's horns and strings on top, and Harry strolling to number one.
Sly and Robbie cut it over the Bam Bam riddim, and Omarion, Pitbull and Jason Derulo all borrowed it later.

Two Jamaican teenagers, seventeen and eighteen, answering Trinity over Alton Ellis's riddim, number one in Britain within months.

A Mano Negra tune remade over a Black Uhuru groove, and the same melody resurfaces twice more on Clandestino.

Nowell sings the wrong date, April 26, and the band kept the take anyway; he died before the album arrived.

UB40 knew only Tony Tribe's reggae cover, saw "N Diamond" on the label, and guessed a Jamaican singer.

Two brothers wrote it in Waikiki in 1982; Sublime's 1992 cover buried the original and got misfiled under Bob Marley.