Original color Island Records promotional poster for the Catch a Fire album by Bob Marley and the Wailers, 20 x 30, signed prominently on the reverse in ballpoint, “JAH RASTA FARI, PROSPERITY, Bob Marley,” “Aston Family Man Barrett,” “Peter Tosh, Love Jah,” and “Bunny.” In very good condition, with intersecting folds and heavy overall creasing. One of the very largest examples of Marley's signature that we have offered, signed just weeks after Catch a Fire's release.
Accompanied by a full letter of authenticity from PSA/DNA, and a detailed letter of provenance from the original recipient, stating that she obtained the autographs at the Coach House in Southampton, England, on May 29, 1973. The letter, in part: “In 1973, I was shopping in Southampton & suddenly I saw a poster advertising Bob Marley & the Wailers playing at the Coach House—that night! I went there on my own & asked the pub guy what time are they playing? Next thing—their Roadie was asking me would I like to meet them? He took me outside & into this caravan—which was full of thick smoke…Bob & the Wailers were sitting down tuning their guitars. Bob said it was lovely to meet me & did I have their new album…I said yes. He asked me which was my favorite track & I answered Slave Driver & they all started laughing. Bob was very kind & an absolute gentleman. He asked me if I’d like a poster & obviously I answered yes please. He wrote on it, signed it and passed it to the Wailers who also signed it…It was a superb night & one that I shall never forget.”
Promoters Avenue Artists paid the Wailers £75 for the May 29th gig, and around 50 or 60 people were thought to have been packed into the Coach House Club that night. The crowd consisted mostly of commuting college students, which may explain why the concert had all but disappeared from Southampton's music folklore. A plaque commemorating the show was unveiled in the Fleming Arms in what is the 30th anniversary year of Marley's death.
The presence of “Jah,” penned in large letters by both Marley and Tosh, refers to the ‘God’ of the Rastafarian faith, a central being who partially resides within every individual. Marley and Tosh were devout followers of Rastafarianism, and their music and social impact did much to grow the religion in the 1960s and 1970s. According to Marley: ‘Rastafari not a culture, it's a reality…We Jah people can make it work…I don't stand for black man's side, I don't stand for white man's side, I stand for God's side.’
Facts an’ facts, an’ t’ings an t’ings: dem’s all a lotta fockin’ bullshit. Hear me! Dere is no truth but de one truth, an’ that is the truth of Jah Rastafari. - Bob Marley
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