After what seems like an eternity in the making - actually fourteen years since it was first publically announced - the long awaited definitive discography of Bob Marley and the Wailers, lovingly compiled by experts Roger Steffens and Leroy Jodie Pierson has finally become a reality.

While there have been many published Wailers discographies in the past, ranging from simple magazine listings, biography appendices, websites and even the odd dedicated book, none have attempted such an in depth and exhaustive gathering of information as listed here.

The book opens with three short but incisive biographies of Bob, Peter and Bunny, followed by entertaining essays on the authors induction to and eventual seduction by Jamaican music. From these tales I'm sure many a fan will be able to identify with the authors passion for the music and collecting.

The actual discography listing itself runs to 177 pages including the index, and lists all recording by Bob, Peter and Bunny, either as the Wailers or solo, and also features occasional tracks of special interest such as Marcia Griffith's Tribulation for instance (as it was composed, produced and played on by Bunny), and various Studio One numbers that the Wailers harmonised.

Each song is listed in chronological order, or at least as close as is possible given the often undocumented history of many early tracks. There are elements of session-ography, with musican line-ups and even unreleased recordings listed. Tapes such as the "Mother B bedroom tape" are listed, providing those unfamiliar with the trading scene an insight into some of Bob's unreleased and unfinished works.

Also listed are a choice selection of live performances. As is explained in the book, only a cross-section of live dates are represented as it was rightly felt that a full listing would stifle the flow of the text. This information should be considered a bonus inclusion that neatly compliments the main theme and provides a rough guide to the artists setlists.

Each recording is listed with catalogue number, matrix number info where available, allowing cross-checking of re-presses and re-issues, as well as over-dub details. At first the discography can be a little awkward to navigate, but a little patience usually brings rewards. Unfortunately there is no straight listing of A & B side pairings. This would have made for a nice appendice, but obviously even the inclusion of a small print list would have considerably increased the size of the publication.

There is also a mouth-watering twelve page glossy, full-colour centre spread with pictures of record labels from the very first Jamaican issue of Judge Not, through various Studio One labels, differing Tuff Gong designs, Intel-Diplo and Solomonic, and right up to Island releases among others. Amidst the many delights on view are early Muzic City issues, Dana on a yellow Coxsone issue, white labels of Black Progress, Chances Are, Sugar Sugar and Must Get A Beaten and Peter's obscure white label issue of Jah Man.

It's clear that a lot of love has gone into this work, and taking into account that there are over forty years of recordings to document, it was certainly a daunting under-taking. As such there is the odd error and omission, but a board is available at www.rounderbooks.com to "post comments and emendations."

As a first issue, the discography is a wonderful example of devotion and commitment. The possiblity for fans worldwide to offer corrections and amendments via the aforementioned board should confirm this as the most accurate and detailed listing ever compiled.

The Definitive Discography is published by LMH Publishing Ltd. at £16.95 in the UK, and distributed by Turnaround.
ISBN 976-8184-75-2