But on his trio's 1995 sophomore release, Bing, Bing, Bing!, Hunter unveiled his custom-made Novax eight-string, the guitar that finally allowed him to realize his capacity. For his self-titled 1993 debut CD, Hunter played a seven-string guitar for the duality effect, locking down the bottom with drummer Jay Lane and mixing melodically with saxophonist David Ellis. But Hunter wanted to take it one step further and set out to find an instrument on which he could simultaneously function as both a guitarist and a bassist. His primary influences were jazz great Joe Pass and the fluid Tuck Andress (of the guitar/vocal duo Tuck & Patti), both six-string guitarists who were adept at blending bass notes into their standard guitar melodies to make themselves sound like two musicians at once. Songs like ‘Natty Dread’, ‘So Jah Say’, ‘Rat Race’, ‘War’, ‘Guiltiness’, ‘Buffalo Soldier’, ‘Is This Love’, ‘ Smile Jamaica’.” The Zap Pow horns also became the Wailer’s horns section in studio sessions and tours.As a young guitarist growing up in the San Francisco Bay Area, Charlie Hunter was looking for a way to stand out in the '80s. “I played on 17 of the hit songs of Bob Marley. So when we come and they say, alright, roll the song, and we start to play, they say ‘Damn! Here! Yes!’ and the tune go up and it is a hit!”Madden has happy memories of his work with Marley. But because of being in the studio and working and all the practice that we do, we are hearing things. They weren’t able to tell us what to play. So for them guys, Marley and those, just for thinking to put some order in that tune, to bring it up some more, well that is genius in them.”“But as for what to play there, they don’t know. I am hearing that there is something that would sound better than if it was left alone. When you hear a song, the thing is to be able to say, you know, there is a part there that would sound better with horns. “Well, you know, when he started singing, ‘Dread, knotty dread,’ I can hear 150 different horn lines! I might play one, and they say, ‘Yeah man, that sound great!’ Madden and the other horn players were paid for the sessions but were not credited with writing parts.“Well, you see, when we reach the studio, the song is already done. Or Family Man will say, David, go talk to Bob because he wants to do a session.”Madden’s first work with Marley was on Natty Dread, Marley’s first solo album and arguably his finest. When me and Bob talked, it was because of a session. I might sing the biggest tune yesterday but today I’m still walking down the street. We don’t have that superstar air in Jamaica. He would say, ‘We have a little tour, do you want to come along?’ It was a mixture of professionalism and friendship. I didn’t know Bob was going to become any kind of star. Recalls Madden in a 2010 interview with Irie Up: “Bob called me, ‘David, we have a recording session, do you want to come?’ And of course, I said yes. These players are featured prominently on the DVD The Legend Live: Santa Barbara County Bowl, 1979. It would later include Glen Da Costa, David Madden, and the Zap Pow horns. The Wailers horn section originated with Jamaican trombone and saxophone players Vin Gordon and David Madden who played on the albums Natty Dread and Rastaman Vibration. The horn section added another dimension to Marley’s ever-evolving musical catalog, much like the rock guitar did on the Natty Dread and Rastaman Vibration albums. He would use horns for his remaining studio albums, with their greatest and most persistent use on the Survival album. These audio files consist of tracks from the Exodus and Kaya albums mixed with a horn section, which Bob Marley began to experiment with while recording the Exodus album in 1977. Today I am sharing the Exodus and Kaya Horn Mixes.
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