Universal Music, the mega-company that seems to have eaten and digested dozens of other labels, has issued an expanded and remastered versions of the landmark reggae album "Catch A Fire" by the Wailers. While the music has never sounded better, there are some significant and fundamental problems with this release.

Except perhaps for the soundtrack album to the film "The Harder They Come," the Wailers' "Catch A Fire" (1973) was the first reggae album that most listeners outside of Jamaica ever heard. The group had been together in some form for a decade and had enjoyed a long series of Jamaican hit singles. They had also moved easily from r&b to ska before becoming one of the earliest reggae acts. Although Bob Marley wrote and sang most of the songs, it was by no means his band. Peter Tosh also was a major contributor, and Marley, Tosh and Bunny Livingston (a/k/a Bunny Wailer) had been bandmates from the beginning, and their vocal blend was striking and beautiful.

Island Records' founder and president Chris Blackwell had long followed the Jamaican music scene. When he heard the powerful results of the Wailers' '72 sessions he was ready to spring reggae on the rest of the world. Between this decision and the music's actual release, though, Blackwell got cold feet, and altered most of the tracks in London by judiciously and tastefully overdubbing rock keyboards, guitar and backing vocals in an apparent attempt to make the tracks more accessible to rock-oriented listeners. Whether these alterations were necessary, or even a good idea, "Catch A Fire" found an audience in England, the U.S. and elsewhere and became a modest hit. Although the original band broke up a year or so (and one album) later when Tosh and Livingston left, Bob Marley & the Wailers were on their way to international stardom.

"Catch A Fire" (Deluxe Edition) makes available for the first time the original unadulterated recordings from the 1972 sessions, and they are really a revelation. These versions are rawer but more powerful; its as if a sonic gauze has been removed, revealing the true nature of the music for the first time. These tracks have an immediacy that was lacking in the originally released versions, and long-time fans of Marley and the Wailers will feel as if they've stumbled upon the Holy Grail of reggae. There are also two previously unreleased songs that fans will find worth hearing and owning.

The remastered version of the original album, overdubs and all, is also here and sounds better than ever. Such Marley classics as "Concrete Jungle" and "Stir It Up" still retain their appeal. Its worth noting, though, that two of the album's most powerful songs, "400 Years" and "Stop That Train," are written and sung by Peter Tosh. Tosh was one of reggae's greatest artists, and its a shame that his reputation seems diminished largely because he was so overshadowed by badmate Marley.

The major problem with this release, and one that may make you think twice about purchasing it, is that there is barely eighty minutes of music on this two-disk set, which sells for the full price of two CDs. The Wailers recorded extensively in the period before "Catch A Fire," and perhaps some of those tracks (many of which are excellent) could have been licensed by Universal for inclusion here. Another option would have been dropping one of the two outtakes and fitting it all on one disk. Serious fans of Marley and the Wailers will purchase this package without a second thought, but more casual fans might do better to seek out the earlier, budget-priced CD issue of "Catch A Fire." The booklet of the Deluxe Edition includes all the original artwork and some nice and rare photos, as well as song lyrics, but the essay is second-rate and disappointing.

In the last few months Universal has issued such classics as "Blind Faith" and Marvin Gaye's "What's Going On" in similar "Deluxe Editions" at a premium price. While there was a significant amount of previously unheard material in those two releases to justify their purchase, the paucity of new music here makes this feel like a bit of a rip-off. Its too bad, because "Catch A Fire" is a classic that deserves better treatment.

Don't you love it when a record company puts out a "Deluxe Edition" of an album (such as is the case with "Catch a Fire" some) and then six months later puts out a reissue of the same album with bonus tracks? Tacking on two extra tracks to the U.S. mix of "Catch a Fire" gives Marley fans a dilemma : the "Deluxe Edition" or this edition? I don't think Bob Marley would have approved of such corporate cynicism. I can't help but rate this CD five stars on its historical and artistic merits (even though I prefer the leaner Jamaican mix on the second disk of the "Deluxe Edition" to the organ-drenched U.S. mix), but I feel cheated neverthless.

"Catch A Fire" is one of the true classics in reggae music. In America, it was only one of two Wailers albums ever released here, and both were subjected to overdubbing that made them more appealing to a rock-oriented market. This isn't to say that these were marred albums; the overdubbing was tastefully done, and for some, they improve the album. However, this new edition does everyone a favor by including the original, raw-sounding versions of these tracks, which have a distinctly different flavor than the Bob Marley music most Americans are familiar with.

Furthermore, the remastered sound is excellent, particularly for the "dubbbed" American edition of the album, which sounds better than the previous standard release.

Besides being possibly the best album ever cut by Bob Marley & the Wailers, this now becomes a perfect introduction to reggae music, allowing us to hear it the way it was presented in its home land and abroad.

"Catch a Fire" is an excellent debut album by the Wailers. All the original Wailers are there including Peter Tosh and Bunny Wailer. Their performance here is electric. The album was released in 1973 and it was this album that got me hooked to reggae music. This is the album that popularized reggae. Wailer fans will find this a treat. Listeners will enjoy the excellent instrumentation: the guitar, keyboards and percussion combined with gentle and soothing vocals to complete an exhilarating picture.

The songs in the album address serious social and political issues. Some of the songs include "Slave Driver", "Concrete Jungle", "Stop that Train", "No More Trouble" and my favourite song on the album "Stir it Up".

For me, this is the best and most creative album by the Wailers with its classic roots reggae. This is great music even for those that are not reggae fans. When I need to lift my spirits up, I play this album. I always feel better afterwards.

Many reggae fans have long villified Island Records head honcho and, according to Lee Perry, vampire, Chris Blackwell for adding additional instrumentation to this album's original tapes in order to pander to mainstream Western tastes. The fact is, the Wailers themselves were intent on breaking reggae worldwide and reportedly approved of Blackwell's "enhancements". Whatever the case, the listener can be the judge with this collection.

Disc One features the original Jamaican versions of the songs that were to eventually comprise "Catch A Fire". These tracks are generally more raw and immediate than the official Island release. In some cases, there is little variation between the two. In others, the differences are quite notable. Many consider the originals to be the definitive versions. Also featured are two bonus tracks, including the beautiful "High Tide Or Low Tide" which was originally made available on the Marley boxed set.

Disc Two, of course, is the released album complete with Blackwell's sonic "tinkering". I honestly feel that each disc is crucial. The Jamaican tapes offer a rock solid foundation for the tasteful contributions of some ace studio musicians. They hardly turned "Catch A Fire" into a mainstream rock album. Rather, they added some rock flavor to what is very much an uncompromising reggae album. Take, for example, John "Rabbit" Bundrick's clavinet and Wayne Perkins' guitar parts during the intro of "Concrete Jungle". Rather than detracting from the original version, their parts contribute to the the song's overall intensity and sense of desperation. Perkins' guitar solo is simply incredible and, again, only adds to the song's dramatic flare. Elsewhere, Perkin's slide guitar parts (and especially his solo) on "Baby We've Got a Date" are unexpectedly effective while Bundrick's etherial synthesizer on "Stir It Up" elivates this tune to a higher plane.

Compare the two discs for yourself. Both are 100-percent enjoyable, in my opinion.