Both the Exodus and the Redemption Song by Bob Marley are textbook examples of reggae. Traditionally, this genre of music combines authentic dance rhythms with recitative-like singing, guitar, and percussion, giving birth to the inimitable style. Each of the works under review belongs to it, which is apparent from the first seconds. The recognizable voice and manner of the outstanding Jamaican artist add to the general relaxed and optimistic atmosphere with which the genre is strongly associated.
The difference between the songs, however, is noticeable as well; both the lyrics and the melodies serve to communicate dissimilar messages. Thus, while listening to Exodus, even without focusing closely on what the singer is saying, the audience feels as if they were walking at a moderate speed and chilly rhythm; the song actually has such. The refrain “Movement of Jah people,” which constantly interferes with the verses, serves to create anchors that help the listeners synchronize their thought with music, having imagined that they are moving together with the characters.
In fact, the song depicts the process rather than the result of the metaphorical walk; the melody is quite monotonous, although not mournful, and the lyrics describe a journey. The hypothetical destination, meanwhile, is only mentioned in passing: “We’re going to our fatherland,” and it is not clear whether the characters of the song understand any particular location by this term. Rather, they are simply searching for a place where they could live better than before; the rhetorical question of whether the audience is satisfied with their lives manifests the desire to find it. The repetition of the phrases that include the words “move,” “moving,” and “movement” apparently serve to maintain hope in the hypothetical addresses so that they do not stop.
The Redemption Song, on the contrary, contains direct calls for action that both its melody and its lyrics encrypt. In both known versions of the work, the above guitar and percussion are present, but the former undoubtedly is dominant. Due to this, music does not come down to rhythm, as it does in the Exodus, but creates a certain type of tension to inspire the audience and awaken the necessary emotions in them.
From the lyrics, it becomes even more apparent that Marley seeks to communicate a protest mood to the listeners and encourage them to oppose all forms of oppression. Interestingly, this does not mean a physical fight but, predominantly, moral and intellectual struggle, which should be the primary step towards liberation. “Emancipate yourselves from mental slavery / None but ourselves can free our mind,” – the artist says, hinting at the necessity of broadening the mind prior to trying to transform the world. One of the keys to mental freedom, according to the lyrics, is to be sufficiently bold to sing about the existing problems instead of remaining aside. “Cause all I ever have: Redemption songs,” – this line apparently means that everybody can join the common fight for liberty by doing what he or she can do best, and any contribution is precious.
To summarize, although both of Bob Marley’s works under review are exemplary reggae songs, the difference between them is observable. The Exodus embodies the process of looking for a better life; its task is to prevent people from losing hope because the result of the search does not seem to be completely clear. The Redemption Song is inspirational as well but expected to make the audience rise and join the struggle, which is apparent from both the lyrics that include calls for protests and the inspiring melody.