1. Get Up, Stand Up
2. Hallelujah Time
3. I Shot The Sheriff
4. Burnin And Lootin
5. Put It On
6. Small Axe
7. Pass It On
8. Duppy Conqueror
9. Rasta Man Chant
10. (Bonus Track) Reincarnated Souis
11. No Sympathy
12. The Oppressed Song
- Bob Marley/Bob Marley & the Wailers: Bob Marley; Aston Barrett (bass instrument); Alvin "Seeco" Patterson (percussion); Peter Tosh, Bunny Wailer (background vocals); Earl Lindo, Carlton "Carly" Barrett.
- Personnel: Bob Marley (vocals, guitar, background vocals); Peter Tosh (vocals, guitar, piano, organ); Bunny Wailer (vocals, congas, bongos); Aston Barrett (guitar, bass guitar); Earl Lindo (keyboards); Carlton "Carly" Barrett (drums); Alvin Patterson (percussion).
- Audio Mixers: Phill Brown; Tony Platt.
- Recording information: Harry J. Studios, Kingston, Jamaica.
- Photographer: Eddie "Rochester" Anderson.
- Unknown Contributor Role: Bunny Livingston.
- Arranger: Bob Marley.
- Released just six months after CATCH A FIRE, BURNIN' is the equal of its predecessor in its musical focus and passion, yet it contains--arguably--an even better batch of songs. Leaner, tighter, and simultaneously more hard-hitting and more hook-oriented than the songs on CATCH A FIRE, the set list here dazzles. Two tracks in particular, the inspirational civil rights anthem "Get Up, Stand Up" and the story-song "I Shot the Sheriff," are among the best songs Bob Marley ever wrote. The uncompromising tone of the former reveals the band's militant streak and their allegiance to human freedoms, while the latter, on a languid, mid-tempo groove, is an allegory that shows Marley's growing versatility as a first-rate songwriter (the song later became a number one hit for Eric Clapton).
- BURNIN' features a number of tunes from the early Wailers' catalogue re-recorded for these sessions, including "Put It On," "Small Axe," and "Duppy Conqueror." This material holds up remarkably well, and fits into the context of the album without a hitch. "Burnin' and Lootin'," one of the band's spookier songs, is another highlight, and adds to the tense, revolutionary feel of the set. The musicianship here is superior--with contributions from Peter Tosh and Bunny Wailer standing out--but this was to be the last album with the original line-up before Tosh and Wailer left for solo careers.
Rolling Stone (pp.94-5) - 4 stars out of 5 - "[A] mix that pushes Aston Barrett's melodic bass to the forefront while the guitars of Marley and Tosh alternately chop up and accent the groove."
Q (9/01, p.135) - 5 stars out of 5 - "...The last pre-stardom Wailers-only effort, it is well titled..."
Uncut (p.140) - 4 stars out of 5 - "[F]or the most part a dark and brooding affair....Marley, in particular, was keen to return to the roots - at once mystical and menacing - of the original Wailers."
Mojo (Publisher) (p.115) - 4 stars out of 5 - "[P]ure JA magic, the culmination of Marley's work with Peter Tosh and Bunny Livingston."