If any album could be declared Bob Marley’s masterpiece, it was Exodus. Recorded during a period of exile in London in the aftermath of a gun attack on Marley’s home in Jamaica, it was a musical statement of towering authority which combined visions of Biblical drama with profound expressions of solidarity and tender personal feelings. Released on 3 June 1977, it housed a string of Marley’s biggest and best-loved hits: ‘Jamming’, ‘Waiting In Vain’, ‘Three Little Birds’, ‘One Love/People Get Ready’ and, of course, the title track. Time magazine pronounced it “the best album of the 20th century”. Even before Exodus, Marley had become one of the best known figures in the Third World. As Timothy White noted in Catch A Fire: The Life Of Bob Marley, the reggae star was “quoted as a poet, heralded as the West Indian Bob Dylan, even the Jamaican Jomo Kenyatta [Prime Minister and founding father of post-colonial Kenya].” This made Marley a key figure of power and political influence, whether he liked it or not and, on returning to Jamaica after the Rastaman Vibration tour in 1976, he soon found himself caught up in events leading up to the general election of 15 December. The standing Prime Minister Michael Manley cajoled Marley into agreeing to perform at a free concert called Smile Jamaica, sponsored by the Ministry of Culture, to be staged ten days before the election.

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Manley reasoned that this “Jamaican Woodstock” would help to defuse tensions on the street before the election, while no doubt hoping it would deliver him a significant propaganda coup into the bargain. Tensions, however, remained anything but defused when, just after sunset on 3 December, two cars drove through the front gate of Marley’s home at 56 Hope Road and unloaded several armed men who attacked the house where the Wailers were rehearsing.

Marley was hit by a bullet which creased his breast below his heart and lodged in his left arm. His wife Rita’s skull was grazed by a bullet that left her miraculously unharmed, while Marley’s manager, Don Taylor, was hit by five bullets in his lower body, which also somehow failed to kill him. The Smile Jamaica Concert went ahead at the National Heroes Park, Kingston two days later on 5 December. With the bullet still lodged his arm, Marley demonstrated exactly why his street name was Tuff Gong, as he and the Wailers courageously put on a 90-minute performance in front of an audience of 80,000 fans, which mercifully passed off without incident.

The next morning, Marley flew out of Jamaica and would not return for more than a year. After a period of convalescence in America, Marley and the Wailers convened in London to start work on Exodus in February 1977. Marley lived at various addresses in the capital which was in the middle of a musical and cultural upheaval caused by the upsurge of punk. The Notting Hill Carnival riots of the preceding year had left a legacy of unease and unrest on the streets of West London where Marley and the Wailers were based for much of the time recording in Island’s Basing Street Studios.

Marley played football in Hyde Park and hung out with musicians including Levi Roots and filmmaker Don Letts, who was closely associated with the Clash. While his music had little in common with the abrasive, adrenaline-rush sound of punk rock, Marley shared punk’s outsider perspective of society as part of an established order that needed to change. After the Clash included Junior Murvin’s ‘Police And Thieves’ on their first album, Marley wrote ‘Punky Reggae Party’, a song with a guest list which made his own allegiances abundantly clear.