The Marley Vision: This Little Ziggy Had None : ZIGGY MARLEY & THE MELODY MAKERS “One Bright Day.” Virgin ** 1/2: *****Great Balls of Fire:**** Knockin’ On Heaven’s *** Good Vibrations ** Maybe Baby * Ain’t That a Shame

The problem here is that Ziggy Marley hasn’t found a voice of his own--and that has nothing to do with his singing’s similarity to that of his celebrated dad Bob. The voice Marley lacks is a personalized songwriting voice, a way of seeing things, a point of view that is fresh, imaginative and individual.

The lyrics on “One Bright Day” are basically reggae boilerplate familiar themes (end injustice, free South Africa, recognize black Africa’s cultural heritage, partake of the healing power of music) expressed in unremarkable ways. The songs end where they should start: with the kernel of an idea that Marley fails to make grow into an involving piece of music.

Bob Marley’s greatness lay in his ability to tell his own story, with details all his own: How it felt to live under the oppression of 3 o’clock roadblocks or to find fellowship in sharing a bowl of cornmeal porridge. In place of lived experience, his children serve up vaguely righteous sloganeering.

That’s not to say that “One Bright Day” isn’t enjoyable. The record benefits from a more assertive edge than the Melody Makers’ 1988 commercial breakthrough, “Conscious Party” (Chris Frantz and Tina Weymouth produced both albums). The result is an eclectic, high-technology sound that is still solidly grounded in reggae roots. It’s built on an inventive weave of keyboards, sharp guitar work and soul-style call-and-response backing vocals from Marley sisters Cedella and Sharon, all in support of Ziggy’s flexible and eminently listenable voice.

Ziggy Marley & the Melody Makers (who play the Santa Barbara County Bowl tonight, the Greek Theatre on Wednesday and the Open Air Theatre in San Diego on Saturday) show that they have style and range. Now they need to find depth.