- … Read Full Bio ↴There are or have been - at least - two bands named The Wailers:
- The legendary Jamaican reggae band (founded as a ska group 1963, and became a Rastafarian reggae band in 1968), renamed Bob Marley & The Wailers in 1974, which are still active led by bassist Aston Barrett after Marley's death in 1981.
- The Fabulous Wailers, a rock and roll and garage band from the USA, active 1958-1969, first led by John Greek, replaced in 1960 by Rockin' Robin Roberts.
1) Bob Marley & The Wailers have together sold in excess of 255 million albums worldwide. Since they are extraordinary popular also in poor countries in Africa, Asia and Latin America with big markets for pirate copies the total amounts of albums sold has been estimated to over 1 billion. In England alone, they've notched up over 20 chart hits, including seven Top 10 entries. In USA on the other hand, Bob Marley & The Wailers reached superstar status only after Marley's death, with the album Legend , focusing on the person Bob Marley but not on the band. Outside of their groundbreaking work with Marley, the Wailers have also played or performed with international acts like Sting, the Fugees, Stevie Wonder, Carlos Santana, and Alpha Blondy, as well as reggae legends such as Peter Tosh, Bunny Wailer, and Burning Spear. As the greatest living exponents of Jamaica's reggae tradition, the Wailers have completed innumerable other tours, playing to an estimated 24 million people across the globe. They have also been the first reggae band to tour new territories on many occasions, including Africa and the Far East.
Their nucleus formed in 1969, when the vocalist group "The Wailers" (formed 1963 by Bob Marley, Bunny Wailer, and Peter Tosh) requited the talented Barrett brothers: bassist Aston "Family Man" and drummer Carlton (writer of well-known Marley songs like "War" and "Talking Blues", 'sound-maker' of more Marley songs, developer of the one drop style in reggae music) played on hits such as Lively Up Yourself, Trenchtown Rock, Duppy Conqueror, and many more besides. Inspired by Rastafari and their ambitions of reaching an international audience, this is the line-up that pioneered roots rock reggae, and signed to Island Records in 1971. Bunny and Peter left two years later. It was at this point that the in-demand Barrett brothers - whose rhythms also underpinned innumerable seventies' reggae hits by other acts - assumed the title of Wailers, and backed Marley on the group's international breakthrough album, Natty Dread. Under Family Man's musical leadership, they then partnered Bob Marley on the succession of hit singles and albums that made him a global icon, winner of several Lifetime Achievement awards, and Jamaica's best-loved musical superstar.
Drummer Carlton "Carlie" Barrett was murdered 1987, leaving his brother as the main beneficiary of the Wailers' mantle. Subsequent line-ups have revolved around Family Man, who is widely regarded as one of the world's greatest bass players. Modest and unassuming, he was present on all of those unforgettable performances by Bob Marley & The Wailers from the seventies. Family Man continues to be the main axis of the current Wailers - a group that's one of the last, great reggae institutions, yet which refuses to live off past glories. That's because Family Man represents tried and trusted roots authenticity and, along with the Wailers, injects fresh excitement into a show that continues to attract enthusiastic audiences from around the world.
2) The Fabulous Wailers were an American rock band from Tacoma, Washington. Formed around 1958, they are often considered the first garage rock group. They performed a hybrid of saxophone-driven rhythm and blues and Chuck Berry rock and roll.
Five 45s (four released in 1959, including Tall Cool One, and one in 1960) and an LP release, The Fabulous Wailers (released December 1959 on Golden Crest Records), put the Wailers on the national scene. Their 1961 cover of Louie Louie, which they recorded as a backing band for singer Rockin' Roberts, was the first to use the trademark 1-2-3, 1-2, 1-2-3 riff. Their version inspired other groups from the Seattle area, most notably the The Kingsmen of Portland, Oregon, to record the same song. The Fabulous Wailers' influence established the Pacific Northwest area as a center for musical innovation and the home of a long string of regional favorites playing a kind of raunchy, amateur, yet passionate, form of rock and roll, such as The Sonics, with whom they exchanged various band members and who recorded on The Wailers own Etiquette Records label.
They became popular around the United States Pacific Northwest around the late 1950s and the start of the 1960s, performing saxophone-driven R&B and Chuck Berry rock and roll. Their biggest hit was "Tall Cool One", first released in 1959, and they have been credited as being "one of the very first, if not the first, of the American garage bands."
The group was formed โ originally as The Nitecaps โ in 1958, by five high school friends:
John Greek (27 October 1940 โ 6 October 2006) โ rhythm guitar, trumpet
Richard Dangel (1 December 1942 โ 2 December 2002) โ lead guitar
Kent Morrill (2 April 1941 โ 15 April 2011) โ keyboards, vocals
Mark Marush (15 August 1940 โ 9 August 2007) โ tenor sax
Mike Burk (b. 1942) โ drums
In late 1958, the group recorded a demo of an instrumental written by Dangel, Morrill and Greek, which found its way to Clark Galehouse of New York based Golden Crest Records. He liked the track and had it re-recorded by the band in Lakewood in February 1959; its title "Tall Cool One" was apparently suggested by Morrill's mother. Released as a single, it reached # 36 on the Billboard Hot 100 and # 24 on the R&B chart. The band made the cross-country trip to New York to record an LP, The Fabulous Wailers, which was released in December 1959 and featured two vocals by Morrill as well as instrumentals. They also appeared on Dick Clark's nationally televised American Bandstand, and toured the east coast. A second instrumental from their first recording session, "Mau-Mau", made # 68 on the Billboard pop chart, but their third single, "Wailin'", failed to make the chart.
The band decided to return to the Northwest, rather than staying in New York as their record label wished, and they were dropped from their contract. Around the same time, they added lead vocalist "Rockin' Robin" Roberts (Lawrence Fewell Roberts II), a charismatic frontman who had previously been the singer with rival Tacoma band the Bluenotes. John Greek left the group in acrimonious circumstances, and was replaced by bassist John "Buck" Ormsby (Seattle, October 29, 1941 - October 29, 2016). Ormsby, Morrill and Roberts then formed Etiquette Records and, in 1961, the label released its first single, a cover version of Richard Berry's "Louie Louie". For contractual reasons the single was credited to Roberts, but was performed by the whole band. Their recording became a local hit and was distributed nationally by Imperial Records, but did not make the national chart. However, its style, with its trademark 1-2-3, 1-2, 1-2-3 riff, inspired other groups from the Seattle area, most notably the Kingsmen of Portland, Oregon, to record the same song.
The Wailers continued to perform locally and, according to Morrill, one of their biggest fans was the young Jimi Hendrix, then starting to perform guitar. The band performed both with and without Roberts, who studied at the University of Washington, the University of Puget Sound, and Oregon State University, eventually achieving a masters degree in biochemistry. They also occasionally featured teenage girl singer Gail Harris, notably on the live album The Fabulous Wailers at the Castle, recorded in 1961, which has been described as "undoubtedly one of the most influential albums in Seattle rock & roll history." In all, the band recorded and released four albums on their own Etiquette label between 1962 and 1966, as well as a succession of singles. They also helped instigate the recording career of The Sonics, whose first two albums were issued by the label, and helped begin Jini Dellaccio's career as a rock'n'roll photographer when they hired her to shoot cover photos for their album Wailers, Wailers, Everywhere.
Mark Marush left The Wailers in 1962 and was replaced by Ron Gardner, who also handled lead vocals; Dangel and Burk left in 1964 and were replaced by guitarist Neil Andersson and drummer Dave Roland respectively. Continuing to perform live as well as recording, the band added a trio of girl backing singers, known as the Marshans. Also in 1964, "Tall Cool One" was re-promoted by the Golden Crest label, and again made the Billboard pop chart, this time peaking at # 38. In 1965 Roberts made his final recordings with the group, and, in 1967, guitarist Neil Andersson was replaced by Denny Weaver. Roberts was killed, aged 27, in a car crash in late 1967.
The band split up in 1969, by which time Kent Morrill was the only remaining original member. Morrill, Dangel and Ormsby, with other musicians, reunited as The Wailers for occasional concerts from the 1970s onwards. In 1979, they joined with Burk, Gardner, and Gail Harris to play a reunion show.
Later activities
Ormsby re-established the Etiquette label in the mid-1980s, and issued a Wailers compilation, The Boys from Tacoma, in 1993. The Wailers' song, "Out of Our Tree", was featured in the 1998 CD version of the Nuggets: Original Artyfacts From the First Psychedelic Era collection. Several of the Wailers' tunes were also covered by The Ventures, and the two bands released an album together, Two Car Garage, in 2009 to celebrate their 50 years in existence.
Ron Gardner died in 1992. Richard Dangel died of an aneurysm in 2002. John Greek died in 2006, Mark Marush in 2007, and Kent Morrill died of cancer on 15 April 2011. Buck Ormsby died in 2016.
3 O'Clock Roadblock
The Wailers Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Do do do do-do do do!
I rebel music
I rebel music)
Why can't we roam (oh-oh-oh-oh) this open country? (Open country)
Oh, why can't we be what we wanna be? (Oh-oh-oh-oh-oh)
We want to be free (wanna be free)
And I've got to throw away
Yes, I've got to throw away
A yes-a, but I've got to throw away
My little herb stalk!
I (rebel music) yeah, I'm tellin' you!
(I) I rebel music (rebel music) Oh-ooh!
Take my soul (oh-oh-oh-oh-oh)
And suss and suss me out (suss me out) Oh-ooh!
Check my life (oh-oh-oh-oh-oh)
If I am in doubt (I'm in doubt) I'm tellin'
Three o'clock roadblock roadblock roadblock
And "Hey, Mr. Cop! Ain't got no (hey) hey! (Hey, Mr Cop)
(What ya sayin' down there?) (hey) hey! (Hey, Mr Cop)
Ain't got no birth certificate on me now"
(I rebel music)
(I rebel music)
(Oh-oh-oh-oh-oh)
(Open country)
(Oh-oh-oh)
(Do do do!)
I (rebel music) yeah, I'm tellin' you!
(I) I rebel music (rebel music)
Oh-ooh! Take my soul (oh-oh-oh-oh-oh)
And suss and suss me out (suss me out) Oh-ooh!
Check my life (oh-oh-oh-oh-oh)
If I am in doubt (I'm in doubt) I'm tellin'
Three o'clock roadblock roadblock roadblock
And "Hey, Mr. Cop! Ain't got no (hey) hey! (Hey, Mr Cop)
(What ya sayin' down there?) (hey) hey! (Hey, Mr Cop)
Ain't got no birth certificate on me now"
The lyrics of The Wailers' "Road Block Dub" express the frustration and anger of Jamaican citizens who cannot freely move around their own country due to government-imposed curfews and restrictions. The song conveys the message that individuals should be able to live their lives as they desire, without interference or regulation from authority figures. The refrain "I rebel music" highlights the idea of resistance to these restrictions, and suggests that music can be a powerful tool for sparking this rebellion.
The line "Three o'clock roadblock curfew" specifically references the practice of imposing curfews at a specific time of day, which was common in Jamaica during periods of political unrest in the 1970s. The lyrics also touch on the issue of police harassment, as the singer of the song is stopped and forced to throw away his "little herb stalk." The repeated refrain of "Hey, Mr. Cop" further emphasizes this theme.
Line by Line Meaning
Do do do do-do do do!
The song starts with a humming sound to set the mood.
I rebel music
The artist is singing rebel music to encourage people to fight against oppression peacefully.
I rebel music
The artist is still singing rebel music to act as a call to arms for listeners to fight against injustice.
Why can't we roam (oh-oh-oh-oh) this open country? (Open country)
The artist is asking why they cannot enjoy the freedom to move around and enjoy the open countryside without restrictions or oppression.
Oh, why can't we be what we wanna be? (Oh-oh-oh-oh-oh)
The artist questions why people cannot be whatever they want to be or have the freedom to express themselves without being judged and oppressed.
We want to be free (wanna be free)
The artist is calling for freedom from oppression, judgement, and restrictions for everyone.
Three o'clock roadblock curfew
The artist is highlighting a particular time when restrictions are placed on free movement to control the people.
And I've got to throw away
The artist is talking about discarding something valuable, likely a weed or herb they use to relax.
Yes, I've got to throw away
The artist emphasizes the compulsion to discard the valuable herb and the accompanying frustration likely caused by the restriction of their freedom.
A yes-a, but I've got to throw away
The artist resignedly accepts the loss of a valuable herb (likely Marijuana) despite the pain it may have caused them.
My little herb stalk!
The artist is expressing their frustration at losing their precious weed that they use for relaxation.
Take my soul (oh-oh-oh-oh-oh)
The artist is urging the listeners to take their soul or identity to show that no one can control their actions.
And suss and suss me out (suss me out) Oh-ooh!
The artist is asking to be scrutinized up-close, so people can understand them better without judging them based on their looks, skin color, or behavior.
Check my life (oh-oh-oh-oh-oh)
The artist is asking people to examine and understand his life better and considers this an avenue for people to learn more about life.
If I am in doubt (I'm in doubt) I'm tellin'
The artist is emphasising that they prefer clarity and honesty as they share their doubts with the listeners.
And "Hey, Mr. Cop! Ain't got no (hey) hey! (Hey, Mr Cop)
The artist is asking law enforcement officers to proceed with caution and not to engage in harassment like checking people's documents without reason.
(What ya sayin' down there?) (hey) hey! (Hey, Mr Cop)
The artist wants to engage in dialogue with the police officer, which shows a desire to communicate and resolve the issue peacefully.
Ain't got no birth certificate on me now"
The artist does not have a document or proof of his identity, likely because it has been lost or taken away, highlighting again how the system restricts and deprives people of their rights and freedoms.
(Do do do!)
The song ends with the same humming tune to bring the track to a close.
Lyrics ยฉ Universal Music Publishing Group
Written by: Aston Barrett, Hugh Peart
Lyrics Licensed & Provided by LyricFind
@garnetnewton-wade4091
"Rebel Music (3 O'Clock Roadblock)"
(Do do do do-do do do!
Do do do do-do do do!
I rebel music
I rebel music.)
Why can't we roam (oh-oh-oh-oh) this open country? (open country)
Oh, why can't we be what we wanna be? (oh-oh-oh-oh-oh)
We want to be free. (wanna be free)
3 o'clock roadblock - curfew
And I've got to throw away -
Yes, I've got to throw away -
A yes-a, but I've got to throw away
My little herb stalk!
I (rebel music) - yeah, I'm tellin' you! -
(I) I rebel music (rebel music). Oh-ooh!
Take my soul (oh-oh-oh-oh-oh)
And suss - and suss me out (suss me out). Oh-ooh!
Check my life (oh-oh-oh-oh-oh)
If I am in doubt (I'm in doubt); I'm tellin':
3 o'clock roadblock - roadblock - roadblock
And "Hey, Mr. Cop! Ain't got no - (hey) hey! (hey, Mr Cop) -
(What ya sayin' down there?) - (hey) hey! (hey, Mr Cop) -
Ain't got no birth certificate on me now."
(I rebel music)
(I rebel music)
(Oh-oh-oh-oh-oh)
(Open country)
(Oh-oh-oh)
(Do do do!)
I (rebel music) - yeah, I'm tellin' you! -
(I) I rebel music (rebel music)
Oh-ooh! Take my soul (oh-oh-oh-oh-oh)
And suss - and suss me out (suss me out). Oh-ooh!
Check my life (oh-oh-oh-oh-oh)
If I am in doubt (I'm in doubt); I'm tellin':
3 o'clock roadblock - roadblock - roadblock
And "Hey, Mr. Cop! Ain't got no - (hey) hey! (hey, Mr Cop) -
(What ya sayin' down there?) - (hey) hey! (hey, Mr Cop) -
Ain't got no birth certificate on me now."
@raulcvaladez3361
From 1980 to 2024 still listening to the great bob marley ..never stop till the almighty calls me home
@langcampus_youtube
The movie comes out Feb 15
@mickymouse8970
โค๐๐
@badiraha
I strain to put into words the shared beauty of how these lyrics captured the group and individual oppression that people across the planet were experiencing 50 years ago giving hope and power through rebellion and struggle that many of us still embrace and embody in our lives today.
@user-zv4ji9gs2u
The organ on this track absolutely wicked.
@markepsteen5718
I had the natty dread album 45 years ago. Listened and sang along.
3 oclock roadblock ~ curfew
I was way ahead of my time.
@gato0082
๐ โฃ๏ธ โจ โจ โจ Take my soul & suss me out, ck my life, if I'm in doubt ๐โจโ๏ธโก๏ธโก๏ธhey Mr. Cop ๐๐they RI. Behind me now.... & BTW they use to always do road block bout ๐ said way in ๐ฏ๐ฒ ๐ฏ๐ฒ ๐ฏ๐ฒ years after Mr. MARLEY SING BOUT IT... A real thg that โฃ๏ธ๐๐ฎ๐จ
@douglasbrown1194
Yeah in Jamaica back in the 70s use to be a lot of road blocks but mainly for the Rastafarians and tourists because the police knows they got the Ganja, the police there are very corrupt, if you pay them off with the money they ask for then you can go on your way.
@stuartjohnson7967
No ya wasnโt. Ya Mother introduced you to this music. Letโs get it right mateโฆ.!!!
@williamgomes1736
mans respect im not even half your age