- … 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 – originally as The Nitecaps – in 1958, by five high school friends:
John Greek (27 October 1940 – 6 October 2006) – rhythm guitar, trumpet
Richard Dangel (1 December 1942 – 2 December 2002) – lead guitar
Kent Morrill (2 April 1941 – 15 April 2011) – keyboards, vocals
Mark Marush (15 August 1940 – 9 August 2007) – tenor sax
Mike Burk (b. 1942) – 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.
Natty Dread
The Wailers Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Dreadlock Congo Bongo I (Natty Dread)
Natty Dreadlock in a Babylon (Natty Dread)
A dreadlock Congo Bongo I (Natty Dread)
Eh! Children get your culture (Natty Dreadlock)
And don't stay there and gesture, a-ah (Natty Dreadlock)
Or the battle will be hotter (Natty Dreadlock)
And you won't get no supper (Natty Dreadlock)
Natty Dread, Natty Dread, now (Natty Dread)
A dreadlock Congo Bongo I (Natty Dread)
Natty Dreadlock in a Babylon (Natty Dread)
Roots Natty, Roots Natty! (Natty Dread)
Then I walk up the first street (Natty Dreadlock)
And then I walk up the second street to see (Natty Dreadlock)
Then I trod on through third street (Natty Dreadlock)
And then I talk to some Dread on fourth street (Natty Dreadlock)
Natty Dreadlock in a fifth street (Natty Dreadlock)
And then I skip one fence to sixth street (Natty Dreadlock)
I've got to reach seventh street (Natty Dreadlock)
Natty Dreadlock Bingy Bongo I (Natty Dread)
Natty dread, Natty Dread, now (Natty Dread)
Roots Natty Congo I (Natty Dread)
Oh, Natty, Natty
Natty twenty one thousand miles away from home, yeah!
Oh, Natty, Natty
And that's a long way
For Natty to be from home
Don't care what the world seh (Natty Dread)
I'n'I couldn't never go astray (Natty Dread)
Just like a bright and sunny day (Natty Dread)
Oh, we're gonna have things our way (Natty Dread)
Natty Dread, Natty Dreadlock (Natty Dreadlock)
Dreadlock Congo Bongo I (Natty Dreadlock)
Don't care what the world seh (Natty Dreadlock)
I'n'I gonna have things our way (Natty Dreadlock)
If a egg Natty in a the red (Natty Dreadlock)
If a egg Natty in a the red (Natty Dreadlock)
Natty Dread, Natty Dreadlock
The song "Natty Dread" by The Wailers is a celebration of Rastafarian culture and lifestyle, with a focus on the strength and determination of those who embrace the natural hair and spirituality that are at the heart of this movement. The lyrics repeatedly refer to the "dreadlock Congo Bongo," which can be interpreted as a nickname for Bob Marley himself or as a reference to the African roots of Rastafarianism. The song also speaks against Babylon, the corrupt, materialistic society that is seen as the antithesis of the Rastafarian way of life.
The lyrics also urge children to embrace their culture and not just go along with the mainstream, warning that if they don't, they will face struggles and hardships. The repetition of the phrase "Natty Dread" throughout the song reinforces the power and pride that is associated with this way of life. The final lines of the song suggest that no matter how far away from home they may be, Rastafarians will always feel a strong sense of connection to their roots and heritage.
Line by Line Meaning
Dread, Natty Dread now,
Expressing the current state of being a fearsome, respected reggae legend with dreadlocks.
Dreadlock Congo Bongo I.
Proudly proclaiming the existence of one's long and twisted hair, connected to the culture of African tribes.
Natty Dreadlock in a Babylon:
Acknowledging the hardships of living in a society far removed from one's cultural roots, but maintaining a fierce sense of dignity and independence.
A dreadlock Congo Bongo I.
Reiterating the importance and power of one's hair, representing both physical and spiritual strength.
Eh! Children get your culture
Urging young people to embrace and learn about their heritage, rather than simply imitating others.
And don't stay there and gesture, a-ah,
Encouraging active participation and engagement in cultural traditions, rather than just aping them.
Or the battle will be hotter
Warning of the consequences of ignoring or rejecting one's cultural identity, potentially leading to conflict and struggle.
And you won't get no supper.
Suggesting that by neglecting one's cultural heritage, there may be lost opportunities or consequences.
Natty Dread, Natty Dread, now;
Repeating the proud and powerful phrase to remind listeners of one's identity.
Roots Natty, Roots Natty!
Celebrating the deep, historical roots of one's culture and identity.
Then I walk up the first street,
Describing a journey through a city or town.
And then I walk up the second street to see.
Sharing the experience of exploring and interacting with different parts of a new environment.
Then I trod on through third street,
Describing the perseverance and determination needed to navigate difficult situations.
And then I talk to some Dread on fourth street.
Connecting with fellow cultural practitioners and likeminded individuals.
Natty Dreadlock in a fifth street,
Reiterating one's identity and sense of self in a new location.
And then I skip one fence to sixth street.
Overcoming obstacles and barriers to reach new places and experiences.
I've got to reach seventh street:
Setting goals and targets for oneself.
Natty Dreadlock Bingy Bongo I
Repeating the powerful phrase, while adding a new element.
Natty dread, Natty Dread, now,
Further emphasizing one's identity and sense of self.
Roots Natty Congo I.
Returning to the celebration of one's cultural roots and heritage.
Oh, Natty, Natty,
Addressing oneself using the powerful nickname.
Natty twenty one thousand miles away from home, yeah!
Acknowledging the physical distance from one's homeland and cultural identity.
And that's a long way
Reflecting on the emotional and psychological distance that can come with being disconnected from one's culture.
For Natty to be from home.
Reiterating the sense of longing and displacement that comes with being separated from one's roots.
Don't care what the world seh;
Asserting one's independence and resistance to conforming to societal expectations.
I'n'I couldn't never go astray.
Maintaining a sense of purpose and direction, even in the face of adversity.
Just like a bright and sunny day:
Evoking feelings of optimism and positivity.
Oh, we're gonna have things our way.
Reaffirming one's sense of agency and control over one's own life and identity.
Natty Dread, Natty Dreadlock,
Repeating the powerful phrase once again.
Dreadlock Congo Bongo I.
Affirming the importance of one's hair and its cultural significance.
If a egg Natty in a the red -
Beginning a metaphor or figure of speech.
If a egg Natty in a the red.
Continuing the metaphor, suggesting a sense of caution and warning against negative influences.
Natty Dread, Natty Dreadlock.
Closing the song with the powerful and repeated phrase.
Lyrics © Universal Music Publishing Group
Written by: Allen Cole, Rita Anderson Marley
Lyrics Licensed & Provided by LyricFind
@aleksandr306
Dread, Natty Dread now, (Natty Dread)
Dreadlock Congo Bongo I. (Natty Dread)
Natty Dreadlock in a Babylon: (Natty Dread)
A dreadlock Congo Bongo I. (Natty Dread)
Eh! Children get your culture (Natty Dreadlock)
And don't stay there and gesture, a-ah, (Natty Dreadlock)
Or the battle will be hotter (Natty Dreadlock)
And you won't get no supper. (Natty Dreadlock)
Natty Dread, Natty Dread, now; (Natty Dread)
A dreadlock Congo Bongo I. (Natty Dread)
Natty Dreadlock in a Babylon - (Natty Dread)
Roots Natty, Roots Natty! (Natty Dread)
Then I walk up the first street, (Natty Dreadlock)
And then I walk up the second street to see. (Natty Dreadlock)
Then I trod on through third street, (Natty Dreadlock)
And then I talk to some Dread on fourth street. (Natty Dreadlock)
Natty Dreadlock in a fifth street, (Natty Dreadlock)
And then I skip one fence to sixth street. (Natty Dreadlock)
I've got to reach seventh street: (Natty Dreadlock)
Natty Dreadlock Bingy Bongo I (Natty Dread)
Natty dread, Natty Dread, now, (Natty Dread)
Roots Natty Congo I. (Natty Dread)
Oh, Natty, Natty,
Natty twenty one thousand miles away from home, yeah!
Oh, Natty, Natty,
And that's a long way
For Natty to be from home.
Don't care what the world seh; (Natty Dread)
I'n'I couldn't never go astray. (Natty Dread)
Just like a bright and sunny day: (Natty Dread)
Oh, we're gonna have things our way. (Natty Dread)
Natty Dread, Natty Dreadlock, (Natty Dreadlock)
Dreadlock Congo Bongo I. (Natty Dreadlock)
Don't care what the world seh; (Natty Dreadlock)
I'n'I gonna have things our way. (Natty Dreadlock)
If a egg Natty in a the red - (Natty Dreadlock)
If a egg Natty in a the red. (Natty Dreadlock)
Natty Dread, Natty Dreadlock.
@christianherzog76
🙌🙏🇧🇷
Dread, Natty Dread now, (Natty Dread)
Dreadlock Congo Bongo I. (Natty Dread)
Natty Dreadlock in a Babylon: (Natty Dread)
A dreadlock Congo Bongo I. (Natty Dread)
Eh! Children get your culture (Natty Dreadlock)
And don't stay there and gesture, a-ah, (Natty Dreadlock)
Or the battle will be hotter (Natty Dreadlock)
And you won't get no supper. (Natty Dreadlock)
Natty Dread, Natty Dread, now; (Natty Dread)
A dreadlock Congo Bongo I. (Natty Dread)
Natty Dreadlock in a Babylon - (Natty Dread)
Roots Natty, Roots Natty! (Natty Dread)
Then I walk up the first street, (Natty Dreadlock)
And then I walk up the second street to see. (Natty Dreadlock)
Then I trod on through third street, (Natty Dreadlock)
And then I talk to some Dread on fourth street. (Natty Dreadlock)
Natty Dreadlock in a fifth street, (Natty Dreadlock)
And then I skip one fence to sixth street. (Natty Dreadlock)
I've got to reach seventh street: (Natty Dreadlock)
Natty Dreadlock Bingy Bongo I (Natty Dread)
Natty dread, Natty Dread, now, (Natty Dread)
Roots Natty Congo I. (Natty Dread)
Oh, Natty, Natty,
Natty 21, 000 miles away from home, yeah!
Oh, Natty, Natty,
And that's a long way
For Natty to be from home.
Don't care what the world seh; (Natty Dread)
I'n'I couldn't never go astray. (Natty Dread)
Just like a bright and sunny day: (Natty Dread)
Oh, we're gonna have things our way. (Natty Dread)
Natty Dread, Natty Dreadlock, (Natty Dreadlock)
Dreadlock Congo Bongo I. (Natty Dreadlock)
Don't care what the world seh; (Natty Dreadlock)
I'n'I gonna have things our way. (Natty Dreadlock)
If a red Natty in a di red - (Natty Dreadlock)
If a red Natty in a di red. (Natty Dreadlock)
Natty Dread, Natty Dreadlock.
@tooturtletastic
Don't care what the world say Bob Marley STILL IS the Greatest of All Time
@dunbarf2413
This song is almost 50 years old and its still strong as ever!
@all4you33
Don't care what the world say, Bob Marley was the Greatest of All Time
@Dellx
you know the words...because its what you feel you the natty dred natty dread! Music language of the soul
@christianschur7103
Yeaaah Man ❤️🇯🇲🔥
@yvettegakima2211
The truth hurts the ears of the wicked!
Love Bob Marley 💚💛❤️
@Deurokk
And the Wailers
@adamanderson2408
As far as I knew, this is what the world says 🤗
@bismarkattakora
That drum roll and the intro is everything
@LGaff1974
the man is untouchable as the GOAT. his voice, the gravitation of talent to him, his poetry, his charisma, a prophet, his moves onstage :)...with his dedication to freedom...it's not even close. I love you Bob.