The Wailers (reggae band)

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For the backing band for Bob Marley & The Wailers (1974 – 1981), see Wailers Band.
The Wailers
Origin Kingston, Jamaica
Genre(s) ska, rocksteady 1963 - 1966,
and reggae 1970 -1974
Years active 1963 - 1976; 1970 - 1974
Associated acts Bob Marley & The Wailers 1974 - 1981
Website The Wailers News
Former members
Bob Marley 1963 - 1974
Peter Tosh 1963 - 1974
Bunny Livingston 1963 - 1974
Beverley Kelso 1963 - 1965
Cherry Smith 1963 - 1966
Junior Braithwaite 1963
Aston "Family Man" Barrett 1972 - 1974
Carlton Barrett 1972 - 1974
Earl "Wire" Lindo 1973 - 1974

The Wailers was a ska, rocksteady, and reggae group formed in Kingston, Jamaica in 1963, consisting of Bob Marley, Junior Braithwaite, Beverley Kelso, Bunny Wailer, Peter Tosh, and Cherry Smith.

They were called variously The Teenagers, The Wailing Rudeboys, The Wailing Wailers, and finally The Wailers. By 1966, Braithwaite, Kelso, and Smith had left the band, leaving the trio of Livingston, Marley and Tosh.

Some of The Wailers most notable songs were recorded together with Lee "Scratch" Perry and his studio band, The Upsetters. In the early 1970s, The Upsetters members Aston "Family Man" Barrett and his brother Carlton (Carlie) Barrett [1], formed the Wailers Band, the backing band of The Wailers.

The Wailers recorded such groundbreaking reggae songs as, "Simmer Down", "Trenchtown Rock", "Nice Time", "Stir It Up", "Get Up, Stand Up", and many others.

The Wailers broke up in 1974, with each of the three main members going on to pursue solo careers. Bob Marley went on to international fame with Bob Marley & The Wailers (with the Wailers Band as the backing band and the I Threes as the backing vocalists). Peter Tosh and Bunny Wailer each enjoyed considerable solo success, as reggae music continued to gain in popularity throughout the 70's and 80's. They were supported by their respective backing bands, Word, Sound and Power and The Solomonic Orchestra.

Most of the group's members have since died. Marley died in 1981, Tosh in 1987, Braithwaite in 1999, and recently Smith in 2008.[2] Bunny Wailer and Beverley Kelso are the only surviving original members of the group.

Contents

[edit] The Wailers work with Lee "Scratch" Perry

At the end of the 1960's, few if any groups had begun to really focus their music around social issues. Rastafarian music was not promoted heavily by producers at the time, as many did not believe that the average consumer would really have an interest in the Rasta's message. This is not to say that producers necessarily disagreed with the message, but they simply did not believe it to be a legitimate genre with a viable and feasible appeal to a mass audience. Groups that had come close, including the Abyssians and Burning Spear had poor sales, but also failed to achieve the quality of what was to come. The closest thing to a group with Rasta inspirations that had managed to become at all successful was Justin Hinds and The Dominos. However, in order to appease the producers, they strictly limited their Rastafarian influenced sound and message. Their songs came across more as biblical morality tales inspired by an antiquated rural culture, rather than actual moral and social issues concerning Jamaican society at the time.

It would not be until the arrival of The Wailers, who were made up of legitimate, outspoken rebels, that the Reggae music industry in Kingston and the general public would begin to embrace Rasta-influenced music that focused on morality and social issues. Peter Tosh, Bunny Wailer, and Bob Marley were some of the most outspoken musicians of the time, and were clear mavericks. They also were working with producer Lee "Scratch" Perry at the time, who is famous even to this day for being extremely rebellious. Scratch's reputation, depending on whom you ask, ranges from being known as a fun, witty, outspoken rastafarian to being called a "pot-fueled" goof off. Regardless, Scratch could be counted on to reject any and all societal norms when making an album. For a group that was trying to actually break through a strong societal barrier, The Wailers seemed to have assembled a dream team of the right people at the right time. At the time, all three of the group members had recently had run-ins with the law. Peter Tosh had recently been arrested with Prince Buster on an anti-Rhodesia demonstration. Bunny had just been released from prison after serving a one year sentence for the possession of ganja (Cannabis). Marley had also recently served time in jail for the same offense, but only served one month. Also, Bob Marley had spent close to a year in Wilmington, Delaware, a time that greatly influenced and motivated him. Having been able to directly witness the civil rights movement and African-Americans struggling to obtain rights, Marley was heavily enthused upon his return. Marley's manager in Delaware, a black man by the name of Danny Sims, would also have a huge impact on Marley. Perry was considered to be so against the status quo that it was said that he would buck trends that didn't even exist. Though they had begin to become more popular amongst the general public, the group formed a reputation from local producers and business men as unruly and difficult to work with.

Starting out, the group appeared disorganized. Marley began wearing dreads in the late 60's, and after reverting back to an afro for a short time, went back to dreads for good. Initially, reactions were mixed. One story of Marley relevant was in 1968 at the Independence Day Concert at the Regal Theatre. While other performers were suited and booted and performed optimistic, cheerful songs, Marley came out on stage in Rasta fatigues and sandals and began to chant. Though the audience was apparently laughing and mocking Marley, he stayed on stage and completed the song. Scratch was considered one of the most innovative, witty, intellectual, sylistically articulated, knowledgable, and lucid producers on the Kingston music scene, and he'd been delving into revivalism.

It should be no surprise that both Perry and the Wailers were perhaps the earliest to put some long-term consideration and effort into their work. They attempted to think more deeply and what they were doing than most of their peers, and felt that there was more to making music than simply churning out singles. It was a mark of the increasing regard shown for them by their fellow artists that they started in this area. Others, such as Joe Gibbs, Coxsone and Bunny Lee also took note, showing a sly respect coming from Kingston's producers at the time.

Something worth noting is that much of the effort towards The Wailers can be attributed to Marley, without whom The Wailers may have never been as great. Perry had little interest in The Wailers initially, but not for personal reasons. Dealings like this with Perry were notoriously impersonal, as Perry had little interest in working with singers, whom he felt were more trouble than they were worth. However, Perry and Marley would've certainly known each other from the Studio One days, and decided to make an exception to his policy. This was a great outcome for the three singers, as it can be argued that the work they did with Perry was not only the best music the group made, but that any of them made at any point in their careers.

After releasing their groundbreaking recordings, The Wailers and Perry split ways. Though the actual reason is not generally known, most believe it was an acrimonious split over money.

[edit] The Wailers' Personnel

[edit] References

  1. ^ Lee Scratch Perry Interview, New Musical Express, 17 November 1984
  2. ^ Palm Beach Post - Ermine Cherry Dempsey-Barker, former member of the Wailers, dies (October 12, 2008)

[edit] External links

v • d • e
Bob Marley
Personnel
The Wailers
Bob Marley & The Wailers (Band)
I Threes
Studio albums
Live albums
Compilations
Songs
Tours
Family
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