Roots Archives Forum

One of the very few records I decided not to keep after purchasing; Although it is of historical interest, and there is one (or two... maybe) reggae track of quality (late Peter Tosh like), it's a bit on the "cliche / wanne be" side of things as far as I'm concerned. Like "lets hire the Wailers and do like Bob"....

This is very interesting i always wanted to know what the back of that album said, i am Faith the daughter of Donald and Lulu and thanks for the translation too. PEACE!!

is that Lulu connected to DJ's keep singing in the 70's "The One Anti-Lulu" in someway?


Interesting post.

they are refering to Auntie LuLu.

a folk name used to describe any woman

for instance, little children in jamaica sing this song when skipping rope:

1,2,3 auntie lulu,
4,5,6 auntie lulu.. etc

The Wailers play exquisitely on this album. As for the vocals, it is more an acquired taste I guess. But the instrumentals make one wonder why the Wailers band did not operate as a studio band like Sly & Robbie or the Radics, because they would have provided the Reggae (and non-Reggae) scene with a great alternative to the rubadub sound. When they did Vamos Fugir for Gilberto Gil, they were absolutely boss. Carlton, Carlton, why did you have to go???

The Wailers play exquisitely on this album. As for the vocals, it is more an acquired taste I guess. But the instrumentals make one wonder why the Wailers band did not operate as a studio band like Sly & Robbie or the Radics, because they would have provided the Reggae (and non-Reggae) scene with a great alternative to the rubadub sound. When they did Vamos Fugir for Gilberto Gil, they were absolutely boss. Carlton, Carlton, why did you have to go???

According to what I have heard (and public interviews by the band members and the court sentence that is available on the net ) Bob Marley wasn't very keen on them doing sessions ( not wanting other artists to have "his" sound)...that's why they stopped their busy recording schedules after 75 (when they signed the second contract with Island after the break up of the trio) apart from a few exceptions by the Barrett brothers. They were supposed to be exclusively members of The Wailers and put their creativity towards BMW international career. Bob Marley wanted his own studio too and took him years to build it.
They got busy again after Tuff Gong was operating in late 78 (Unconquered People, Hail HIM, etc....)

After his passing (and the consequent turmoil, politics and financial mess)they weren't active for a few years due to their legal status (signed to the label but indirectly or directly???....a kind of legal limbo). At the same time local music had evolved and local producers and audience were into the current trendsetters (S&R, Radics, High Times).
It seemed like non-jamaicans like Gilberto Gil and Alpha Blondy appreciate them more ( probably their record labels will be very pleased to give their Reggae efforts that unique Wailers crossover sound)

Inyaki is correct in assuming that Marley wanted the Wailers sound for himself; of course even after 1975 some or all of the band members appeared on other peoples albums (Martha Velez comes to my mind, "Legalise it" and "Blackheart Man", "Hail HIM", to name but a few) but these recordings are scarce, compared to the output of other studio bands

just before his death Marley allegedly asked Sly & Robbie if they wanted to replace Aston and Carlton - one person who is close to the band (and also a part of this community) lately confirmed this story to me, explaining that Sly & Robbie neglected because they did not want to record exclusively for Marley