BLACK MUSIC APRIL 1974: Vol. 1 / Issue 5
JOHN HOLT: Love Songs From The Ghetto - PT. 2
John Holt started singing for slices of cake at parties and wedding receptions. None of his four brothers and two sisters sing and his parents are devout Christians. But it wasn`t the Church that discovered John`s singing ability, it came out reluctantly at school.
"School really wasn`t my thing . . . I preferred singing. I never attended a singing class though, I was scared. I was actually forced to sing in school by my friends, I didn`t have the nerve y`know to really go out and do it."
In Kingston there were talent contests that catered for young aspiring singers. On Saturdays there was Lannaman`s Children Hour, a recorded radio programme. Or there was Vere John`s Hour. Other Opportunity Hours`, as they were called, took place live at the local theatres or cinemas, John started singing the songs of Jimmy Clanton (his favourite singer) on these shows in 1960, competing with other would-be stars like Owen Gray, Jackie Edwards, Lascelles Perkins, Alton Ellis, and Jimmy Cliff.
"I used to whip Jimmy Cliff`s ass y`know (laughs) . . . he was afraid. If he knew I was gonna sing tonight for instance he wouldn`t turn up."
When John won a final in 1962 his name and photograph appeared in the `Star` and the `Gleaner` (national newspapers) and about two days later promoter Leslie Kong appeared at John`s door and asked him to make a record. "Forever I`ll Stay"--an original composition--was a hit record but John didn`t make any bread. So he got together with another fine singer, Alton Ellis, and made "Mouth A Massie Liza" and "Rum Bumper"--two big hits--for Randys Records. Still no bread. And after a short spell with Coxon Dodd`s Studio One label John packed it in.
"Because things weren`t so right, and you had better or bigger singers than myself like Owen Gray and Jackie Edwards. I was too far in the background so I quit for a while."
When John started singing again it was with a group called The Paragons which he formed with Bob Andy, Tyrone Evans, and Howard Barrett in 1965. The Paragons went on to become one of the best and biggest groups in JA. Even though Bob Andy and John are both now solo performers the group is still active. In fact "Blackbirds Singing" was a big hit for them last year.
The Paragon`s first hit "Love At Last" with promoter Coxon Dodd stayed at the top of the charts for five weeks. Other chart toppers included John`s all time favourite "Memories By The Score" plus "You`re My Satisfaction" and "Love`s Dream".
Bob Andy left the group in 1967 but stayed with Coxon Dodd as a solo singer having hits like "Too Experienced", "Games People Play" and others with Marcia Griffiths. Bob up to then had been the driving force of the band and when he quit, The Paragons suffered a temporary setback. However, with Holt`s inspiration and guidance the group bounced back after about five months with strong chart topping material like "Only A Smile", "On The Beach", "Wear You To The Ball", "Happy Go Lucky Girl" and "Silverbird" on promoter Duke Reid`s label.
Carl Gayle:-
Part 2
BLACK MUSIC APRIL 1974
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1974-1980 reviews on current reggae releases...
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BLACK MUSIC APRIL 1974: Vol. 1 / Issue 5
JOHN HOLT: Love Songs From The Ghetto - PT. 3
The musicians on the Paragons` Duke Reid records were usually Tommy McCook And The Supersonics. But this group like many of those early ska/rock steady bands were no more than a studio band and did not have a rigid line-up. The Supersonics was just the name given to any set of musicians who happened to be on a particular session. Invariably these sessionmen came from a clique of close friends. They`d be described on the record label as The Supersonics, or The Skatalites, or Drumbago`s All Stars and of course they were all the same musicians.
Nevertheless, the sounds did seem to take on different features and moods according to which band was supposed to be playing. Tommy McCook`s Supersonics included Ernest Ranglin on guitar and Jackie Mittoo on organ, and their sound had a cool latin flavour as opposed to The Skatalites` hard driving ska.
The Paragons` rock steady records were of a consistently high standard. In `67 especially--as the `rock steady` caught on in England with West Indians--John Holt`s warm, aching lead vocal rang out of the Sound System speakers and had you singing the pretty lyrics, and the heartbreaking choruses without knowing it. The Paragons of `67-`68 were a match for any group and John Holt was hot property. Pretty soon he was making solo records, not only for Duke Reid but for anyone who asked. Obviously he could no longer be restricted to the confines of The Paragons. He quit, but remained friends with the others.
Of Holt`s early solo records, "Tonight", "I`m Your Man", "Ali Baba", "Do You Love Me For What I Am", "I`ll Be Lonely" and "My Heart Is Gone" are best remembered. They were all very big hits. At one stage he had seven records in the charts.
Despite all this success artistically, there was no equivalent financial reward. Whether artists knew about royalties or not they were never paid accordingly: they had to settle for small lump sums.
"You don`t know where you stand as an artist in Jamaica. I didn`t sing for any special producer . . . just anyone who would pay me what I wanted. During those times and even now, it doesn`t work out. If a cat even promises you royalties, you turn out getting crap instead! You don`t get nothing. It`s best to work for cash and get it over with one time. Otherwise you could wait over three months for royalties and get nothing but hard luck stories."
Many of the so-called `producers` named on the record label never contributed to the actual construction of the music so in effect they were merely promoters. Of course there were very good individual producers (Holt himself has worked with Harry Moodie and Bunnie Lee for instance) but usually The Paragons worked out their own arrangements and did their own producing. So did John.
Carl Gayle:-
Part 3
BLACK MUSIC APRIL 1974
peace
JOHN HOLT: Love Songs From The Ghetto - PT. 3
The musicians on the Paragons` Duke Reid records were usually Tommy McCook And The Supersonics. But this group like many of those early ska/rock steady bands were no more than a studio band and did not have a rigid line-up. The Supersonics was just the name given to any set of musicians who happened to be on a particular session. Invariably these sessionmen came from a clique of close friends. They`d be described on the record label as The Supersonics, or The Skatalites, or Drumbago`s All Stars and of course they were all the same musicians.
Nevertheless, the sounds did seem to take on different features and moods according to which band was supposed to be playing. Tommy McCook`s Supersonics included Ernest Ranglin on guitar and Jackie Mittoo on organ, and their sound had a cool latin flavour as opposed to The Skatalites` hard driving ska.
The Paragons` rock steady records were of a consistently high standard. In `67 especially--as the `rock steady` caught on in England with West Indians--John Holt`s warm, aching lead vocal rang out of the Sound System speakers and had you singing the pretty lyrics, and the heartbreaking choruses without knowing it. The Paragons of `67-`68 were a match for any group and John Holt was hot property. Pretty soon he was making solo records, not only for Duke Reid but for anyone who asked. Obviously he could no longer be restricted to the confines of The Paragons. He quit, but remained friends with the others.
Of Holt`s early solo records, "Tonight", "I`m Your Man", "Ali Baba", "Do You Love Me For What I Am", "I`ll Be Lonely" and "My Heart Is Gone" are best remembered. They were all very big hits. At one stage he had seven records in the charts.
Despite all this success artistically, there was no equivalent financial reward. Whether artists knew about royalties or not they were never paid accordingly: they had to settle for small lump sums.
"You don`t know where you stand as an artist in Jamaica. I didn`t sing for any special producer . . . just anyone who would pay me what I wanted. During those times and even now, it doesn`t work out. If a cat even promises you royalties, you turn out getting crap instead! You don`t get nothing. It`s best to work for cash and get it over with one time. Otherwise you could wait over three months for royalties and get nothing but hard luck stories."
Many of the so-called `producers` named on the record label never contributed to the actual construction of the music so in effect they were merely promoters. Of course there were very good individual producers (Holt himself has worked with Harry Moodie and Bunnie Lee for instance) but usually The Paragons worked out their own arrangements and did their own producing. So did John.
Carl Gayle:-
Part 3
BLACK MUSIC APRIL 1974
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Re: 1974-1980 reviews on current reggae releases...
BLACK MUSIC APRIL 1974: Vol. 1 / Issue 5
JOHN HOLT: Love Songs From The Ghetto - PT. 4
John Holt sings in a hard crooning style. His piercing tone echoes with melodrama even though the songs are not usually melodramatic, just plaintive. He sings lazily, unwilling to concede to the pace of the rhythm. Often he holds on to a note or syllable for longer than is neccessary, seemingly reluctant to let it go. If this doesn`t hook you then his graceful, aching tenor on songs like "My Heart Is Gone" or "I`ll Always Love You" surely will. The listener is made to believe that these songs are the result of some true and harsh experiences.
This is why The Paragons were one of the heroes of rock steady music, a music which was itself spiritually uplifting. You could lose yourself in the pulse of the music and discover yourself singing and/or dancing uncontrollably. No wonder when U. Roy started using The Paragons` records in 1970 as the background music his overdubbed shouted phrases (dj music). It wasn`t long before U. Roy himself became a star in his own right. His success was built on the music of The Paragons and specifically John Holt who composed, arranged, and sang lead. Inevitably U. Roy ran out of steam when there were no more Paragons` songs left to use.
"Really and truly", says John, "I think that the dj records was one of the things that lowered the standard of Jamaican music. These artists are trying to sing now."
After exhausting the theatres and clubs in Jamaica where top artists can appear John came to England for the first time in 1968. But his stage debut here wasn`t made until 1970 at the Wembley Reggae Festival. The first solo LP available in this country was released by Junior Lincoln`s Bamboo Records and included material like "Tonight" and "A Love I Can Feel" (the title track) which had helped him to win awards as the `best male vocalist` that year (a title he also held for the next two years).
Then came the albums "Still In Chains", "Holt" and "Pledging My Love", all produced by Bunnie Lee--a man known for getting results in Jamaica. They are all good LPs, the best being the latter due to the greater percentage of very good material. "Chains" has at least one very outstanding cut in "Just Out Of Reach", similarly "Holt" contains the fabulous "Stick By Me" (John`s biggest seller), but "Pledging My Love", which includes one Ray Charles and three Johnny Ace songs, has a more consistent mood than the other two.
The most outstanding of his own compositions "I`ll always Love You" reappeared on John Holt`s next, and arguably best album so far "The Further You Look" (Sings For I`). When it first appeared there was initial disappointment at the obvious search for `commerciality`. The rhythms seemed too far in the background, there were sweet lilting strings, horns, flutes, and background vocals. John`s voice seemed less emotional. Gradually, though, his vocals shone through and the rest of the music followed. The LP sold like hot-cakes in the West Indian community. After a year it`s still selling well it still sounds good.
The change in style was brought about by John`s manager, an Englishman named Tony Ashfield who used to run a Sound System. Tony went into record production with the owner of a small studio, Terry Newman (John`s road manager) when they met in 1968. Tony, a JA music fanatic, reckoned that John Holt was the best singer. John was introduced to tony by a mutual friend and the two decided to work on "The Further You Look" in December `70. The rhythms as always were recorded under John`s supervision at Dynamic Studio in JA. Everything else was done in England at Intersound and Lansdowne Studios with help from string arranger Brain Rogers, who will also conduct the orchestra when John performs on stage. His latest album, "1000 Volts Of Holt", shot to the top of the British reggae charts on release proving that the people liked the pop-styled John Holt.
"What we`re trying to do is build up to an English standard to see if it can make the charts. Instead of just having raw thythms, Tony Ashfield got Brain Rogers to do some string, horn, and flute arrangements. I would hope that these records get some airplay. I`ll never stop singing until I make the British charts. I would really love to swing with reggae and to see it swing because it`s our thing, Jamaica`s thing. It`s no Johnny Nash thing.
"I would ask these BBC djs to listen to a few good Jamaican songs, not just mine, and voice a fair opinion. But I criticise the Jamaican radio stations for playing so many English and American records. It`s as if they don`t want any Jamaican artists to get rich, that`s what I really think! Y`see they don`t want artists to have as good or an even better standard of living than themselves so they play foreigners` records, it`s really true! They don`t want Jamaican artists to outdo them.
"But Tony Ashfield and myself will always try to make the reggae thing better. I only hope that God will speak in these djs hearts and make them play some good reggae."
Carl Gayle:-
--------------
BLACK MUSIC APRIL 1974
peace
JOHN HOLT: Love Songs From The Ghetto - PT. 4
John Holt sings in a hard crooning style. His piercing tone echoes with melodrama even though the songs are not usually melodramatic, just plaintive. He sings lazily, unwilling to concede to the pace of the rhythm. Often he holds on to a note or syllable for longer than is neccessary, seemingly reluctant to let it go. If this doesn`t hook you then his graceful, aching tenor on songs like "My Heart Is Gone" or "I`ll Always Love You" surely will. The listener is made to believe that these songs are the result of some true and harsh experiences.
This is why The Paragons were one of the heroes of rock steady music, a music which was itself spiritually uplifting. You could lose yourself in the pulse of the music and discover yourself singing and/or dancing uncontrollably. No wonder when U. Roy started using The Paragons` records in 1970 as the background music his overdubbed shouted phrases (dj music). It wasn`t long before U. Roy himself became a star in his own right. His success was built on the music of The Paragons and specifically John Holt who composed, arranged, and sang lead. Inevitably U. Roy ran out of steam when there were no more Paragons` songs left to use.
"Really and truly", says John, "I think that the dj records was one of the things that lowered the standard of Jamaican music. These artists are trying to sing now."
After exhausting the theatres and clubs in Jamaica where top artists can appear John came to England for the first time in 1968. But his stage debut here wasn`t made until 1970 at the Wembley Reggae Festival. The first solo LP available in this country was released by Junior Lincoln`s Bamboo Records and included material like "Tonight" and "A Love I Can Feel" (the title track) which had helped him to win awards as the `best male vocalist` that year (a title he also held for the next two years).
Then came the albums "Still In Chains", "Holt" and "Pledging My Love", all produced by Bunnie Lee--a man known for getting results in Jamaica. They are all good LPs, the best being the latter due to the greater percentage of very good material. "Chains" has at least one very outstanding cut in "Just Out Of Reach", similarly "Holt" contains the fabulous "Stick By Me" (John`s biggest seller), but "Pledging My Love", which includes one Ray Charles and three Johnny Ace songs, has a more consistent mood than the other two.
The most outstanding of his own compositions "I`ll always Love You" reappeared on John Holt`s next, and arguably best album so far "The Further You Look" (Sings For I`). When it first appeared there was initial disappointment at the obvious search for `commerciality`. The rhythms seemed too far in the background, there were sweet lilting strings, horns, flutes, and background vocals. John`s voice seemed less emotional. Gradually, though, his vocals shone through and the rest of the music followed. The LP sold like hot-cakes in the West Indian community. After a year it`s still selling well it still sounds good.
The change in style was brought about by John`s manager, an Englishman named Tony Ashfield who used to run a Sound System. Tony went into record production with the owner of a small studio, Terry Newman (John`s road manager) when they met in 1968. Tony, a JA music fanatic, reckoned that John Holt was the best singer. John was introduced to tony by a mutual friend and the two decided to work on "The Further You Look" in December `70. The rhythms as always were recorded under John`s supervision at Dynamic Studio in JA. Everything else was done in England at Intersound and Lansdowne Studios with help from string arranger Brain Rogers, who will also conduct the orchestra when John performs on stage. His latest album, "1000 Volts Of Holt", shot to the top of the British reggae charts on release proving that the people liked the pop-styled John Holt.
"What we`re trying to do is build up to an English standard to see if it can make the charts. Instead of just having raw thythms, Tony Ashfield got Brain Rogers to do some string, horn, and flute arrangements. I would hope that these records get some airplay. I`ll never stop singing until I make the British charts. I would really love to swing with reggae and to see it swing because it`s our thing, Jamaica`s thing. It`s no Johnny Nash thing.
"I would ask these BBC djs to listen to a few good Jamaican songs, not just mine, and voice a fair opinion. But I criticise the Jamaican radio stations for playing so many English and American records. It`s as if they don`t want any Jamaican artists to get rich, that`s what I really think! Y`see they don`t want artists to have as good or an even better standard of living than themselves so they play foreigners` records, it`s really true! They don`t want Jamaican artists to outdo them.
"But Tony Ashfield and myself will always try to make the reggae thing better. I only hope that God will speak in these djs hearts and make them play some good reggae."
Carl Gayle:-
--------------
BLACK MUSIC APRIL 1974
peace
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Re: 1974-1980 reviews on current reggae releases...
BLACK MUSIC SEPTEMBER 1976: Vol. 3 / Issue 34
LET HERB BE FREE - Trials & Tribulations Of PETER TOSH by Carl Gayle:-
"PETER TOSH", christened Winston Hubert Mcintosh, a.k.a. "Peter Touch", and "Tosh". Born Westmoreland Jamaica, October 19, 1944. Played Pentecostal church piano as a boy. Raised Trench Town, lives in a rented apartment in Bridgeport JA. Drives battered Volkswagen.
Original Wailer, guitarist, vocalist. Bass voice, tenor, background harmonies. Keyboard player of some measure. Scurrying wah wah rhythm guitar, an innovation in reggae music. Tall, slim, bold, youthful. Open minded, frank, determined. Nonchalant, tongue in cheek onstage presence.
Victim of police brutality. Rastafari. Karate expert. Road accident casualty, no after effects. Top songwriter/singer. Major JA artist. Songs speak for themselves. Immortal social/cultural comments. "I`m The Toughest", "Maga Dog", "400 Years", "Stop That Train", "Them A Fe Get A Beatin`", "You Can`t Blame The Youth", "What You Gonna Do", "Burial", "Mark Of The Beast", "Let Jah Be Praised", "Legalize It", "Babylon Queendom", "Get Up Stand Up". Dislikes politicians, record pirates, Babylon.Anything that you can do he says he can do it better `cause he`s the toughest. Sick and tired of your ism schism game dyin` and goin` to Heaven in Jesus name. Demands his right to his land, his language and his culture.
Tosh on Record Companies: "All o` dem is pirate`. All de producers are pirate`. You have pirates who are considerate. Him `ave a lickle `eart, him `ave lickle feelings. And you have pirate` who don`t have no heart at all, no feelings. Worse if you black."
Tosh on songwriting: "Sometime` you get de inspiration an` you get half o` de tune and you keep it in a you head. If you head can`t hold it you put it pan a piece o` paper until some time you a walk pan street and you just buck up something wha` relate to the same tune. You say `but no it this now`. And you just put it together. Or sometime` you just get de whole tune one time."
Tosh on a book about African history: "All these modern blood claat civilization wha` you see a Earth ya, black man is de first man mek it. It is written dere his-tori-cally. And who is de first black man, and who write de first literature, everything, black man. See it deh, African history. (He shows me the book.) A white man write dat, dat mean a no lie. `Cause white man naw write nuttin true `bout black man. So when you see him write de truth is TRUE!! And him a tell white man say white man is too blood claat sick from some inferior blood claat complex. A white man write dat, a no me a say so.
"Black man first mek shoes. Black man first teach mathematics to de Greek. Cleopatra de first black beauty. Everything dat was black and (is) all white guy me a see, till me see even God white to raas claat! Who? Me know me can`t live inferior. I`m too superior to be inferior to raas claat. Dat`s why me come have dat book deh. Jah just reveal it in a me house."
Carl Gayle:-
Part 1
BLACK MUSIC SEPTEMBER 1976
peace
LET HERB BE FREE - Trials & Tribulations Of PETER TOSH by Carl Gayle:-
"PETER TOSH", christened Winston Hubert Mcintosh, a.k.a. "Peter Touch", and "Tosh". Born Westmoreland Jamaica, October 19, 1944. Played Pentecostal church piano as a boy. Raised Trench Town, lives in a rented apartment in Bridgeport JA. Drives battered Volkswagen.
Original Wailer, guitarist, vocalist. Bass voice, tenor, background harmonies. Keyboard player of some measure. Scurrying wah wah rhythm guitar, an innovation in reggae music. Tall, slim, bold, youthful. Open minded, frank, determined. Nonchalant, tongue in cheek onstage presence.
Victim of police brutality. Rastafari. Karate expert. Road accident casualty, no after effects. Top songwriter/singer. Major JA artist. Songs speak for themselves. Immortal social/cultural comments. "I`m The Toughest", "Maga Dog", "400 Years", "Stop That Train", "Them A Fe Get A Beatin`", "You Can`t Blame The Youth", "What You Gonna Do", "Burial", "Mark Of The Beast", "Let Jah Be Praised", "Legalize It", "Babylon Queendom", "Get Up Stand Up". Dislikes politicians, record pirates, Babylon.Anything that you can do he says he can do it better `cause he`s the toughest. Sick and tired of your ism schism game dyin` and goin` to Heaven in Jesus name. Demands his right to his land, his language and his culture.
Tosh on Record Companies: "All o` dem is pirate`. All de producers are pirate`. You have pirates who are considerate. Him `ave a lickle `eart, him `ave lickle feelings. And you have pirate` who don`t have no heart at all, no feelings. Worse if you black."
Tosh on songwriting: "Sometime` you get de inspiration an` you get half o` de tune and you keep it in a you head. If you head can`t hold it you put it pan a piece o` paper until some time you a walk pan street and you just buck up something wha` relate to the same tune. You say `but no it this now`. And you just put it together. Or sometime` you just get de whole tune one time."
Tosh on a book about African history: "All these modern blood claat civilization wha` you see a Earth ya, black man is de first man mek it. It is written dere his-tori-cally. And who is de first black man, and who write de first literature, everything, black man. See it deh, African history. (He shows me the book.) A white man write dat, dat mean a no lie. `Cause white man naw write nuttin true `bout black man. So when you see him write de truth is TRUE!! And him a tell white man say white man is too blood claat sick from some inferior blood claat complex. A white man write dat, a no me a say so.
"Black man first mek shoes. Black man first teach mathematics to de Greek. Cleopatra de first black beauty. Everything dat was black and (is) all white guy me a see, till me see even God white to raas claat! Who? Me know me can`t live inferior. I`m too superior to be inferior to raas claat. Dat`s why me come have dat book deh. Jah just reveal it in a me house."
Carl Gayle:-
Part 1
BLACK MUSIC SEPTEMBER 1976
peace
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Re: 1974-1980 reviews on current reggae releases...
BLACK MUSIC SEPTEMBER 1976: Vol. 3 / Issue 34
LET HERB BE FREE - Trials & Tribulations Of PETER TOSH by Carl Gayle:- PT. 2
OCTOBER 1975. Tosh and I are seated in Tommy Cowan`s Talent Corporation`s office. He`s doing all the talkin`. Talkin` blues.
No, the three original Wailers Bob, Pete and Bunny, are not as close as they were in the Spring to Summer of 1973 when all three plus the Barrett brothers and Earl "Wire" Lindo, toured Britain following the release of their first album for Island Records, `Catch A Fire`, that hypnotic and original piece of new wave music in reggae. Catch a fire. It was a phrase that summed up the corporate feelings of the new, modern Wailers, just as well as Tosh`s phrase LEGALIZE IT now sums up the feelings of I and I brethren about the blessed herb.
They are not as close because all three no longer record together as the Wailers. For since `Catch A Fire` the tables really have turned, and the business machinery (known as Island Records), which was created for the specific purpose of pop music propaganda and the building of financial profits through the investment of cash in artists and their music, could not cope with the problem of keeping a ten year relationship intact while at the same time doing its business. Perhaps the machinery didn`t even try.
In August 1975 Island`s boss Chris Blackwell, explaining why Peter and Bunny Livingstone were not on the British tour and why they had been excluded from promotion, said . . . "Well Peter and Bunny don`t like to tour and therefore . . . we only handle their records . . . We can only work on who we have who`s touring.
"Initially, the band always used to be called Bob Marley and the Wailers. The first two records we released, they were just called the Wailers. Island initially buried Bob Marley`s image in the Wailers. And it was just after that time they didn`t make themselves available for promotion because they didn`t want to tour, so the promotion naturally fell on Bob."
Carl Gayle:-
Part 2
BLACK MUSIC SEPTEMBER 1976
peace
LET HERB BE FREE - Trials & Tribulations Of PETER TOSH by Carl Gayle:- PT. 2
OCTOBER 1975. Tosh and I are seated in Tommy Cowan`s Talent Corporation`s office. He`s doing all the talkin`. Talkin` blues.
No, the three original Wailers Bob, Pete and Bunny, are not as close as they were in the Spring to Summer of 1973 when all three plus the Barrett brothers and Earl "Wire" Lindo, toured Britain following the release of their first album for Island Records, `Catch A Fire`, that hypnotic and original piece of new wave music in reggae. Catch a fire. It was a phrase that summed up the corporate feelings of the new, modern Wailers, just as well as Tosh`s phrase LEGALIZE IT now sums up the feelings of I and I brethren about the blessed herb.
They are not as close because all three no longer record together as the Wailers. For since `Catch A Fire` the tables really have turned, and the business machinery (known as Island Records), which was created for the specific purpose of pop music propaganda and the building of financial profits through the investment of cash in artists and their music, could not cope with the problem of keeping a ten year relationship intact while at the same time doing its business. Perhaps the machinery didn`t even try.
In August 1975 Island`s boss Chris Blackwell, explaining why Peter and Bunny Livingstone were not on the British tour and why they had been excluded from promotion, said . . . "Well Peter and Bunny don`t like to tour and therefore . . . we only handle their records . . . We can only work on who we have who`s touring.
"Initially, the band always used to be called Bob Marley and the Wailers. The first two records we released, they were just called the Wailers. Island initially buried Bob Marley`s image in the Wailers. And it was just after that time they didn`t make themselves available for promotion because they didn`t want to tour, so the promotion naturally fell on Bob."
Carl Gayle:-
Part 2
BLACK MUSIC SEPTEMBER 1976
peace
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Re: 1974-1980 reviews on current reggae releases...
BLACK MUSIC SEPTEMBER 1976: Vol. 3 / Issue 34
LET HERB BE FREE - Trials & Tribulations Of PETER TOSH by Carl Gayle:- PT. 3
The last time Tosh toured with the Wailers was in the winter of 1974. The tour was cut short.
"I and I know why I and I refuse tour man," he says sucking his teeth. "We can`t tour under dem circumstances deh. We go England today and we stay `bout two day` before tour start, or three. When de tour start now you hear seh we fe wake up early dis mornin` because we a go Birmingham or one place down so `bout eight hundred mile` in a England. And we drive in a van. Siddown pan my batty (backside) fe five, six, seven hours. Me no like dem kind o` ism deh man. And we no eat no food you know. Before we even get fe look `bout drink or lickle hot water, you hear seh time come and we a fe just . . . run gone a where we a go. And when we reach pan scene, we reach deh late because traffic light and traffic jam and all kind o` lickle ism. We suppose` to rest off, tune up we instrument, set dem up, get sound test, all dem t`ing deh. Well we no get fe do dem t`ing deh. Sometime` man a fe go pan stage in a de clothes wha` him `ave on fe de whole day. And dis go on fe days. When me come back a Jamaica me lose ten, fifteen pounds. And look pan me how me maaga (skinny). We do de tour and when we done me leave England with £100 in a me pocket, and all o` dem blood bath deh!
"Ah slavery ism dem deh. And if is dem deh kind o` slavery me `ave fe go back in a fe mek myself a man, or fe mek myself international, no more papa! Because me `ave de ability and without my ability the guy who a try fe use my ability fe mek himself rich wouldn`t use me. So why you must want (to) come humiliate me pan top `o my ability before you just take my ability and mek himself rich and mek me someone.
"But di slavery ism me don`t in a dat papa. Hear me now. You see dis struggle wha` a go on in Angola and Rhodesia, a de same struggle I a fight in a Jamaica or anywhere de black man deh in a Earth. No good him siddung and say `bwoy me `ave a car and me `ave a house and me `ave £20,000 in a de bank. Dat can`t save yuh dis day yah `cause you may `ave fe run leave yuh house, and run leave yuh car. Run out o` all you clothes fe save yuh life according to what a go on now, `cause is nothing but war.
"When man sing music man must just sing music comfortable. The world know Wailers from thirteen years ago, so Wailers a no lickle amateur artist. And when we go fe record fe Chris Blackwell is dat him a tell we seh it a go take him five years to build I and I. And Wailers a professional artist. When you hear two man sing harmony him say it sound like five.
"When it reach two year` me no make no money yet and we have two LP` out deh, `Burnin` and `Catch A Fire`. And a just de other day me see a lickle monkey bread come on ya. Some lickle f%=k up kind o` ism, me no like dem kind o` slavery ism man. We must be respected for our ability cause people out a Earth who hear `bout de Wailers respect and regard Wailers. And who don`t know Wailers lookin` for Wailers as some big dignified man who `ave material in a Earth. Still, I and I naw run down material but material, if it come your way, take it and make use of it. But don`t put your heart in it because you `ave fe seek Jah Kingdom first and all material things shall be added. Anyhow you runnin` down material things and a come use Jah name fe achieve material things you shall permanently get a beatin`. Yeah man!"
So how has the relationship between yourself, Bunny, and Bob been affected?
"Well de whole world a ask dat question. And is a rass claat question dat fe answer too. Because I relationship is always dere, and every man relationship suppose` to be dere. But de administration, I don`t like de administration. And it begin since we start deal wid Chris Blackwell. We begin as de Wailers, as a three in one. It wasn`t Bob Marley And The Wailers. It was de Wailers, three man, seen? And is so we go to Chris Blackwell as Wailers. Three o` we sign contract, a no Bob alone sign it. So de organisation start, de Wailers. And hear me no man, from we start work fe Chris Blackwell is just peer segregation according to my views with his philosophy towards Bob and the group. Him want to administrate as if is a individual man him a deal wid, Bob. And him no see me and Bunny. an` all de while is Bob him talk to and deal wid. And now and den him just barely come talk to we.
"Him say all de tours and shows him will responsible for. Dat is what de contract say. And when tour done man, paper come show we what and what we do pan tour, and how much thousand dollars. All dem f%=kery deh. So me say `wait, wha` dem things ya for?` So me get mad. And when me say get mad dat . . . When me spin round Chris Blackwell missin`. And me no see him tell a long long long time.
"Fe years me a sing wid Wailers an` me no have not a blood claat. Me just barely `ave one loe car, me never but a new car yet. You tell de world dat. So all dem a come talk `bout Wailers rich, me never buy a new car yet . . . Jah inspire I fe write tune too. And me couldn`t write my tune and carry it go give a man fe sing it and me no dumb. So de whole Earth a listen and a talk `bout relationship. Dat is de relationship.
"Me can`t take dat no more Papa. Me `ave some blood claat tune` fe sing ya. When me done sing all piece o` de Earth pap (break) off to raas claat with wicked pan dat side deh. Yeah man, me `ave some dangerous tune in a me head from me just start sing wid Wailers. Me no bring dem a Earth yet. And you see how music a rock now, a de right time fe dem Papa. So, you don`t hear nothing yet."
Thus, for the sake of Island`s success with Bob Marley and the Wailers, some friendship no matter how small, was lost. Yet what is friendship when there`s work to do. There is no reward, nothing is achieved, without some sacrifice. Through music, the Wailers have work to do, work they cannot refuse. Bob knew that . . . Bunny knows it. Peter knows it too.
Out of one unit cometh disciples three. Yet it is still one. One message. One God, one aim, one destiny. There is no fussing, no fighting, except amoung the devil`s disciples. No negative vibrations. There is only one Jah works to do. And Bob, Pete, and Bunny are charged with doing it. Through the power of the most high, Jah Rastafari, there is a song to sing, a righteous message to impart, a large audience willing to receive it, and the machinery available to Wailers, one and all, with which to send it.
Bunny remains with Island as a solo artist. And Tosh has won his path to the media. And, ironically, Island still play a vital part in regard to the release of his records in Britain (where they have licensed Tosh`s material to Virgin), Nigeria and Kenya. Meanwhile, CBS in America have invested in Tosh for the rest of the world bar Jamaica. So let the irony of all that has passed be a lesson to one and all. Let all grievances subside and peace abide. Let ill feelings be erased, let positive vibrations reign, let Jah be praised.
Carl Gayle:-
Part 3
BLACK MUSIC SEPTEMBER 1976
peace
LET HERB BE FREE - Trials & Tribulations Of PETER TOSH by Carl Gayle:- PT. 3
The last time Tosh toured with the Wailers was in the winter of 1974. The tour was cut short.
"I and I know why I and I refuse tour man," he says sucking his teeth. "We can`t tour under dem circumstances deh. We go England today and we stay `bout two day` before tour start, or three. When de tour start now you hear seh we fe wake up early dis mornin` because we a go Birmingham or one place down so `bout eight hundred mile` in a England. And we drive in a van. Siddown pan my batty (backside) fe five, six, seven hours. Me no like dem kind o` ism deh man. And we no eat no food you know. Before we even get fe look `bout drink or lickle hot water, you hear seh time come and we a fe just . . . run gone a where we a go. And when we reach pan scene, we reach deh late because traffic light and traffic jam and all kind o` lickle ism. We suppose` to rest off, tune up we instrument, set dem up, get sound test, all dem t`ing deh. Well we no get fe do dem t`ing deh. Sometime` man a fe go pan stage in a de clothes wha` him `ave on fe de whole day. And dis go on fe days. When me come back a Jamaica me lose ten, fifteen pounds. And look pan me how me maaga (skinny). We do de tour and when we done me leave England with £100 in a me pocket, and all o` dem blood bath deh!
"Ah slavery ism dem deh. And if is dem deh kind o` slavery me `ave fe go back in a fe mek myself a man, or fe mek myself international, no more papa! Because me `ave de ability and without my ability the guy who a try fe use my ability fe mek himself rich wouldn`t use me. So why you must want (to) come humiliate me pan top `o my ability before you just take my ability and mek himself rich and mek me someone.
"But di slavery ism me don`t in a dat papa. Hear me now. You see dis struggle wha` a go on in Angola and Rhodesia, a de same struggle I a fight in a Jamaica or anywhere de black man deh in a Earth. No good him siddung and say `bwoy me `ave a car and me `ave a house and me `ave £20,000 in a de bank. Dat can`t save yuh dis day yah `cause you may `ave fe run leave yuh house, and run leave yuh car. Run out o` all you clothes fe save yuh life according to what a go on now, `cause is nothing but war.
"When man sing music man must just sing music comfortable. The world know Wailers from thirteen years ago, so Wailers a no lickle amateur artist. And when we go fe record fe Chris Blackwell is dat him a tell we seh it a go take him five years to build I and I. And Wailers a professional artist. When you hear two man sing harmony him say it sound like five.
"When it reach two year` me no make no money yet and we have two LP` out deh, `Burnin` and `Catch A Fire`. And a just de other day me see a lickle monkey bread come on ya. Some lickle f%=k up kind o` ism, me no like dem kind o` slavery ism man. We must be respected for our ability cause people out a Earth who hear `bout de Wailers respect and regard Wailers. And who don`t know Wailers lookin` for Wailers as some big dignified man who `ave material in a Earth. Still, I and I naw run down material but material, if it come your way, take it and make use of it. But don`t put your heart in it because you `ave fe seek Jah Kingdom first and all material things shall be added. Anyhow you runnin` down material things and a come use Jah name fe achieve material things you shall permanently get a beatin`. Yeah man!"
So how has the relationship between yourself, Bunny, and Bob been affected?
"Well de whole world a ask dat question. And is a rass claat question dat fe answer too. Because I relationship is always dere, and every man relationship suppose` to be dere. But de administration, I don`t like de administration. And it begin since we start deal wid Chris Blackwell. We begin as de Wailers, as a three in one. It wasn`t Bob Marley And The Wailers. It was de Wailers, three man, seen? And is so we go to Chris Blackwell as Wailers. Three o` we sign contract, a no Bob alone sign it. So de organisation start, de Wailers. And hear me no man, from we start work fe Chris Blackwell is just peer segregation according to my views with his philosophy towards Bob and the group. Him want to administrate as if is a individual man him a deal wid, Bob. And him no see me and Bunny. an` all de while is Bob him talk to and deal wid. And now and den him just barely come talk to we.
"Him say all de tours and shows him will responsible for. Dat is what de contract say. And when tour done man, paper come show we what and what we do pan tour, and how much thousand dollars. All dem f%=kery deh. So me say `wait, wha` dem things ya for?` So me get mad. And when me say get mad dat . . . When me spin round Chris Blackwell missin`. And me no see him tell a long long long time.
"Fe years me a sing wid Wailers an` me no have not a blood claat. Me just barely `ave one loe car, me never but a new car yet. You tell de world dat. So all dem a come talk `bout Wailers rich, me never buy a new car yet . . . Jah inspire I fe write tune too. And me couldn`t write my tune and carry it go give a man fe sing it and me no dumb. So de whole Earth a listen and a talk `bout relationship. Dat is de relationship.
"Me can`t take dat no more Papa. Me `ave some blood claat tune` fe sing ya. When me done sing all piece o` de Earth pap (break) off to raas claat with wicked pan dat side deh. Yeah man, me `ave some dangerous tune in a me head from me just start sing wid Wailers. Me no bring dem a Earth yet. And you see how music a rock now, a de right time fe dem Papa. So, you don`t hear nothing yet."
Thus, for the sake of Island`s success with Bob Marley and the Wailers, some friendship no matter how small, was lost. Yet what is friendship when there`s work to do. There is no reward, nothing is achieved, without some sacrifice. Through music, the Wailers have work to do, work they cannot refuse. Bob knew that . . . Bunny knows it. Peter knows it too.
Out of one unit cometh disciples three. Yet it is still one. One message. One God, one aim, one destiny. There is no fussing, no fighting, except amoung the devil`s disciples. No negative vibrations. There is only one Jah works to do. And Bob, Pete, and Bunny are charged with doing it. Through the power of the most high, Jah Rastafari, there is a song to sing, a righteous message to impart, a large audience willing to receive it, and the machinery available to Wailers, one and all, with which to send it.
Bunny remains with Island as a solo artist. And Tosh has won his path to the media. And, ironically, Island still play a vital part in regard to the release of his records in Britain (where they have licensed Tosh`s material to Virgin), Nigeria and Kenya. Meanwhile, CBS in America have invested in Tosh for the rest of the world bar Jamaica. So let the irony of all that has passed be a lesson to one and all. Let all grievances subside and peace abide. Let ill feelings be erased, let positive vibrations reign, let Jah be praised.
Carl Gayle:-
Part 3
BLACK MUSIC SEPTEMBER 1976
peace
*Reggae Record Label Artwork*
http://leggorocker.ning.com/
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Re: 1974-1980 reviews on current reggae releases...
BLACK MUSIC SEPTEMBER 1976: Vol. 3 / Issue 34
LET HERB BE FREE - Trials & Tribulations Of PETER TOSH by Carl Gayle:- PT. 4
Peter Tosh, in the company of others, has always had a cool, deteched air about him, as if he is ever conscious of his solo artistry outside of the Wailers. As if there would always have been something that he had to do, sooner or later, whether or not the original trio were recording together. It was a necessity that he spoke his mind from time to time. That`s why, in Jamaica especially, Tosh has a separate following that is truly outside of the wailers. He speaks to a special section of a Wailers audience. Those who have their roots in ska and "rock steady". Those who readily recall the song "I`m The Toughest", a song Tosh wrote, recorded, and sung at sound system man Sir Coxson`s request in 1967.
At this point in his life Peter Tosh, Rastafari, revolutionary, Wailer, is ready for anything, fears nothing. The criminal brutalisation he endured at the hands of the police early in 1975 has hardened him to the world at large, and, at the same time, brought out his natural sense of humour.
Now, as I write knowing that these words will not appear in the magazine until his first solo albums is released, Tosh is in the process of trying to get his disc "Legalize It" played on the Jamaican radio stations. And everybody`s on his side including Jamaican PM Michael Manley.
Tosh is the easiest of the original three to approach, speak to, listen to. The most amiable. If he or Bunny have not in the past been represented in the press, it was because the world was not ready for it. But what to be must be, all secrets must reveal.
Carl Gayle:-
Part 4
BLACK MUSIC SEPTEMBER 1976
peace
LET HERB BE FREE - Trials & Tribulations Of PETER TOSH by Carl Gayle:- PT. 4
Peter Tosh, in the company of others, has always had a cool, deteched air about him, as if he is ever conscious of his solo artistry outside of the Wailers. As if there would always have been something that he had to do, sooner or later, whether or not the original trio were recording together. It was a necessity that he spoke his mind from time to time. That`s why, in Jamaica especially, Tosh has a separate following that is truly outside of the wailers. He speaks to a special section of a Wailers audience. Those who have their roots in ska and "rock steady". Those who readily recall the song "I`m The Toughest", a song Tosh wrote, recorded, and sung at sound system man Sir Coxson`s request in 1967.
At this point in his life Peter Tosh, Rastafari, revolutionary, Wailer, is ready for anything, fears nothing. The criminal brutalisation he endured at the hands of the police early in 1975 has hardened him to the world at large, and, at the same time, brought out his natural sense of humour.
Now, as I write knowing that these words will not appear in the magazine until his first solo albums is released, Tosh is in the process of trying to get his disc "Legalize It" played on the Jamaican radio stations. And everybody`s on his side including Jamaican PM Michael Manley.
Tosh is the easiest of the original three to approach, speak to, listen to. The most amiable. If he or Bunny have not in the past been represented in the press, it was because the world was not ready for it. But what to be must be, all secrets must reveal.
Carl Gayle:-
Part 4
BLACK MUSIC SEPTEMBER 1976
peace
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http://leggorocker.ning.com/
http://leggorocker.ning.com/
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Re: 1974-1980 reviews on current reggae releases...
BLACK MUSIC SEPTEMBER 1976: Vol. 3 / Issue 34
LET HERB BE FREE - Trials & Tribulations Of PETER TOSH by Carl Gayle:- PT. 5
"Ah de Almighty Himself form Wailers because we use` to live in a de same community in a Trench Town in a de ghetto deh. And out of de ghetto cometh de best. `Cause all de singers come from Trench wha` me know of. Dat was way dung in a de sixties. Well, one day me just see Bunny come a me yard come check me and just say `bwoy I want form a group`, and me say `how you mean, me ready man.` Me start sing from me could talk good. Me start play piano from me `bout ten . . . and me reach far too because de woman wha`teach me say is de first one she ever teach music who` head so quick to music. Me start play four sharp an` all dem t`ing deh, when some big people come take four five years. Me start play even a` church man. Pentecost church, yes man. One of the devils disciples, angels organisation. Me play piano fe `bout nine months and me cover about five years worth o` piano work.
"One time now me go hear a lickle old man play guitar in a de country deh, a Westmoreland. Him go a farm working one time and him bring dung a guitar from Panama, or one o` dem place deh. An` him a pick de guitar and a harmonies. And it was a beauty to listen to de sound wha` de man get. Dat me stop think `bout piano now.
"And only me and de man dere but is like him never know dat was de time when him was ordained fe do dat t`ing, so dat me hear him play dat guitar at dat time. And him hold me finger and tell me `touch this and touch dat`. Me born with a heart o` creation so no one no `ave fe show me nuttin, Me only want have the slightest idea by viewing or even hearing `bout it. Me sit dung deh and watch him fe about half a day. Him play some church tune, `cause dem old time people dem love play church music. Well me listen till me tired but me wouldn`t leave. Till it look like him tired now and him say him a go home.
"Me say lend me yuh guitar deh man, and me start. `Cause me did start play piano music and me (could) play `Come Back Charlie` and dem things deh. So me start play de song wha` him just done play. And hear him say to me `Who teach you fe plat guitar?` Me say `a you teach me, a right ya so me learn. A school me come, you no see how long me deh ya?` (he laughs).
"We use` to live in de ghetto and all o` we can sing. Sometimes we come together and just sing. Sometime is six, seven, eight, nine man a sing, Joe higgs an` all dem bredda deh. We form de group, it come like about ten man in a de group you know. We go a studio and some o` de man dem no get fe sing. But we just work it dung dat it start at `bout five or six including a youth name` Braithwaite, an` a girl name cherry. Another girl name` Beverley. First tune we sing hit, second tune hit, third tune hit and so we sing hit tune from dem time deh. We never sing no tune wha` miss. And from dem time dem see how great we is dem start de exploitation, a whole barrage.
"Fe months is Wailers hold one, two, and three, five and seven on top one hundred RJR. An` all dem time deh me get £3 a week. An` when it reach time fe get royalty we get `bout £300 or £350 and him tell we how him have fe draw back out him £3 wha` him give we a week time. So dat it work down to nuttin`. And fe `bout three or four years we live wid dat."
With the early Wailers Tosh and Bunny especially were responsible for the group`s stylish and acrobatic vocal harmonies. Tosh, the eldest of the five or six, provided the bass voice when neccessary, and the second tenor behind whoever led.
"Dem time deh me did so much involve in harmony dat . . . We two (himself and Bunny) sing harmony batter tan when five or four use` to sing harmony. Becayse dem kind of immature and . . . Junior could sing, but me 1ave fe teach dem (both girls) harmony and tell dem how fe make certain slurs and you know, curve `round certain words to get certain harmony. It (was) too technical. If you no born wid it inside o` you man, no one can touch you dat blood bath."
Carl Gayle:-
Part 5
BLACK MUSIC SEPTEMBER 1976
peace
LET HERB BE FREE - Trials & Tribulations Of PETER TOSH by Carl Gayle:- PT. 5
"Ah de Almighty Himself form Wailers because we use` to live in a de same community in a Trench Town in a de ghetto deh. And out of de ghetto cometh de best. `Cause all de singers come from Trench wha` me know of. Dat was way dung in a de sixties. Well, one day me just see Bunny come a me yard come check me and just say `bwoy I want form a group`, and me say `how you mean, me ready man.` Me start sing from me could talk good. Me start play piano from me `bout ten . . . and me reach far too because de woman wha`teach me say is de first one she ever teach music who` head so quick to music. Me start play four sharp an` all dem t`ing deh, when some big people come take four five years. Me start play even a` church man. Pentecost church, yes man. One of the devils disciples, angels organisation. Me play piano fe `bout nine months and me cover about five years worth o` piano work.
"One time now me go hear a lickle old man play guitar in a de country deh, a Westmoreland. Him go a farm working one time and him bring dung a guitar from Panama, or one o` dem place deh. An` him a pick de guitar and a harmonies. And it was a beauty to listen to de sound wha` de man get. Dat me stop think `bout piano now.
"And only me and de man dere but is like him never know dat was de time when him was ordained fe do dat t`ing, so dat me hear him play dat guitar at dat time. And him hold me finger and tell me `touch this and touch dat`. Me born with a heart o` creation so no one no `ave fe show me nuttin, Me only want have the slightest idea by viewing or even hearing `bout it. Me sit dung deh and watch him fe about half a day. Him play some church tune, `cause dem old time people dem love play church music. Well me listen till me tired but me wouldn`t leave. Till it look like him tired now and him say him a go home.
"Me say lend me yuh guitar deh man, and me start. `Cause me did start play piano music and me (could) play `Come Back Charlie` and dem things deh. So me start play de song wha` him just done play. And hear him say to me `Who teach you fe plat guitar?` Me say `a you teach me, a right ya so me learn. A school me come, you no see how long me deh ya?` (he laughs).
"We use` to live in de ghetto and all o` we can sing. Sometimes we come together and just sing. Sometime is six, seven, eight, nine man a sing, Joe higgs an` all dem bredda deh. We form de group, it come like about ten man in a de group you know. We go a studio and some o` de man dem no get fe sing. But we just work it dung dat it start at `bout five or six including a youth name` Braithwaite, an` a girl name cherry. Another girl name` Beverley. First tune we sing hit, second tune hit, third tune hit and so we sing hit tune from dem time deh. We never sing no tune wha` miss. And from dem time dem see how great we is dem start de exploitation, a whole barrage.
"Fe months is Wailers hold one, two, and three, five and seven on top one hundred RJR. An` all dem time deh me get £3 a week. An` when it reach time fe get royalty we get `bout £300 or £350 and him tell we how him have fe draw back out him £3 wha` him give we a week time. So dat it work down to nuttin`. And fe `bout three or four years we live wid dat."
With the early Wailers Tosh and Bunny especially were responsible for the group`s stylish and acrobatic vocal harmonies. Tosh, the eldest of the five or six, provided the bass voice when neccessary, and the second tenor behind whoever led.
"Dem time deh me did so much involve in harmony dat . . . We two (himself and Bunny) sing harmony batter tan when five or four use` to sing harmony. Becayse dem kind of immature and . . . Junior could sing, but me 1ave fe teach dem (both girls) harmony and tell dem how fe make certain slurs and you know, curve `round certain words to get certain harmony. It (was) too technical. If you no born wid it inside o` you man, no one can touch you dat blood bath."
Carl Gayle:-
Part 5
BLACK MUSIC SEPTEMBER 1976
peace
*Reggae Record Label Artwork*
http://leggorocker.ning.com/
http://leggorocker.ning.com/
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Re: 1974-1980 reviews on current reggae releases...
BLACK MUSIC SEPTEMBER 1976: Vol, 3 / Issue 34
LET HERB BE FREE - Trials & Tribulations Of PETER TOSH by Carl Gayle:- PT. 6
The early Wailers were purely a vocal outfit backed by the Soul Bros, the session band employed by label owner Clement Dodd a.k.a Sir Coxson. Among the few times Tosh sang lead were on his own compositions like the "love" song "When The Well Runs Dry", and the rock steady song "Dancing Shoes", a soft, sweet romantic song with a gentle rocking dance beat.
"Before me even sing tune me have tune in a me head wha` me never even write pan paper. But first tune me recorded (he means solo) was `I`m The Toughest`. Coxson ask me fe write it fe him sound system. `Cause when a man have a tune pan him sound system and nobody else no `ave it him can flog dem wid it. So same time Coxson a tell me `bout de idea de inspiration come."
Amoung Tosh`s earliest solo releases on the Wailers second label, Tuff Gong, after they`d left Coxson, was a song entitled "Maga Dog", a song about a spiteful and ungrateful ex girl friend . . . ("See you come from country in a country truck, tell me say you a look a lickle wuk . . . sorry fe maga dog, maga dog turn round bite me"). It was such a familiar phrase that the song sounded like a traditional Jamaican folk song.
"You never know dat song, you know dat talk. Well I sing it. And all rights belong to I because I mek it music. The rights of the talkers can take it fe de talkers. Sorry fe maga dog, him tu`n round and bite you. Is black people. We are they who go through great tribulation. And we are they who spoke dose words four hundred years ago. And we`re de same generation dat goes around in reincarnation. So de word never die because de word was from de beginning irrespective of what de word was or is."
("I said don`t you wait till your back against the wall, just one step to progress and I know Jah will help you all . . . dem a fe get a beatin . . ." In 1972 Tosh`s solo disc "Them A Fe Get A Beatin`" was a persuasive favourite on behalf of the Peoples National Party`s (PNP) victorious general election campaign. The PNP toured the Island in a "bandwagon" of singers and politicians. The singers pulled the crowds and the politicians made the speeches. The PNP, much to the oppositions surprise, won by a landslide. Though Tosh himself was not on the bandwagon the title alone of his song was an effective PNP slogan. But . . .
"Well it wasn`t made up of no political affairs, or no political affiliation. Is a tune what fightin` against colonialism entirely. Is de same struggle I tell you `bout a go on in a Africa now. Fightin` fe black rule, and de recognition of black dignity, and you know, de integrity o` black people. Dat was de idea, is just beat dung colonialism."
During the Wailers` fruitful recording relationship with producer Lee Perry between 1969 and `71, Tosh only recorded a few of his own songs, among them "No Sympathy" and "400 Years". The first Island album, `Catch A Fire`, contained a second version of "400 Years" which omitted one whole verse of the original. It also contained his moving gospel-blues "Stop That Train" . . . ("All my good life I`ve been a lonely man, teachin` the people who don`t understand, and even though I`ve tried my best I still can`t find no happiness, so I`ve got to say stop that train I`m leavin . . .")
"Me sing dis tune some places where me no even know seh people know it, and dem know it more than me. Places like San Francisco and dung a Nevada."
It `ave a spiritual air about it? says I.
"Well when a man go through Revelation. A man who don`t go through Revelations don`t know nuttin `bout inspiration you know. Who feels it knows it. So all `o my tune dem is just reality. If is not me a feel it is me bredda a feel it. And I am my bredda`s keeper. Me `ave fe think fe whole heap `o thousands `o people. So when you see I mek a tune man is just action and reaction. Reality."
For the album `Burnin` Tosh co-wrote "Get Up Stand Up" with Bob, and the righteous "One Foundation" alone. Up to two years ago he`d made solo discs only when he felt there was something he was compelled to say. In 1974 his song "You Can`t Blame The Youth" was noted for the blunt attack on colonialism and the Jamaican teaching system with its colonial traditions and character. ("You teach the youth about Christopher Columbus and you said he was a very great man, you teach the youth about Marco Polo and you said he was a very great man, you teach the youth about the pirate Hawkins and you said he was a very great man, you teach the youth about pirate Morgan and you said he was a very great man . . .all these great men were doing robbing, raping, kidnapping, and killing . . .")
Carl Gayle: -
Part 6
BLACK MUSIC SEPTEMBER 1976
peace
LET HERB BE FREE - Trials & Tribulations Of PETER TOSH by Carl Gayle:- PT. 6
The early Wailers were purely a vocal outfit backed by the Soul Bros, the session band employed by label owner Clement Dodd a.k.a Sir Coxson. Among the few times Tosh sang lead were on his own compositions like the "love" song "When The Well Runs Dry", and the rock steady song "Dancing Shoes", a soft, sweet romantic song with a gentle rocking dance beat.
"Before me even sing tune me have tune in a me head wha` me never even write pan paper. But first tune me recorded (he means solo) was `I`m The Toughest`. Coxson ask me fe write it fe him sound system. `Cause when a man have a tune pan him sound system and nobody else no `ave it him can flog dem wid it. So same time Coxson a tell me `bout de idea de inspiration come."
Amoung Tosh`s earliest solo releases on the Wailers second label, Tuff Gong, after they`d left Coxson, was a song entitled "Maga Dog", a song about a spiteful and ungrateful ex girl friend . . . ("See you come from country in a country truck, tell me say you a look a lickle wuk . . . sorry fe maga dog, maga dog turn round bite me"). It was such a familiar phrase that the song sounded like a traditional Jamaican folk song.
"You never know dat song, you know dat talk. Well I sing it. And all rights belong to I because I mek it music. The rights of the talkers can take it fe de talkers. Sorry fe maga dog, him tu`n round and bite you. Is black people. We are they who go through great tribulation. And we are they who spoke dose words four hundred years ago. And we`re de same generation dat goes around in reincarnation. So de word never die because de word was from de beginning irrespective of what de word was or is."
("I said don`t you wait till your back against the wall, just one step to progress and I know Jah will help you all . . . dem a fe get a beatin . . ." In 1972 Tosh`s solo disc "Them A Fe Get A Beatin`" was a persuasive favourite on behalf of the Peoples National Party`s (PNP) victorious general election campaign. The PNP toured the Island in a "bandwagon" of singers and politicians. The singers pulled the crowds and the politicians made the speeches. The PNP, much to the oppositions surprise, won by a landslide. Though Tosh himself was not on the bandwagon the title alone of his song was an effective PNP slogan. But . . .
"Well it wasn`t made up of no political affairs, or no political affiliation. Is a tune what fightin` against colonialism entirely. Is de same struggle I tell you `bout a go on in a Africa now. Fightin` fe black rule, and de recognition of black dignity, and you know, de integrity o` black people. Dat was de idea, is just beat dung colonialism."
During the Wailers` fruitful recording relationship with producer Lee Perry between 1969 and `71, Tosh only recorded a few of his own songs, among them "No Sympathy" and "400 Years". The first Island album, `Catch A Fire`, contained a second version of "400 Years" which omitted one whole verse of the original. It also contained his moving gospel-blues "Stop That Train" . . . ("All my good life I`ve been a lonely man, teachin` the people who don`t understand, and even though I`ve tried my best I still can`t find no happiness, so I`ve got to say stop that train I`m leavin . . .")
"Me sing dis tune some places where me no even know seh people know it, and dem know it more than me. Places like San Francisco and dung a Nevada."
It `ave a spiritual air about it? says I.
"Well when a man go through Revelation. A man who don`t go through Revelations don`t know nuttin `bout inspiration you know. Who feels it knows it. So all `o my tune dem is just reality. If is not me a feel it is me bredda a feel it. And I am my bredda`s keeper. Me `ave fe think fe whole heap `o thousands `o people. So when you see I mek a tune man is just action and reaction. Reality."
For the album `Burnin` Tosh co-wrote "Get Up Stand Up" with Bob, and the righteous "One Foundation" alone. Up to two years ago he`d made solo discs only when he felt there was something he was compelled to say. In 1974 his song "You Can`t Blame The Youth" was noted for the blunt attack on colonialism and the Jamaican teaching system with its colonial traditions and character. ("You teach the youth about Christopher Columbus and you said he was a very great man, you teach the youth about Marco Polo and you said he was a very great man, you teach the youth about the pirate Hawkins and you said he was a very great man, you teach the youth about pirate Morgan and you said he was a very great man . . .all these great men were doing robbing, raping, kidnapping, and killing . . .")
Carl Gayle: -
Part 6
BLACK MUSIC SEPTEMBER 1976
peace
*Reggae Record Label Artwork*
http://leggorocker.ning.com/
http://leggorocker.ning.com/
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Re: 1974-1980 reviews on current reggae releases...
BLACK MUSIC SEPTEMBER 1976: Vol. 3 / Issue 34
LET HERB BE FREE - Trials & Tribulations Of PETER TOSH by Carl Gayle - PT. 7
EARLY in 1975 Tosh was badly brutalised by police after being found with a spliff. He finished off a song he`d already begun, with the inspiration of his experience.
"Mark Of The Beast" probably means more to Tosh than any other song. To his followers also it is something more than a song. It conjures up anger representing as it does, their feelings about the beast, Babylon. ("I see the mark of the beast on their ugly faces, I see them congregating in evil places, me say me know dem a wicked Lordy Lordy, me know dem a wicked . . .")
"I was totally brutalised by police man, for nothing. A dance a keep in a my yard and police, `bout six or seven police, a go `bout dem business. Dem go drink and feel nice and see dance and come in. Just because dem have de government gun and authority, dem just defamate it. Well me siddung in a my house. Me `ave a spliff in a me hand, and me `ave `bout a pound o` herb beside me. And de light turn off. Me just siddung and meditate `cause me a make de same tune `Mark O De Beast`. Me start mek it before this happen.
"First me hear a shot fire outside but because me did hear a fight a go on outside before, me say is the same guys go for gun and come back. So, me see a police come in and say `see one of the boy dem ya`, So him come and hold on pan I and want me spliff, and me give it to him `cause him done seen it. And him start hang on pan me like him a bad boy. Him push him hand up in a me waist and start drag me . Me say `no man, you mad man!`. And him go out de road go call him friend. Dem come in and start haul and pull me so me just push dem away and . . . So because dem can`t get fe grab me, one o` dem run come wid him gun and BUFF in a me belly, `bout five time, like him want to bore de structure ya. And whem him a see dat no work him take him fist and get back some place where him just get. You know how de weight of a gun is? Wha` happen, me lickle abdominal bore, or gone through me back. Or me kidney mash up.
"Him see dat no work, him BUFF, like is a punching bag him get in a now. And me say `wait!` And him friend dem hold on pan me two arm` like is Jesus Christ dem hold and a carry go pan de cross fe go crucify him. And guys a kick from all angle`. One o` de time me see two guy` kick fe me seed (balls) dat me say `a wha` de blood bath dis?" Dis a execution. And me just flash whey de guys from off he hand` and start defend myself now.
"Me no lick no one yet you know, me only a defend my structure from getting blows. `Cause if me lick one o` dem him DEATH, just one lick, anywhere.
"Him a karate expert!`, one one o` dem come wid him rifle and RUFF in a me ribs, and me go dung. And him go round de house fe a piece o` stick and give me one lick over me eye ya so (he points to the scar). And after dem do dat now, me tell dem who me is. `Cause me no just run and tell dem is me name` so and so like is exalt me exalt meself. Me wait till the goings on go on first.
"After me tell dem dem say it could be Michael Manley. Me say awright. Dem say go on through de gate and go in a de jeep. And me car out o` door and me say no, me a go lock up me car. Dem a talk `bout me can`t go lock up me car, me must go in de jeep, me a prisoner. Me just pull away me hand` and go lock up me car. Guy crank up him gun and a aim pan me.
"And when me go a station is peer mockery. Dem mash up me nerve centre. Me a bleed fe about three hours straight you know. Me say me want to go a hospital now. Dem start laugh and say `bout you a fight police`. One o` de time in de jeep when me realise seh me ribs dislocate` de guys dem take if fe joke man. And when me was goin` in de jeep dem want (to) push me in deh. Dem go on with some things man dat when you see a youth out there firing him gun man, me don`t wrong him a blood bath.
"Me is a revolutinoist. Me a fight fe de freedom of Africa. So if even de Pope want (to) known dat, him bombo claat. Me a fight fe de freedom o` black man in a any part o` Earth me deh. And is dem humiliation me go through after being a raas claat man who a build de economy o` Jamaica as de Wailers.
"When me go a hospital you know, de guys carry me go hitch me up pan a raas claat stretcher wid handcuff behind me. And me a tell dem seh me ribs pull out and me can`t bear de pain fe put me hand behind deh `cause me feel de place open up. De guy say `put you hand back, you a prisoner!`
"Me couldn`t lie dung because me hand bent round so . . . (he indicates) . . . And two foot deh a ground. So me set pan de stretcher till day light. From about twelve o`clock till `bout four. Me can`t even bawl out `cause o` de pain me in. Me `ave fe just a talk like a baby just fe mek sound. And me under police guard! For one spliff!!!
(At this, Tommy Cowan, who`s been listening, starts to sing "Legalise it . . .")
Tosh`s by now world famous "herb" song, was preceded by "What You Gonna Do" which was also inspired by the ridiculous law against the herb. Before that there was the 45 "Burial" a song co-written by Tosh and Bunny.
Since the release of "Legalise It", which itself has done more for the promotion of Tosh`s music than any recording company with all their resources had or have done, there have been three more 45s. Namely "Brand New Second Hand Gal", the excellent "Babylon Queendom", and "Africa". Nevertheless, "Legalise It" is still on people`s tongues.
"Herb ave fe free in a Jamaica man `cause me know seh ninety nine and three quarter per cent of Jamaica smoke herb. And de quarter wha` no blood claat smoke it, dem drink de tea. So them `ave fe free herb `cause what de use I going go through blood claat humiliation and a guy siddung and cut him ten, and police can`t go in a fe him yard. And me will tell de comminssioner dat blood claat, de Prime Minister, any one o` dem, say dem a fe free HERB.
"Cause me no fraid fe talk to men you know. A only one man I fear and is de Almighty, `cause Him gi` I power fe talk! I have fe talk fe my rights and de rights of black man. `Cause is slavery a go on till dis blood claat day. If I wasn`t a singer I would be a raas claat revolutionary. Not going out deh go thief people things. But I`d be killing some bombo claat wicked every day! If me naw kill dem wid me gun man, me go in a de mountain go meditate man. You would only hear say me drop today and tomorrow four drop, plane crash and seven or twenty five crash. Who?
"If you no criminal and police a treat you so, den what de blood bath you fe do, sling two gun? A dat dem want you do, so dem can come shoot you dung. Well herb a fe free because dat is de only thing I smoke according to de subversion of de government law.
"Me `ave a book a yard wha` de guys who make de law say dem son smoke herb. Dem say is forty years dem fightin` de law fe de legalisation o` marijuana. And dose law is just colonial things wha` set up by de guys from Columbus and Frances Drake an` all dem f%=kin` pirate and rapers an` robbers. Me know dem.
"All de laws wha` dem guys set up can`t run Earth now. Dem deh laws no govern humanity. It govern de rich. Dem things come like is Rhodesia me is. And if is Rhodesia me deh, me adight fe kill blood claat wicked and capitalism. Me naw talk wid no raas claat water in a my mouth `cause no one can`t do I nuttin. Me a de son o` de most High. And anyone who meditate to do I anything, him dead by morning.
"Cause Jah say I naw come as no lamb to no slaughter dis time. Or no sheep to no shearer. You hear dem come talk `bout Jah dead. A two thousand years ago dem tell I dat, seh Jah dead. And one time dem come back come say `He is risen`. And one time dem come say dem can`t find Him. I art reincarnated soul an` I know dem from dat time `cause dose who were from dat time is here dis time. De devil and de whole clique o` dem. Yeah man!"
Carl Gayle: -
BLACK MUSIC SEPTEMBER 1976: - Vol. 3 / Issue 34
peace
--------------------------------------------------------------------------------------------------------------
Jah Rastafari
LET HERB BE FREE - Trials & Tribulations Of PETER TOSH by Carl Gayle - PT. 7
EARLY in 1975 Tosh was badly brutalised by police after being found with a spliff. He finished off a song he`d already begun, with the inspiration of his experience.
"Mark Of The Beast" probably means more to Tosh than any other song. To his followers also it is something more than a song. It conjures up anger representing as it does, their feelings about the beast, Babylon. ("I see the mark of the beast on their ugly faces, I see them congregating in evil places, me say me know dem a wicked Lordy Lordy, me know dem a wicked . . .")
"I was totally brutalised by police man, for nothing. A dance a keep in a my yard and police, `bout six or seven police, a go `bout dem business. Dem go drink and feel nice and see dance and come in. Just because dem have de government gun and authority, dem just defamate it. Well me siddung in a my house. Me `ave a spliff in a me hand, and me `ave `bout a pound o` herb beside me. And de light turn off. Me just siddung and meditate `cause me a make de same tune `Mark O De Beast`. Me start mek it before this happen.
"First me hear a shot fire outside but because me did hear a fight a go on outside before, me say is the same guys go for gun and come back. So, me see a police come in and say `see one of the boy dem ya`, So him come and hold on pan I and want me spliff, and me give it to him `cause him done seen it. And him start hang on pan me like him a bad boy. Him push him hand up in a me waist and start drag me . Me say `no man, you mad man!`. And him go out de road go call him friend. Dem come in and start haul and pull me so me just push dem away and . . . So because dem can`t get fe grab me, one o` dem run come wid him gun and BUFF in a me belly, `bout five time, like him want to bore de structure ya. And whem him a see dat no work him take him fist and get back some place where him just get. You know how de weight of a gun is? Wha` happen, me lickle abdominal bore, or gone through me back. Or me kidney mash up.
"Him see dat no work, him BUFF, like is a punching bag him get in a now. And me say `wait!` And him friend dem hold on pan me two arm` like is Jesus Christ dem hold and a carry go pan de cross fe go crucify him. And guys a kick from all angle`. One o` de time me see two guy` kick fe me seed (balls) dat me say `a wha` de blood bath dis?" Dis a execution. And me just flash whey de guys from off he hand` and start defend myself now.
"Me no lick no one yet you know, me only a defend my structure from getting blows. `Cause if me lick one o` dem him DEATH, just one lick, anywhere.
"Him a karate expert!`, one one o` dem come wid him rifle and RUFF in a me ribs, and me go dung. And him go round de house fe a piece o` stick and give me one lick over me eye ya so (he points to the scar). And after dem do dat now, me tell dem who me is. `Cause me no just run and tell dem is me name` so and so like is exalt me exalt meself. Me wait till the goings on go on first.
"After me tell dem dem say it could be Michael Manley. Me say awright. Dem say go on through de gate and go in a de jeep. And me car out o` door and me say no, me a go lock up me car. Dem a talk `bout me can`t go lock up me car, me must go in de jeep, me a prisoner. Me just pull away me hand` and go lock up me car. Guy crank up him gun and a aim pan me.
"And when me go a station is peer mockery. Dem mash up me nerve centre. Me a bleed fe about three hours straight you know. Me say me want to go a hospital now. Dem start laugh and say `bout you a fight police`. One o` de time in de jeep when me realise seh me ribs dislocate` de guys dem take if fe joke man. And when me was goin` in de jeep dem want (to) push me in deh. Dem go on with some things man dat when you see a youth out there firing him gun man, me don`t wrong him a blood bath.
"Me is a revolutinoist. Me a fight fe de freedom of Africa. So if even de Pope want (to) known dat, him bombo claat. Me a fight fe de freedom o` black man in a any part o` Earth me deh. And is dem humiliation me go through after being a raas claat man who a build de economy o` Jamaica as de Wailers.
"When me go a hospital you know, de guys carry me go hitch me up pan a raas claat stretcher wid handcuff behind me. And me a tell dem seh me ribs pull out and me can`t bear de pain fe put me hand behind deh `cause me feel de place open up. De guy say `put you hand back, you a prisoner!`
"Me couldn`t lie dung because me hand bent round so . . . (he indicates) . . . And two foot deh a ground. So me set pan de stretcher till day light. From about twelve o`clock till `bout four. Me can`t even bawl out `cause o` de pain me in. Me `ave fe just a talk like a baby just fe mek sound. And me under police guard! For one spliff!!!
(At this, Tommy Cowan, who`s been listening, starts to sing "Legalise it . . .")
Tosh`s by now world famous "herb" song, was preceded by "What You Gonna Do" which was also inspired by the ridiculous law against the herb. Before that there was the 45 "Burial" a song co-written by Tosh and Bunny.
Since the release of "Legalise It", which itself has done more for the promotion of Tosh`s music than any recording company with all their resources had or have done, there have been three more 45s. Namely "Brand New Second Hand Gal", the excellent "Babylon Queendom", and "Africa". Nevertheless, "Legalise It" is still on people`s tongues.
"Herb ave fe free in a Jamaica man `cause me know seh ninety nine and three quarter per cent of Jamaica smoke herb. And de quarter wha` no blood claat smoke it, dem drink de tea. So them `ave fe free herb `cause what de use I going go through blood claat humiliation and a guy siddung and cut him ten, and police can`t go in a fe him yard. And me will tell de comminssioner dat blood claat, de Prime Minister, any one o` dem, say dem a fe free HERB.
"Cause me no fraid fe talk to men you know. A only one man I fear and is de Almighty, `cause Him gi` I power fe talk! I have fe talk fe my rights and de rights of black man. `Cause is slavery a go on till dis blood claat day. If I wasn`t a singer I would be a raas claat revolutionary. Not going out deh go thief people things. But I`d be killing some bombo claat wicked every day! If me naw kill dem wid me gun man, me go in a de mountain go meditate man. You would only hear say me drop today and tomorrow four drop, plane crash and seven or twenty five crash. Who?
"If you no criminal and police a treat you so, den what de blood bath you fe do, sling two gun? A dat dem want you do, so dem can come shoot you dung. Well herb a fe free because dat is de only thing I smoke according to de subversion of de government law.
"Me `ave a book a yard wha` de guys who make de law say dem son smoke herb. Dem say is forty years dem fightin` de law fe de legalisation o` marijuana. And dose law is just colonial things wha` set up by de guys from Columbus and Frances Drake an` all dem f%=kin` pirate and rapers an` robbers. Me know dem.
"All de laws wha` dem guys set up can`t run Earth now. Dem deh laws no govern humanity. It govern de rich. Dem things come like is Rhodesia me is. And if is Rhodesia me deh, me adight fe kill blood claat wicked and capitalism. Me naw talk wid no raas claat water in a my mouth `cause no one can`t do I nuttin. Me a de son o` de most High. And anyone who meditate to do I anything, him dead by morning.
"Cause Jah say I naw come as no lamb to no slaughter dis time. Or no sheep to no shearer. You hear dem come talk `bout Jah dead. A two thousand years ago dem tell I dat, seh Jah dead. And one time dem come back come say `He is risen`. And one time dem come say dem can`t find Him. I art reincarnated soul an` I know dem from dat time `cause dose who were from dat time is here dis time. De devil and de whole clique o` dem. Yeah man!"
Carl Gayle: -
BLACK MUSIC SEPTEMBER 1976: - Vol. 3 / Issue 34
peace
--------------------------------------------------------------------------------------------------------------
Jah Rastafari
*Reggae Record Label Artwork*
http://leggorocker.ning.com/
http://leggorocker.ning.com/