Ken Boothe’s “I’m Not for Sale” brings slavery back into Jamaican music with this silky-voiced singer’s take on this timeless subject matter, turning a potentially depressing subject matter into an expression of Black pride and identity.
Reggae’s reigning prince was an international star who lived what he sang about. Together with his band, they brought reggae music around the globe.
Peter Tosh
Peter Tosh was an influential rastafarian who championed the rights of those marginalised by society, while criticizing government corruption and abuses of power in Jamaica. A founding member of The Wailers band, Tosh later enjoyed an illustrious solo career once the group disbanded. His music covered various sociopolitical topics such as marijuana legalization, the war on drugs, and nuclear proliferation. His albums Legalize It, Equal Rights and No Nuclear War featured uncompromising political messages which earned him both respect from fans and admiration from fellow musicians alike. Unfortunately he became a target for authorities who wanted to silence his voice; during an arrest for marijuana possession in 1978 Tosh was brutally beaten; nine years later he was killed at home.
Peter Tosh was born Winston Hubert McIntosh on October 19, 1944 in Westmoreland Parish of Jamaica and raised by an aunt after being abandoned by both his parents at an early age. While listening to American radio stations he quickly developed an appreciation of R&B and doo-wop music which eventually led him to adopting his stage name of Peter Tosh with its razor sharp lyrics.
He was a consummate performer whose concerts were always inspiring and spiritually stimulating, often singing of the sufferings of the downtrodden with conviction and passion rarely found today. According to Carlton Smith, Tosh “fought for those who could not fight for themselves”.
Though he fought injustice through both word and deed, Tosh was known to be lighthearted and loving individual. His sense of humor often came through in his song lyrics, and he often purchased toys and gadgets associated with youth culture – such as skateboards, roller skates and slingshots as well as pet animals like fish, rabbits, guinea pigs and hamsters. At one point his guitar was even designed as an M-16 gun which became his weapon to use against apartheid, nuclear war criminals as he called his guitar an M-16 gun shaped like M16 gun! However on September 11 1987 Tosh was killed at home by three intruders – one was Dennis “Leppo” Lobban who would later go on trial and be found guilty following an eleven minute jury deliberation on September 12, 1987 at Tosh’s murder trial for Tosh’s death at home that day.
Dennis Brown
People typically associate reggae music with images of dreadlocked warblers strumming syncopated guitar beats under heavy marijuana clouds, relaxing under palm trees in tropical locations or chill vibes reminiscent of their childhood summer camps. But this stereotype only scratches the surface. Reggae was created in Jamaica during the late 60s from various musical influences including ska and rocksteady; its rhythmic patterns often emphasize offbeat beats while lyrics address social or political concerns.
Reggae music features a slower tempo than both ska and rocksteady styles, with drumming that utilizes an irregular chop known as “the skank.” To further accent its rhythmic patterns, reggae features guitar/piano patterns from root to fifth chord voicing that give its unique beat–sometimes known as the “reggae beat.” This rhythmic pattern sets reggae apart from other musical genres.
Reggae first gained widespread international popularity during the 1970s due to artists like Bob Marley, Peter Tosh and Jimmy Cliff. Since then, reggae’s appeal has continued to spread globally; today many musicians look towards reggae for inspiration.
Many reggae songs contain political messages that criticize the oppressive nature of society and demand justice. Musicians sing about spiritual topics like love and socializing while others address more serious matters such as poverty and inequality. Reggae music has also become part of Jamaican culture – some Rastafarian groups grow dreadlocks while listening to reggae music!
Reggae music has since evolved into numerous musical genres, from dancehall and dub to being adopted by rappers and other pop artists like Snoop Dogg. This shows its incredible power as an international language that can reach diverse audiences while adapting to all sorts of genres.
Toots and the Maytals
Frederick Toots Hibbert was one of Jamaica’s greatest voices, his soulful rasp playing an integral role in shaping reggae from its roots as ska. Cofounding The Maytals in 1962 with Jerry Butler, they produced several global hits that fused island grooves and soul tropes until Frederick passed away in 2020. Frederick is often recognized as an innovator; creating his signature style through both political activism and dance music he gave the genre its name: Toots was truly one-of-a-kind!
Toots and the Maytals’ music has been heavily influenced by gospel, ska and rock genres; yet their signature sound remains uniquely their own. Their vocal styles include patois – Jamaican slang spoken like someone would normally speak. When combined with call-and-response interplay between lead singer and backup singers, Toots and the Maytals create an exuberant sound full of energy and exuberance that is their trademark sound.
The band experienced a substantial rise in popularity from 1978-80 during England’s revival period for reggae and ska music when bands like The Specials and Clash covered its songs. Their album Reggae Got Soul included songs like ‘Pressure Drop,” 54-46 That’s My Number,” and “Monkey Man.”
Toots and the Maytals may not be as widely recognized as Bob Marley or Peter Tosh, but they remain an integral component of reggae music’s foundation. Their popularity helped spread it outside European and American culture – into Jamaica instead.
Reggae music has long been used as an outlet to criticise society and religion, discussing subjects such as poverty, crime, and government corruption – something the band often brings up through their lyrics. Reggae genre has long been associated with such themes since it first emerged over five centuries ago.
Toots and the Maytals’ version of Louie Louie stands out among all others as an authentic and raw rendition. Here, Toots and the Maytals transform New Orleans R&B into a reggae chant that rocks just as hard as its garage-band predecessor.
Bob Marley
Bob Marley was more than just a singer; his songs backed by his band, the Wailers, were public manifestations of his spiritual beliefs. From love and peace to political liberation, his music was powerful and electrifying – his signature reedy tenor voice combined with rhythm and blues, rock and venturesome reggae forms to form an inspiring body of work.
Though Marley’s Wailers underwent many defections and lineup changes over the years, his most dependable allies remained drummer Carlton Barrett and bassist Bundrick “Rabbit” Stewart – two rhythm section members that provided consistent back up were drummer Carlton Barrett and bassist Bundrick “Rabbit” Stewart. Few tracks illustrate their relationship to American funk more clearly than Exodus’ opening track: it features a groove that abandons reggae time-keeping for aggressive drumming used by Funkadelic or Cymande; making this cover of Sly Stone’s There’s a Riot Goin’ On seem more sinister.
While their early albums were more relaxed, the Wailers became increasingly political with every release. Their 1972 album Catch a Fire showcases this evolution; its title reflects their growing political awareness with lyrics such as those describing “a better day for the children of the world”, and the closing track Concrete Jungle provides a powerful indictment of US imperialism while serving as an invitation for revolution.
By the time of Marley’s death in 1981, he had become something of a semireligious figure within Jamaica – even being awarded their highest honor, the Order of Merit.
One of the last great tracks he recorded with the Wailers was Small Axe, produced by Lee “Scratch” Perry and featuring their signature “chick-ee” guitar line. A powerful indictment against Jamaica’s Big Three record labels which had long dominated their industry, it served as an anthem of independence for Marley and his bandmates.