Early music and with the Wailers
Tosh was born in Westmoreland, the westernmost parish of Jamaica. He was abandoned by his parents and "shuffled among relatives". When McIntosh was fifteen, his aunt died and he moved to Trenchtown in Kingston, Jamaica. He first learned guitar after watching a man in the country play a song that captivated him. He watched the man play the same song for half a day, memorizing everything his fingers were doing. He then picked up the guitar and played the song back to the man. The man then asked McIntosh who had taught him to play; McIntosh told him that he had. During the early 1960s, as an aspiring musician, Tosh went to vocal teacher Joe Higgs, who gave free music lessons to young people. Through his contact with Higgs, Tosh met Robert Nesta Marley (Bob Marley) and Neville O'Reilly Livingston (Bunny Wailer). He then changed his name to Peter Tosh and the trio started singing together in 1962. Higgs taught the trio to harmonise and while developing their music, they would often play on the street corners of Trenchtown.
In 1964 Tosh helped organise the band the Wailing Wailers, with Junior Braithwaite, a falsetto singer, and backup singers Beverley Kelso and Cherry Smith. Initially, Tosh was the only one in the group who could play musical instruments. According to Bunny Wailer, Tosh was critical to the band because he was a self-taught guitarist and keyboardist, and thus became an inspiration for the other band members to learn to play. The Wailing Wailers had a major ska hit with their first single, "Simmer Down", and recorded several more successful singles before Braithwaite, Kelso and Smith left the band in late 1965. Marley spent much of 1966 in Delaware in the United States with his mother, Cedella (née Malcolm) Marley-Booker, and for a brief time was working at a nearby Chrysler factory. He returned to Jamaica in early 1967 with a renewed interest in music and a new spirituality. Tosh and Bunny were already Rastafarians when Marley returned from the US, and the three became very involved with the Rastafari faith. Soon afterwards, they renamed the musical group the Wailers. Tosh would explain later that they chose the name Wailers because to "wail" means to mourn or to, as he put it, "...express one's feelings vocally". He also claims that he was the beginning of the group, and that it was he who first taught Bob Marley the guitar. Also according to Bunny Wailer, the early Wailers learned to play instruments from Tosh.
During the mid-1960s Tosh, along with Bob Marley and Bunny Wailer, were introduced to Danny Sims and Johnny Nash who signed the three artists to an exclusive recording contract on Sims' and Nash's JAD Records label as well as an exclusive publishing agreement through Sims' music publishing company, Cayman Music. Rejecting the up-tempo dance of ska, the band slowed their music to a rocksteady pace, and infused their lyrics with political and social messages inspired by their new-found faith. The Wailers composed several songs for the American-born singer Nash before teaming with producer Lee "Scratch" Perry to record some of the earliest well-known reggae songs, including "Soul Rebel", "Duppy Conqueror", and "Small Axe". The collaboration had given birth to reggae music and in 1970 bassist Aston "Family Man" Barrett and his brother, drummer Carlton Barrett, joined the group. They recorded the album The Best of The Wailers, which was produced by Leslie Kong and released in 1971.[citation needed]
In 1972, Danny Sims assigned the balance of the JAD Records recording contract with the band to Chris Blackwell and Island Records company and released their debut, Catch a Fire, in 1973, following it with Burnin' the same year. The Wailers had moved from many producers after 1970 and there were instances where producers would record rehearsal sessions that Tosh did and release them in England under the name "Peter Touch".
In 1973, Tosh was driving home with his girlfriend Evonne when his car was hit by another car driving on the wrong side of the road. The accident killed Evonne and severely fractured Tosh's skull. After Island Records president Chris Blackwell refused to issue his solo album in 1974, Tosh and Bunny Wailer left the Wailers, citing the unfair treatment they received from Blackwell, to whom Tosh often referred with a derogatory play on Blackwell's surname, 'Whiteworst'. Tosh had written many of the Wailers' hit songs such as "Get Up, Stand Up", "400 Years", and "No Sympathy". Tosh began recording and released his solo debut, Legalize It, in 1976 with CBS Records company, and Treasure Isle. The title track soon became popular among endorsers of cannabis legalization, reggae music lovers and Rastafari all over the world, and was a favourite at Tosh's concerts.
That was his last album from the Wailers, Island Records. In 2013, a book co-written by French scholar Dr Jeremie Kroubo Dagnini and American Lee Jaffe, his former associate, says Tosh was part of a smuggling operation that raised money to fund this album.
Solo career
Tosh started to make his own albums with Rolling Stones Records and CBS Records Equal Rights followed in 1977, featuring his recording of a song co-written with Marley, "Get Up, Stand Up", and a cover of "Stepping Razor" that would also appear on the soundtrack to the film Rockers.
Tosh organised a backing band, Word, Sound and Power, who were to accompany him on tour for the next few years, and many of whom performed on his albums of this period. In 1978, the Rolling Stones record label Rolling Stones Records contracted with Tosh, on which the album Bush Doctor was released, introducing Tosh to a larger audience. The album featured Rolling Stones frontmen Mick Jagger and Keith Richards, and the lead single – a cover version of The Temptations song "Don't Look Back" – was performed as a duet with Jagger.
During Bob Marley's free One Love Peace Concert of 1978, Tosh lit a marijuana spliff and lectured about legalising cannabis, lambasting attending dignitaries Michael Manley and Edward Seaga for their failure to enact such legislation. Several months later he was apprehended by police as he left Skateland dance hall in Kingston and was beaten severely while in police custody.
Mystic Man (1979), and Wanted Dread and Alive (1981) followed, both released on Rolling Stones Records. Tosh tried to gain some mainstream success while keeping his militant views, but was only moderately successful, especially when compared to Marley's achievements.
In 1984, after the release of 1983's album Mama Africa, Tosh went into self-imposed exile, seeking the spiritual advice of traditional medicine men in Africa, and trying to free himself from recording agreements that distributed his records in South Africa. Tosh had been at odds for several years with his label, EMI, over a perceived lack of promotion for his music.
Tosh also participated in the international opposition to South African apartheid by appearing at anti-apartheid concerts and by conveying his opinion in various songs like "Apartheid" (1977, re-recorded 1987), "Equal Rights" (1977), "Fight On" (1979), and "Not Gonna Give It Up" (1983). In 1987, Peter Tosh seemed to be having a career revival. He was awarded a Grammy Award for Best Reggae Performance in 1987 for No Nuclear War, his last record.
Death
On 11 September 1987, just after Tosh had returned to his home in Jamaica, a three-man gang came to his house on motorcycles demanding money. Tosh replied that he did not have any with him but the gang did not believe him. They stayed at his residence for several hours and tortured Tosh in an attempt to extort money from him. Over the hours, as various associates of Tosh arrived to visit him, they were also taken hostage by the gunmen. The gunmen became more and more frustrated, especially the chief thug, Dennis "Leppo" Lobban, a man whom Tosh had previously befriended and tried to help find work after a long jail sentence. Tosh said he did not have any money in the house, after which Lobban and the fellow gunmen began opening fire in a reckless manner. Tosh was shot twice in the head and killed. Herbalist Wilton "Doc" Brown and disc jockey Jeff 'Free I' Dixon also died as a result of wounds sustained during the robbery. Several others in the house were wounded, including Tosh's common law wife Andrea Marlene Brown, Free I's wife Yvonne ("Joy"); Tosh's drummer Carlton "Santa" Davis, and musician Michael Robinson.
According to Police Commissioner Herman Ricketts, Dennis "Leppo" Lobban surrendered and two other men were interrogated but not publicly named. Lobban went on to plead innocent during his trial, telling the court he had been drinking with friends. The trial was held in a closed court due to the involvement of illegal firearms. Lobban was ultimately found guilty by a jury of eight women and four men and sentenced to death by hanging. His sentence was commuted in 1995 and Lobban remains in jail. Another suspect was acquitted due to insufficient evidence. The other two gunmen were never identified by name.
Discography
Legalize It (1976)
Equal Rights (1977)
Bush Doctor (1978)
Mystic Man (1979)
Wanted Dread & Alive (1981)
Mama Africa (1983)
No Nuclear War (1987)
African
Peter Tosh Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
As long as you're a black man, you're an African
No mind your nationality
You have got the identity of an African
'Cause if you come from Clarendon (you are an African)
And if you come from Portland (you are an African)
And if you come from Westmoreland, you're an African
So don't care where you come from
As long as you're a black man, you're an African
No mind your nationality
You have got the identity of an African
'Cause if you come Trinidad (you are an African)
And if you come from Nassau (you are an African)
And if you come from Cuba, you're an African
So don't care where you come from
As long as you're a black man, you're an African
No mind your complexion
There is no rejection, you're an African
'Cause if your 'plexion high, high, high
If your 'plexion low, low
And if your 'plexion in between, you're an African
So don't care where you come from
As long as you're a black man, you're an African
No mind denomination
That is only segregation, you're an African
'Cause if you go to the Catholic (you are an African)
And if you go to the Methodist (you are an African)
And if you go to the Church of Gods, you're an African
So don't care where you come from
As long as you're a black man, you're an African
No mind your nationality
You've got the identity of an African
'Cause if you come from Brixton (you are an African)
And if you come from Weesday (you are an African)
And if you come from Wingstead (you are an African)
And if you come from Bronx (you are an African)
And if you come from Brooklyn (you are an African)
And if you come from Queens (you are an African)
And if you come from Manhattan (you are an African)
And if you come from Canada (you are an African)
And if you come from Miami (you are an African)
And if you come from Switzerland (you are an African)
And if you come from Germany (you are an African)
The lyrics of Peter Tosh’s song “African” advocate for a sense of unity and recognition of one’s shared identity as being African, regardless of nationality, religion, or skin color. Tosh promotes the idea that being black and having an African identity is not limited to people born on the African continent or only those of a certain religion or denomination, but rather it is an identity that transcends borders and is shared amongst all black people across the world.
He emphasizes that it does not matter which country, city or neighborhood someone comes from, they are all African. He mentions specific places across the world, from Clarendon in Jamaica to Brixton in London, and from Trinidad to Germany, to illustrate that black people are present everywhere and should all be united under the African identity. Additionally, Tosh highlights that someone’s complexion does not define whether they are African or not, and the same goes for a person’s religious affiliation. He argues that regardless of one’s denomination, whether they are Catholic, Methodist or belong to a different church, they are all still African.
The message of “African” is clear: black people share an identity that should be acknowledged and celebrated, and that identity is African. Tosh’s lyrics are a powerful call to black people to recognize their shared heritage and to embrace their African identity as a symbol of unity and strength.
Line by Line Meaning
Don't care where you come from
Your place of origin doesn't matter
As long as you're a black man, you're an African
If you are black, you are African regardless of where you were born
No mind your nationality
Your nationality is insignificant
You have got the identity of an African
Your identity is that of an African
'Cause if you come from Clarendon (you are an African)
If you come from Clarendon, Jamaica, you are African
And if you come from Portland (you are an African)
If you come from Portland, Jamaica, you are African
And if you come from Westmoreland, you're an African
If you come from Westmoreland, Jamaica, you are African
So don't care where you come from
It doesn't matter where you come from
No mind your nationality
Your nationality is irrelevant
You have got the identity of an African
Your identity is that of an African
'Cause if you come Trinidad (you are an African)
If you come from Trinidad, you are African
And if you come from Nassau (you are an African)
If you come from Nassau, Bahamas, you are African
And if you come from Cuba, you're an African
If you come from Cuba, you are African
So don't care where you come from
Your place of origin doesn't matter
As long as you're a black man, you're an African
If you are black, you are African regardless of where you were born
No mind your complexion
Your skin color is not important
There is no rejection, you're an African
No one can reject you as an African
'Cause if your 'plexion high, high, high
Whether you have a light complexion or not
If your 'plexion low, low
Whether you have a dark complexion or not
And if your 'plexion in between, you're an African
Your complexion does not determine your African identity
So don't care where you come from
It doesn't matter where you come from
As long as you're a black man, you're an African
If you are black, you are African regardless of where you were born
No mind denomination
Your religious affiliation is unimportant
That is only segregation, you're an African
Any attempt to segregate based on religion is futile, you are African
'Cause if you go to the Catholic (you are an African)
If you are Catholic, you are still African
And if you go to the Methodist (you are an African)
If you are Methodist, you are still African
And if you go to the Church of Gods, you're an African
If you attend the Church of God, you are still African
So don't care where you come from
Your place of origin doesn't matter
As long as you're a black man, you're an African
If you are black, you are African regardless of where you were born
No mind your nationality
Your nationality is irrelevant
You've got the identity of an African
Your identity is that of an African
'Cause if you come from Brixton (you are an African)
If you come from Brixton, London, you are African
And if you come from Weesday (you are an African)
If you come from Weesday, Jamaica, you are African
And if you come from Wingstead (you are an African)
If you come from Wingstead, Jamaica, you are African
And if you come from Bronx (you are an African)
If you come from the Bronx, NY, you are African
And if you come from Brooklyn (you are an African)
If you come from Brooklyn, NY, you are African
And if you come from Queens (you are an African)
If you come from Queens, NY, you are African
And if you come from Manhattan (you are an African)
If you come from Manhattan, NY, you are African
And if you come from Canada (you are an African)
If you come from Canada, you are African
And if you come from Miami (you are an African)
If you come from Miami, FL, you are African
And if you come from Switzerland (you are an African)
If you come from Switzerland, you are African
And if you come from Germany (you are an African)
If you come from Germany, you are African
Lyrics © Universal Music Publishing Group, Royalty Network, Warner Chappell Music, Inc.
Written by: Peter Tosh
Lyrics Licensed & Provided by LyricFind
@carltonchristie1467
I am a Jamaican and a black man I am an African. Big up to our founding father's. Liberty to humanity
@piapp9503
And you are 💯 an African.
I'm proud of Peter Tosh for being proud of his Identity.
@BonganiMagadu
Salute mt Jamaican brother
If you ever in Zimbabwe where I am, drinks on me and dinner
@Lamoh_arts240
We love our brothers from Jamaica. They are proud Africans like we in Africa. From Kenya, Malawi, Uganda, Egypt, Zimbabwe, South Africa, Congo, Zambia, Togo, Ghana, Senegal, Guinea, Nigeria, Cameroon, Ivory Coast, Mozambique, Tanzania, Namibia, Ethiopia, S. Sudan... As long as you're a black man, you're an African.
@user-gd6bj8bv7s
Listenening today from Trinidad. Mixed. But I am an African. And proud of all the African leaders trying to salvage our legacy and secure our future.
Make no mistake
Africa will unite
And will form one Pan African nation, uniting One Caribbean, African American diaspora, all Indigeneous peoples under the wing of, Mamma Africa. TRINI SAY SO!
@user-ff2xi3cl1o
✊🏿✊🏿✊🏿
@staroromia2597
🔥🔥🔥❤️🖤💚✊🏿✊🏿✊🏿
@dalemcilwain
BIGG UP, TRINI! B1! ✊🏿✊🏿
@generalvc
One love. This song relates as usual. National anthem with all the suffering we are going through
@alickchipwaila2426
3:14 🎉🎉🎉🎉🎉🎉