Winston Hubert McIntosh, OM (19 October 1944 – 11 September 1987), profess… Read Full Bio ↴Winston Hubert McIntosh, OM (19 October 1944 – 11 September 1987), professionally known as Peter Tosh, was a Jamaican reggae musician. Along with Bob Marley and Bunny Wailer, he was one of the core members of the band the Wailers (1963–1976), after which he established himself as a successful solo artist and a promoter of Rastafari. He was murdered in 1987 during a home invasion.

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)

Can't Blame the Youth
Peter Tosh Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

You can't blame the youth
You can't fool the youth
You can't blame the youths, of today
You can't fool the youth

You teachin' youths to learn in school
That cow jump over moon
You teachin' youths to learn in school

That the dish run away with spoon

So you can't blame the youth, when they don't learn
You can't fool the youths
You can't blame the youth, of today

You teach the youths 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 youths about the Pirate Hawkins
And you said he was a very great man
You teach the youths about Pirate Morgan
And you said he was a very great man

So you can't blame the youths, of today
You can't fool the youths
You can't blame the youths
You can't fool the youths

All these great men were doing,
Robbing, raping, kidnapping, and killing
So-called great men, were doing,
Robbing, raping, kidnapping, and killing

So you can't blame the youths
You can't fool the youths
You can't blame the youths
You can't fool the youths

When every Christmas come
You buy the youth a pretty toy gun
When every Christmas come
You buy the youth a fancy toy gun

So you can't blame the youth
You can't fool the youth
You can't blame the youth
You can't fool the youth

Cause what was hidden from the wise and the prudish
Is now revealed to the babes and the suckling
Cause what was hidden from the wise and the prudish
Is now revealed to the babes and the suckling

Lord call upon the youth
Cause you know the youth is strong
Jah Jah call upon the youth
Cause He know the youth is strong

So you can't blame the youth
You can't fool the youth
You can't blame the youth (save your children)

You can't fool the youth
Don't blame them

Overall Meaning

Peter Tosh's song "Can't Blame The Youth" is a commentary on the education system and the way society teaches children about history, culture, and violence. The song emphasizes that we cannot blame and fool the youth of today for their lack of understanding or knowledge, as they are taught things that are neither true nor valuable. Tosh asserts that the education system is a cause for concern for the children, as they are taught to learn things that have no relevance to their lives.

The first verse of the song questions the effectiveness of teaching children in schools, where they are forced to learn about things that do not make sense, such as the dish running away with the spoon or the cow jumping over the moon. The second verse tackles the myths around historical figures such as Christopher Columbus, Marco Polo, and the Pirates Hawkins and Morgan, stating that they were only "robbing, raping, kidnapping, and killing."

The third verse touches upon the fact that children are given toy guns as gifts, which reinforces violence in society. Finally, Tosh emphasizes that youth is not to be blamed as they are the innocent ones. The lyrics refer to a belief about children being born pure and special, unjaded by the world and its evils.

"Can't Blame The Youth" is a powerful critique of the education system and how it teaches children about violence, history, and culture. It suggests that teaching children to recognize truth and non-violence is vital, and that society is responsible for nurturing its future citizens.

Line by Line Meaning

You can't blame the youth
It is not fair to hold young people responsible for things they cannot control or for mistakes they make due to a lack of knowledge and experience.

You can't fool the youth
Young people are clever and aware enough to see through deceitful actions and false information.

You can't blame the youths, of today
Current generations are not at fault for the mistakes and decisions of past generations.

You teachin' youths to learn in school That cow jump over moon
Teaching children unrealistic ideas as facts will not result in actual learning and knowledge acquisition.

You teach the youths about Christopher Columbus And you said he was a very great man
Idolizing historical figures without examining their negative actions and consequences perpetuates a false and harmful view of history.

You teach the youth about Marco Polo And you said he was a very great man
Giving praise to historical figures without acknowledging their negative impact reinforces a biased and incomplete perspective of history.

You teach the youths about the Pirate Hawkins And you said he was a very great man
Promoting admiration of individuals who committed crimes and caused harm exhibits a distorted and unhealthy understanding of morality.

So you can't blame the youths, of today
Blaming current generations for not knowing better in the past is unreasonable and unjust.

All these great men were doing, Robbing, raping, kidnapping, and killing
Many historical figures who are viewed as 'great' have committed violent and criminal acts.

When every Christmas come You buy the youth a pretty toy gun
Giving children weapons as toys sends a dangerous and irresponsible message.

Cause what was hidden from the wise and the prudish Is now revealed to the babes and the suckling
Knowledge and information is more accessible and transparent in the modern age, making it easier for younger generations to learn and understand the world around them.

Lord call upon the youth Cause you know the youth is strong Jah Jah call upon the youth Cause He know the youth is strong
Young people have the potential for great strength and ability, and should be empowered to use it to make positive change and progress.

You can't blame the youth (save your children) You can't fool the youth Don't blame them
It is important to protect and educate young people, rather than placing blame or expecting perfection from them.

Lyrics © BMG Rights Management, Universal Music Publishing Group, Peermusic Publishing
Written by: Peter Tosh

Lyrics Licensed & Provided by LyricFind

To comment on or correct specific content, highlight it

TRACKS