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)
Dubbing Buk-In-Hamm Palace
Peter Tosh Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Reggae music
As far as I can see
This ya music
Reggae music
It′s got a spell on me
Rasta music
As far as I can see
This ya music
Roots music
It's got a hold on me
It can make you feel so happy
Whenever problems get you down
It has itaficial respiration
Keep your heart functioning sound
Light your spliff
Light your chalice
Make we smoke it in Buk In Hamm Palace
Lend me a paper
Lend me a fire
Mek we chase way all the vampire
Light up your spliff
Light up your chalice
Make we burn it in a Buk In Hamm Palace
Lend me a paper
Lend me some fire
We ha′ fe chase way vampire
Music and herb is the healing of the nation
Sent from Jah oo-ee grace
So take heed, heed and listen
Be a fan for better days
Light your spliff
Light your chalice
We gonna smoke it in a Buk In Hamm Palace
Lend me a paper
Lend me some fire
Mek we chase way vampire
Light up your spliff
Light your chalice
We gonna burn it in a Buk In Hamm Palace
Lend me a paper
Lend me some fire
Mek we chase way vampire
If you want to know my father
Said you've got to know his son
And if you try to compare us
You can see that we are one
Light up your spliff
Light up your chalice
Rasta don't keep malice
Light up your spliff
Light up your chalice
In a Buk in Hamm Palace
This is a true imagination
Come to set the people free
Don′t you let disco get you down
Give a listenin′ to reggae sound
Light your spliff
Light your chalice
We a go smoke it in a Buk in Hamm Palace
Lend me a paper
Lend me a fire
Mek we chase way vampire
Put down your face yes
Of called depressed yes
We gonna smoke it in the House of Congress
Lend me a Rizzla
Lend me a fire
We a go chase way vampire
Can you feel, can feel it, can you feel it?
The lyrics to Peter Tosh's song "Dubbing Buk-In-Hamm Palace" celebrate the power and influence of reggae music and its ability to uplift and heal. Tosh refers to reggae as "this ya music" and emphasizes its connection to Rastafarianism and roots culture. The repetition of "as far as I can see" suggests that reggae music is all-encompassing, reaching every aspect of Tosh's perspective. He describes it as having a spell and a hold on him, indicating its mesmerizing and captivating effect.
Tosh also highlights the medicinal qualities of reggae music, comparing it to artificial respiration that keeps the heart functioning sound. The lyrics promote the use of cannabis, referred to as "spliff" and "chalice," as a way to enhance the reggae experience. The lines "Light your spliff, light your chalice, make we smoke it in Buk In Hamm Palace" and "Light up your spliff, light up your chalice, we gonna burn it in a Buk In Hamm Palace" showcase Tosh's rebellious spirit by advocating for the consumption of marijuana in a place associated with power and authority.
The song further emphasizes the connection between music and healing, stating that "music and herb is the healing of the nation." It encourages listeners to be open to the positive messages conveyed through reggae music, urging them to "take heed and listen" and become fans for better days. Tosh also emphasizes unity, stating that to know his father (Jah) one must know his son (himself) and that comparing them reveals their oneness.
Overall, "Dubbing Buk-In-Hamm Palace" celebrates reggae music as a source of joy, empowerment, and liberation. It calls for listeners to embrace the healing power of music, let go of negative influences, and unite in a shared experience of love and positivity.
Line by Line Meaning
This ya music
This music, specifically reggae music
Reggae music
The genre of music known as reggae
As far as I can see
From my perspective
It's got a spell on me
It has a captivating effect on me
Rasta music
Music associated with Rastafari culture
Roots music
Music that focuses on the cultural and historical roots
It can make you feel so happy
It has the ability to bring joy
Whenever problems get you down
When you are feeling down or facing difficulties
It has itaficial respiration
It provides a form of artificial respiration
Keep your heart functioning sound
To keep your heart in good shape
Light your spliff
Ignite your marijuana cigarette
Light your chalice
Ignite your Rastafarian smoking pipe
Make we smoke it in Buk In Hamm Palace
Let us enjoy smoking in Buk In Hamm Palace
Lend me a paper
Pass me a rolling paper
Lend me a fire
Share the flame from your lighter
Mek we chase way all the vampire
Let's chase away all the negative influences
Music and herb is the healing of the nation
Music and marijuana have a healing effect on society
Sent from Jah oo-ee grace
Sent from divine blessing and guidance
So take heed, heed and listen
Pay attention and listen
Be a fan for better days
Support and advocate for positive change
We gonna smoke it in a Buk In Hamm Palace
We will enjoy smoking in Buk In Hamm Palace
We gonna burn it in a Buk In Hamm Palace
We will enjoy consuming marijuana in Buk In Hamm Palace
We ha' fe chase way vampire
We have to drive away negativity
If you want to know my father
To understand me, you must know my father
Said you've got to know his son
You must understand his son as well
And if you try to compare us
If you attempt to draw comparisons between us
You can see that we are one
You will realize that we are united
Rasta don't keep malice
Rastafarians do not hold grudges
This is a true imagination
This represents a genuine expression of creativity
Come to set the people free
Intended to liberate the people
Don't you let disco get you down
Do not allow disco music to bring you down
Give a listenin' to reggae sound
Listen to reggae music instead
Put down your face yes
Drop the sad or depressed expression
Of called depressed yes
Avoid being labeled as depressed
We gonna smoke it in the House of Congress
We will enjoy smoking even in the governmental institutions
Lend me a Rizzla
Pass me a cigarette rolling paper
We a go chase way vampire
We are going to eliminate negative influences
Can you feel, can feel it, can you feel it?
Are you able to sense, truly sense it?
Writer(s): Peter Tosh
Contributed by Makayla G. Suggest a correction in the comments below.
Mitchell Nobles
on Legalize It
araha del ganja fedelia antoka rastaman arie del rasta
Juan Lantigua
on Legalize It
if love ganja go for it
Abd Al Halim Zargi
on Brand New Second Hand
hchicha hnina
Gosset Yoh
on Igziabeher (Let Jah Be Praised)
let jah be praised/otherwise,this is whats going to happen. he who got ear, just ear it.
Ali Rifai
on Bush Doctor
good gooooooooooooooooooooooooooood
John Leo Macayran Murillo
on Legalize It
uram nga oka
Nicky Quitania
on Wanted Dread and Alive - 2002 - Remaster
fuking cannabis he ruin my damn world
Maria De Jesus Santos
on Johnny B Goode - 2002 - Remaster
linda musica
Elbe Moreira
on Glass House
é barriu
Alex Severiano
on Burial
TRANQUILIDADE NO TÉMPO TA MASSA KKKKKKKKKKKKKRSRSRSRSR