In Kingston, he met Henry "Raleigh" Gordon and Nathaniel "Jerry" McCarthy, forming a group whose early recordings were attributed to "The Flames" and, possibly, "The Vikings". Having renamed the group the Maytals, the vocal trio recorded their first album, "Never Grow Old - presenting the Maytals", for producer Clement "Coxsone" Dodd at Studio One in 1962-63. With musical backing from Dodd's house band, the legendary Skatalites, the Maytals' close-harmony gospel singing ensured instant success for the 1964 release, overshadowing Dodd's other up-and-coming gospel trio, The Wailers. The original album augmented by studio out-takes from the Studio One sessions was re-released by Heartbeat/Rounder Records in 1997, and is essential listening for Maytals and Skatalites fans.
After staying at Studio One for about two years, the group moved on to do sessions for Prince Buster (released in 1974) before recording their second album produced by Byron Lee in 1965. However, the band's musical career was rudely interrupted in late 1966 when Hibbert was arrested and imprisoned on drugs possession charges.
Following Hibbert's release from jail towards the end of 1967, the band officially changed their name to Toots and the Maytals and began working with Chinese-Jamaican producer Leslie Kong, a collaboration which produced three classic albums and a string of hits throughout the late sixties and early seventies - "Do the Reggay", a 1968 single widely credited with coining the word reggae, "Pressure Drop", "54-46 was my number" and "Monkey Man", the group's first international hit in 1970. The group was featured in one of reggae's greatest breakthrough events - The Harder They Come, the 1972 film and soundtrack starring Jimmy Cliff.
Following Kong's death in 1971, the group continued to record with Kong's former sound engineer, Warwick Lyn; produced by Lyn and Chris Blackwell of Island Records, the group released three best-selling albums, and enjoyed international hits with "Funky Kingston" in 1973 and "Reggae Got Soul" in 1976.
The compositions of Toots & the Maytals (also known as Toots and the Maytals) would be given a second airing in 1978-80 during the reggae-punk and ska revival period in the UK, when the Specials included "Monkey Man" on their 1979 debut album and the Clash produced their version of "Pressure Drop", with other Maytals' covers being recorded by Sublime. Having toured throughout the world for many years, Toots and the Maytals disbanded in the early 1980s, but reformed in the early 90s to continue touring and recording successfully.
The band recently won the 2005 Grammy award for reggae for the album True Love, an album consisting of re-recorded versions of their classics alongside popular and legendary musicians such as Bonnie Raitt, Willie Nelson, Eric Clapton, and Keith Richards, as well as popular artists today such as No Doubt, Ben Harper, The Roots, and Shaggy.
They also contributed to the album 'Radiodread' (a tribute to Radiohead's OK Computer).
54-46 Was My Number
Toots & The Maytals Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Listen what I say (listen what I say)
I said hear me now (I said, yeah)
Listen what I say (listen what I say)
I said, "Stick it up, mister"
Hear what I say, sir
Get your hands in the air, sir
Do what I say, sir, ah
Just what I mean sir
Get your hands in the air, sir
Then you will get no hurt, no
I said, yeah (I said, yeah)
Listen what I say (listen what I say)
I said hear me now (I said, yeah)
Listen what I say (listen what I say)
Second thing they say, I must join the office
Third thing they say, "Son, give me your number now"
He say, "What's your number?", I don't answer
He say, "What's your number, man?", I don't answer
He say, "What's your number now?"
He say "What's your number now?"
I said, "Fifty-four, forty-six, that's my number", whoa
Fifty-four, forty-six, that's my number, one more time
Fifty-four, forty-six, that's my number, whoa
Fifty-four, forty-six, that's my number
I said, yeah (I said, yeah)
Listen what I say (listen what I say)
I said hear me now (I said, yeah)
Listen what I say (listen what I say)
Ba-da-da, dee-dee-dee-dee-dee-dee-dee-dee, dee, da-da-dee-da
Ba-da, dai-dai, day-day, day-da-da-dee-da
Dee-da-dai-da, day-da-day-da, day-da-day-da, day-da-day-da
Da-da-da, dee-dee-dee-dee-dee-dee-dee, de-dee-dee
Dee-da-da-da-da, dai-da-da-da-da
Dee-da-da-da-da-da
I said, yeah (I said, yeah)
Listen what I say (listen what I say)
I said, yeah (I said, yeah)
Listen what I say (listen what I say)
Stick it up, mister
Hear what I say, sir
Get your hands in the air, sir
You will get no hurt, sir, me say
Turn out your left pocket
Ah, give me a clean shirt, sir
Take off your shirt, sir
I not want no racket now
Stick it up, mister (I said, yeah)
Hear what I say, sir (I said, yeah)
Get your hands in the air, sir (I said, yeah)
Then you will get no hurt, mister, oh oh (I said, yeah)
Yeah (I said, yeah)
Whoa, yeah, yeah, yeah (I said, yeah)
Stick it up, mister now (I said, yeah)
Hear what I say, sir
The lyrics to Toots & The Maytals's song 54-46 Was My Number are full of bravado and defiance towards authority. The song describes an encounter with the police where the singer is being accused of a crime he did not commit. The chorus "I said yeah, listen what I say" and "I said hear me now, listen what I say" illustrate his unwavering confidence as he tries to reason with the cops. He demands them to "Get your hands in the air" to show his innocence, and assures them that if they comply with his demands, no harm will be done.
The second part of the song reveals a phone call from someone who is presumably the police, who is urging the singer to give his phone number. Despite their repeated requests, he refuses to give his number, and instead states that "54-46 was my number". This number is a reference to his time spent in jail for marijuana possession. The song is ultimately a symbol of resistance and a call to stand up to unjust authority.
Line by Line Meaning
I said yeah (I said yeah), listen what I say (listen what I say)
Listen to me carefully
I said hear me now, listen what I say (listen what I say)
Listen to what I have to say right now
I said stick it up mister
I am telling you to put your hands up in the air
Hear what I say, sir
Listen to me, sir
Get your hands in the air, sir
Put your hands up in the air
And you will get no hurt mister
You won't get hurt if you do as I say
Do what I say sir
Follow my instructions, sir
Just what I mean sir
Do as I say, the way I say it
Second thing they say I must join the office
They are saying I have to work for them
Third thing they say, 'Son, give me your number now'
They are asking for my identifying number
He'd say 'What's your number?' I don't answer
I refuse to answer their question
He'd say 'What's your number, man?' I don't answer
I still won't tell them my number
He'd say 'What's your number now?', he'd say 'What's your number now?'
They keep asking, but I won't tell them
I said 'fifty four forty six, that's my number'
I finally give them my prison ID number as my only way of identification
Fifty four forty six, that's my number, one more time
I repeat my number for clarity
Stick it up, mister, hear what I say, sir, yeah
I am giving a command to put their hands up
Get your hands in the air, sir
Put your hands up in the air
And you will get no hurt, you say
You won't get hurt if you do as I say
Turn out your right pocket
Empty out your right pocket
Ah, give me a printed shirt, sir
I am ordering them to give me their printed shirt
Make up your shirt up
Clean up your shirt
I ain't have no luck now
I haven't had any luck until now
Stick it up, mister, hear what I say, sir, yeah
Once again, put your hands up in the air
Lyrics © Universal Music Publishing Group
Written by: Frederick Hibbert
Lyrics Licensed & Provided by LyricFind
Simon Templar
Rest in Peace Frederick "Toots" Hibbert. Easily, the greatest voice in reggae. And he even coined the word!
BenGmen
R.I.P. Toots R.I.P. Grandpa Elliott two greats gone but not forgotten 🙏🏽
Jim Tuten
Toots still had the power, the voice, and the showmanship. I remember the day I heard of his passing. I sat in my car listening to his music. Thanks for keeping his memory alive with this great version.
f. fiori
Thank's PFC!
Beautiful!
🙏❤️🙏
🇧🇷
Jon Peters Drone Media
What a great version with PFC!!!! RIP Toots and Grandpa Elliot.
Kyle MacKenzie
RIP toots your songs will always have soul 🙏🏻 ❤💛💚
Ivor Curtis
Playing for Change - spreading love and beautiful music around the world. You guys are the best!
Ruva Noa
One of my favorite songs ever, and now in this playing for change version, I love it ❤❤❤❤
Dorita Schlenker
Gracias por compartirnos estas joyas! Que sea un buen año para toda la gente de Playing fo Change!
Rosemary Antonio
Espetacular 🇧🇷 🎼 🇦🇴 ✨️