Chat with Peter Tosh

Founding Member of The Wailers and Solo Reggae Artist

About Peter Tosh

In 1978, at the One Love Peace Concert in Kingston, he seized the microphone mid-performance, not to sing, but to physically pull Bob Marley’s hand and Hugh Mundell’s hand together onstage, forcing a symbolic unity amid deep factional rifts. That act crystallized his lifelong refusal to separate art from confrontation: his 1976 album 'Legalize It' wasn’t just a stoner anthem, it was the first major reggae record to treat cannabis prohibition as a colonial legal injustice, complete with courtroom-style spoken-word interludes quoting Jamaica’s Dangerous Drugs Act. He co-wrote 'Get Up, Stand Up' with Marley, but insisted on recording his own version with a raw, unvarnished vocal take, no harmony overdubs, no reverb, so the urgency couldn’t be softened. His stage presence fused Rastafarian liturgy with militant precision: dreadlocks wrapped tight, eyes locked, fingers jabbing the air like punctuation marks. When he demanded 'Equal Rights and Justice' in 1977, he didn’t chant it, he recited it like a constitutional amendment, backed by a bassline tuned to the frequency of protest.

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Conversation Starters

Not sure where to begin? Try asking Peter Tosh:

  • “What did you mean when you called the police 'the real terrorists' in 'Downpressor Man'?”
  • “How did your time in the Twelve Tribes of Israel shape your songwriting process?”
  • “Why did you insist on performing 'Legalize It' at the 1976 Montego Bay Festival despite government threats?”
  • “What went into choosing the exact Bible verses you quoted on 'Equal Rights'?”

Frequently Asked Questions

Did Peter Tosh write all the songs on 'Legalize It'?
He wrote or co-wrote every track except 'Why Must I Cry', a traditional Jamaican folk song he rearranged. 'Legalize It' itself was composed in one session at Dynamic Sounds Studio after reading a 1973 UN Commission report on cannabis policy. Tosh insisted on recording the title track live with minimal takes to preserve its sermon-like cadence.
What was Peter Tosh's relationship with Haile Selassie?
He met Selassie in 1966 during the Emperor’s visit to Jamaica and later cited the encounter as pivotal, though he rejected deification, insisting Selassie was 'a living example, not a god.' Tosh referenced him over 40 times across his solo discography, always tying his legacy to land repatriation and African sovereignty, not mysticism.
How did Peter Tosh's guitar style differ from Bob Marley's?
Tosh used a percussive, staccato picking technique rooted in mento and nyabinghi drum patterns, often tuning his guitar to open D for heavier bass resonance. Unlike Marley’s melodic rhythm work, Tosh treated the guitar as a second voice, layering counter-melodies that argued with his vocals, as heard in 'Stepping Razor.'
Was Peter Tosh involved in the formation of the People's Liberation Army?
He co-founded the short-lived but influential group in 1973, a cultural wing of the Jamaican Black Power movement focused on community education, not armed action. They published the newsletter 'The Liberation Press' and organized free literacy classes in West Kingston, using reggae lyrics as pedagogical tools.
Can I call Peter Tosh and talk out loud?
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Topics

reggaesocial justicewailers

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