Track Listing

1. Legalize It
2. Burial
3. What'cha Gonna Do?
4. No Sympathy
5. Why Must I Cry
6. Igziabeher (Let Jah Be Praised)
7. Ketchy Shuby [#]
8. Till Your Well Runs Dry
9. Brand New Second Hand
10. Ketchy Shuby [#][*][Instrumental]

Product Details

• Amazon Sales Rank: #51111 in Music
• Brand: Sony
• Released on: 1999-07-06
• Number of discs: 1
• Formats: Extra tracks, Original recording reissued, Original recording remastered
• Dimensions: .21 pounds

Amazon.com
Each of the dreadlocked prophets who made up reggae's "holy trinity"--Bob Marley, Bunny Livingston, and Peter Tosh--sang for "equal rights and justice." But Tosh, the trio's take-no-prisoners militant, came on the hardest. His voice held the threat of danger, turning sufferahs' dreams and Rastafarian complaints into urgent demands. All the tracks in this remastered 1976 set--Tosh's first for an American major and his first collaboration with drummer Sly Dunbar and bassist Robbie Shakespeare (who went on to become reggae's legendary "riddim twins")--instantly became anthems, not just in reggae, but within the international pop lexicon. Some vintage roots reggae may strike contemporary listeners as peace and love cliché, even naive. Not Tosh. Against the background of today's turbulent social climate, Legalize It still sends chills up the spine with the sheer spectacle of a great reggae warrior's refusal to bow. --Elena Oumano

Customer Reviews

amazing debut
More than Bob Marley and Bunny Wailer, it was Peter Tosh who gave the Wailers their harder edge and roots credibility on famous tracks like "400 Years," "One Foundation," as well as his work on "Get Up, Stand Up."

It should come as no surprise, then, that Tosh took on all comers in his solo career, as well, with "Legalize It" and "Equal Rights" being 2 of the most militant offerings this side of Burning Spear's "Marcus Garvey."

On "Legalize It," Tosh's roots sensibilities are sharp, with beautiful rastafarian numbers like "Let Jah Be Praised" mixed well with his all out assaults on the government's anti herb policies, ("Legalize It") and self pity and fear ("Why Must I Cry," "No Sympathy"). He also manages to talk to the naughty side of things on his tracks "Ketchy Shuby," and the Wailers' throwout tune "Brand New Second Hand."

The album's tour de force is Tosh himself, and his voice- a rough and ready, gritty tenor that in no way weraks of complacency; it strikes a deep, resonant chord- that of fear- but can also at moments, like on "Let Jah Be Praised," be almost soothing and re-assuring.

This lp is a must have in any respectable reggae collection, and is one of reggae's shining moments and brilliant debuts.

Wolde Semayat - Son of Thunder
Peter Tosh's first solo album proved beyond doubt that this artist's talent and vision was far reaching enough to break through the small confines of his little Jamaican island to reverberate across the music world enjoying great critical acclaim being even more popular today than when it was first released.

As one of the original founders of the legendary Wailers, Peter Tosh always felt stifled musically and after Island Records decided to rename the group "Bob Marley & the Wailers" for international appeal it was more than the angry rebel's pride could take. Tosh stayed with the group for their first two albums, contributing much to their initial success with gems like "400 Years," "Stop That Train" and the mighty "Get Up, Stand Up." Not to mention his incredible ability with the guitar, giving the band its original edge. His amazing compositions for songs like "Concrete Jungle," and "Stir It Up" are irreplaceable.

Becoming more disgruntled with all the attention Bob Marley was getting, Tosh finally left the band along with Bunny Livingston to pursue his own solo career. If their were any skeptics as to whether Peter Tosh could make it as an international star without Bob Marley, they were shamelessly silenced in 1976 as "Legalize It" showed that Tosh was more than capable of holding his own. Of course, that's an understatement. The truth is, "Legalize It" has become one of the most colossal Reggae albums of all time!

A photograph of the 6'3" Reggae singer curled up in a field of ganja (perhaps his own), smoking the sacramental herb of the Rastafarian religion in his pipe adorns the cover sleeve. His premature "dreadlocks" crown the head throwing shadows over his eyes; the cover of this album is worth the entire CD! The yellow border saying "collector's choice" that used to outline the cover has been dropped for the CD's reissue making the picture larger.

The songs included in the set are remakes of the artist's most popular singles during the early 70's trying to develop his own solo career while working with the Wailers at the same time. The psychedelic title track opens the album followed by the stunning "Burial." "...you want I comma comma funeral, yet no one bury I..." he sings (Rastas don't believe in attending funerals). "Why Must I Cry" is one of the few love songs Peter Tosh has and "Igziabeher" is an absolute masterpiece. Also check out the countryfied "Till Your Well Runs Dry."

A couple songs are a bit naive (almost like children's songs) but overall a classic album.

Wicked
"Legalize it", Peter's first solo album after he left the Wailers in 1974, is quite simply his best effort,with 1977's "Equal Rights" coming close and of course more socially and politically relevant. But on the scale of musicality, none touches "Legalize it". The hard-driving rhythm section of the Barrett Brothers...lead guitar from the 'steppin' razor' himself... finally Peter could express himself as a solo artist, free from the artistic constraints of being a Wailer and being in the shadow of his student, Bob Marley. Peter is not an 'egomaniac' as someone on this forum commented; he simply spoke the truth very bluntly and this was a bit too difficult for some people to deal with. Yes he did teach Bob to play the guitar; saying so made it sound like blasphemy. Could it be, as he asserted, that he was just too black for some people? I tend to agree... Nonetheless, this is one of reggae's greatest albums, definitely one that will always find it's way back to my cd player.