You've
probably heard by now of the death of Toots Hibbert, lead vocalist of
the seminal reggae band Toots & the Maytals. The Maytals weren't
the most-famous or most-lauded reggae artists, but they were instrumental in getting
reggae known beyond the confines of Jamaica.
As
was the case in the early-to-mid-seventies, reggae spread first to
England, or more specifically, London, owing to its large Jamaican
population. The indelible material the Maytals were recording at the
time was too good to stay bottled up within in a single community and
soon the word was out: you needed to hear the Maytals. Now.
“Funky
Kingston”, “Pomp and Pride”, “Time Tough”, “Pressure
Drop” and amazing covers of the Kingmen's “Louie Louie” and
John Denver's “County Roads” brought universal acclaim to Mr.
Hibbert and his band. It wasn't long before a reconstructed version
of Funky Kingston featuring that material was released on
Island Records.
Reggae
was white hot, driven by the first three Wailers' LPs, the soundtrack
to The Harder They Come and,
of course, Funky Kingston.
Those
were glorious days.
One
of the most tragic moments of my youth was missing the Who's 1975
appearances in Chicago. Not only because the first of their two dates
actually featured an encore, but because they had handpicked Toots &
the Maytals to open.
Predictably,
the Maytals were not well-received. (I wonder how many rock fans of
the day realized how narrow-minded their taste in music would have
appeared to their heroes? It's a wonder more musicians didn't rail at their
fan's suffocating expectations.)
At
any rate, the Maytals continued to record, if not always with the
stunning results found on Kingston.
But their output through the nineteen-eighties was always worth
hearing, and live they remained a unit capable of inducing joy and wonder.
I
was fortunate to see the Maytals twice on their tour to support Knock
Out!, and not even a Rolling
Stones show three days later could dim the memory of that November,
1981 performance.
And
another show the following April was just as good.
Despite
the often political orientation of their material, Hibbert performed
with warmth and radiated good vibes. He was authentic, passionate and
obviously enjoyed his craft.
This openness was reflected in the fact that the Maytals never followed the strict Rastafarian orthodoxy of, say, a Bob Marley. The Maytals from day one embraced their gospel and rhythm and blues influences to the point where Mr. Hibbert recorded an album of R&B chestnuts in 1988.
Amidst
the embarrassment of reggaefied riches available in the mid-seventies, the
Maytals were the first reggae band I embraced. And they remained my
favorite. Even as the name 'Marley' became a brand-name
for an entire genre of music, too often crowding out all else.
The
Maytals' recordings always lifted me, and hearing Hibbert sing was
like hearing from an old friend.
That
voice is still now. And life just got a little more grim because of it.