Month: September 2020

toots hibbert, 1942-2020

funky

let me tell you a little story. in the early eighties i was in college and my musical horizons were exploding. in the summer between my junior and senior year i was getting heavy into reggae, and as usual, once i lock into something i go in deep. i was starting to build a little catalog of not only the biggest names – marley, tosh, jimmy cliff and the like – but also newer acts like black uhuru and steel pulse. and, of course, i had a great little album called ‘funky kingston’ by toots and the maytals.

so i felt well prepared when a few guys from my fraternity decided to head down to jamaica for our senior spring break excursion. we had our little boom box and i brought my tape case that probably had room for 12-15 of my best reggae tapes. after an arduous flight into montego bay, we had about a two hour taxi ride to our campsite in negril. we found a guy willing to take us there, and he helped us secure a case of barely cold red stripe beer. as we started making our way through the countryside, i asked him if i could play one of my tapes for the ride. he said yes, and so i started rattling off some of the names above, until i got to toots. all of he sudden he turned and said ‘toots, mon, play the toots, mon’. and so i did.

toots tape

and so a few white kids from the midwest got our first taste of the jamaican back country as our driver careened through those roads, listening to ‘funky kingston’, occasionally seeing the western caribbean coastline as we headed to the small town of negril.

it was my first realization that there is reggae that we were exposed to in the states, and then there was the music that was popular on the island itself. and there is really no one who is more loved and respected on that island than toots hibbert. he had 31 number one singles there. there are some that say he first coined the term reggae, with his 1968 song ‘do the reggay’.

besides being one of the founders of the genre, he was also arguably it’s most soulful singer, often compared to otis redding. and by most accounts that i have seen, he was also a very kind and generous soul who always called jamaica home. he had a long and prosperous career, and i last saw him at jazzfest two years ago. he still had it going on at the age of 75.

‘reggae got soul’. yes it does, and toots was the best.

true love

if you want a little something to get an idea of the influence he had here in the states, i would recommend a tribute album to him done in 2004 called ‘true love’, where the likes of clapton, bonnie raitt, keith richards, and so many others played with him on his biggest hits. it is really a fantastic compilation.

there was also a documentary on his life put out recently by the bbc that was really well done.

rest in peace, my friend.

bill and brint, this one’s for you.

kathleen edwards, ‘total freedom’

edwards cover

i started listening to kathleen edwards when she released her first album, ‘failer’ , in 2003. that launched a fairly successful career and she was a fixture on the americana scene from that point moving forward. i wasn’t exactly a diehard fan though, and so i was a little surprised a couple of months ago when i heard a new track of hers on sirius xm and thought to myself ‘i hadn’t heard that name in quite some time’. unbeknownst to me, she had been frustrated with the commercial success of her 2012 effort ‘voyaguer’ and, battling clinical depression and health issues, completely gave up on the music business and opened a small coffee shop in ontario (amusingly called ‘quitters’).

ginger

the shop was a success, she straightened out her life, and she got used to the quiet suburban life with her dogs. she found sustenance in the daily interactions with her customers, and didn’t look back.

quitters

then maren morris asked her to come to nashville for the weekend a couple of years back to help her cowrite a song, and she went, thinking it would be a nice break from the coffee shop. the process was intriguing to her, and all of a sudden she felt the urge to start writing her own songs again, and the flood gates opened.

she had been through a number of troubled relationships, both during her musical career and the hiatus, and much of the material is a reflection on that. as her producer said, this album is about ‘dogs and exes’. she gets much of her original band back together, and you can tell she put her heart and soul into it. the songwriting is right up there with some of her best, and the melodies are usually quite infectious. my first run through it was on my back porch on a beautiful saturday evening, and i got hooked on the very first track (‘redfern’).

welcome back, kathleen.