Man who first said, "Do The Reggay," comes to Nugget for musical catharsis
By Bret Lueder
Bret and Toots at Sierra Vista in Tahoe City
in 2002
Doing God's work is a full-time job. Just ask reggae singing icon Frederick "Toots" Hibbert of the famed ska-turned-reggae vocal trio Toots and The Maytals. He's been preaching to the choir ever since he sang from the choir at age seven in a Coptic Christian church in his hometown of Maypen, Clarendon Parish, Jamaica. In his teens he realized the powerful relationship between music and spirituality and moved to Kingston in search of a musical inspiration. His religious roots have been with him ever since.
Hibbert's first band was a vocal trio called the Vikings. Along with fellow
Kinstonites Raliegh Gordon and Jerry Mathias, they scored with a hit in '61
called "Hallelujah." They were the Vikings until '66 when they changed
the name to Toots and The Maytals (Maytal = Maypen + Ital; Ital = natural, organic,
vital).
Originally a ska band with it's corresponding faster tempo, Hibbert sang about
personal issues, social commentary and most importantly, says Hibbert, the peaceful
messages of his religion. But as the '60's wound down, the new hybrid religion
of Rastafari began to take hold of the people of the ghetto. The beat, or "riddim,"
correspondingly began to slow down. Rock Steady music became popular. But it
became slower still, making the feeling more serious, representing the "downtrodden"
souls of the slums and the Rastas apocalyptic views.
And although Hibbert would be the first to say that there were other records
of the day that were employing the slower, more straightforward riddims that
were later to be known as reggae riddims, he was the first singer to use the
riddims and coin the term in print. It was the '68 Toots and The Maytals hit
"Do The Reggay" that made the term official. It was a common ghetto
term, says Hibbert, and meant "raggedy, everyday things." These riddims
became the new vehicle for the messages of the Rastafari. It was a match made
in heaven.
So Toots and The Maytals made the transition to reggae but never forgot from
where they came. They just incorporated their musical influences together producing
a unique and driving, trance-inducing sound that has today spread around the
world. Backed by various bands, the trio recorded several classic albums like
'69's "Monkey Man." '70's "From The Roots" and '78's "Pass
The Pipe." The Maytals have released 26 albums over the last 41 years either
as a trio or with Hibbert singing solo. He and/or the trio have been nominated
three times for Grammy's for Best Reggae Album for '80's "Toots Live,"
'88's "Toots In Memphis" and '98's "Skafather."
Currently touring solo, the man shows no signs of slowing down. "I can't
talk now," said a slightly stressed but polite Hibbert in a patois accent
from a Jamaican recording studio via cell phone. "I'm very busy in the
studio. You have to call me back." So I did. I finally reached a tired,
yet patient Hibbert at midnight, Kingston time after another long day of studio
sessions. "I have enough songs for five or six more albums," he said
as he yawned half way through his sentence. "Some are older songs but all
new material. You've got to keep spreading the word. We are finishing up the
next one. It will be called "The World Is Turning."
But according to Hibbert, it is the marriage of the words to the riddim that
make the messages so powerful. "All of Jamaican music is powerful for that
reason," he said. "But to sing real reggae you have to tell a story.
It has to be about the roots. You can't sing about no nursery rhymes or "Baby,
ohhhhh I miss you." I sing about the deep roots. That's real reggae. Anybody
who comes to my show will leave happy. I reach for the people and they reach
for me. It is always a good combination. My shows are dynamic; magic."
<www.tootsandthemaytals.com>