The second Peter Tosh album that was released in the month of August was one of the most anticipated Peter albums of all time; "I Am That I Am", a selection of acoustic cuts and interview clips. JAD released the album on August 13th, a week after the live set was released by Columbia/Legacy. The album contains 12 interview segments alongside 13 acoustic songs, making for a jam packed disc of Word, Sound and Power. Numerous interview segments collect material from reasoning sessions conducted in Chicago 1977, Oregon 1977 and Vienna 1980 amongst others. The interview clips manage to convey both Peter's militant and sensitive sides and give the world a chance to hear Peter talk intimately and openly on a number of topics such as his beating after the One Love Peace Concert, his start in music, assassination plots and his future in Africa. One of the real highlights of the disc is Peter's version of Richie Haven's "Handsome Johnny", which was recorded by Peter in late 1976 for Dermott Hussey's radio show during an ad break, marching to the Angolan war with an M16 in his hand; just one of the many gems on this unmissable collection. The cover features a striking colour picture of Peter plucking his acoustic guitar, one of the many incredible photos included in the artwork, whilst the backcover features 3 more beautiful photos all taken by world famous photographer Kate Simon.

The 25 track disc opens with the title track I Am That I Am, Peter playing a very soft, soulful, gentle tune, showcasing one of the tracks from Peter's latest album at the time Equal Rights. Peter toured a number of radio stations promoting the album by sitting down for interviews and performing a number of acoustic tracks, these acoustic tracks and interview clips are used throughout the disc, with the bulk of material coming from the hip radio stations in Chicago (WXFM) and Oregon (KZEL). Peter's vocals are at one with his acoustic guitar and in perfect harmony as he begins to pick up the pace whilst singing loud and proud. The house must have been rocking at the foundations. The song comes to a melting finale with Peter humming along with just his guitar for company.

The first interview segment is pulled from a 1983 interview with Mel Cheplowitz for the KALX Berkeley radio station. Peter discusses his start in music at 3 years old, making his first instrument at 5 (a piece of board, sardine can and strings) and how people would paid to hear him play. He tells Mel that he took piano lessons whilst still at school for 6 months, reaching 5th grade but he has been killed and humiliated so many times that he doesn't remember anything about music, forgetting how he could play when he was 13. Peter touches on starting the Wailers with Bob, Bunny, Vision, Joe Higgs, Beverly and Cherry and how a group of seven couldn't cope as it was too big and so the group broke down to 3.

Peter's voice is very soft and low on Fire Fire, whispering at times, in preacher like mode, giving one of his finest sermons. "Stand up and fight and give me freedom" sings Peter defiantly, before exclaiming that "Babylon's burning". A sublime acoustic rendition of the song that was originally recorded with the Wailers in 1968 on their own Wail'N Soul'M label, with Peter's vocals sounding harmonious and angelic.

During his interview in Oregon Peter claims that it is totally illegal and against his religion not to smoke herb. He talks about travelling into American and being stopped for herb even though herb is created for medical and scientific purposes. The clip closes with Peter telling Chris Mays that Ganja is a bird in Australia!

A short, slow and delicate rendition of Pick Myself Up from KZEL follows. The song was unreleased at the time (it was released a year later on Peter's debut album on the Rolling Stones Record label, Bush Doctor). The pace picks up with Peter really jamming out hard. Peter holding onto each note as long as possible, his deep voice booming throughout the room. He closes the track by telling Chris that "this is what herb does" to a round of applause from the 20 or so people (record store managers, fans, roadies, station workers etc..) lucky enough to have been present in the room.

Peter talks about going through all kinds of humiliations such as singing and only getting $20 despite the Wailers having songs at numbers 1,2 and 3 on the charts and still having songs at 9 and 20 coming up. He tells Saul Smaizys of WXFM that during those times his shoes only had uppers, no downers.

A short instrumental rendition of Can't You See continues the disc, a rocking rhythm set at quite a fast tempo, the atmosphere in the studio electric with Peter having a great deal of fun, before finally picking up the tempo once more towards the end for a fast jam.

A soulful version of Stop That Train from Chicago follows on, featuring some glorious vocals. Peter was a fantastic guitarist and he really showcases his talents during the promotional appearances, strumming soft chords in smoky environments, a big cone sized spliff resting comfortably on Peter's lower lip, taking a draw on occasion. Peter would later re-cut Stop That Train 6 years later for his Mama Africa album. The song closes with a fantastic instrumental passage.

Saul Smaizys asks Peter if he is exponding a new philosophy, to which Peter replies that it "isn't a new philosophy, it is the world's philosophy, it is a philosophy of humanity, it is the philosophy of the commandments of Jah, given unto man and that inadequate distribution of the earth's resources is causing complication upon creation". He explains to Saul that the youths have to rise up and see cause Jah call upon the youth as they are strong; physically, mentally and spiritually.

Peter then begins to strum a mellow intro to Fool's Die. A pure and true version, sounding like a hymn. A nice slow and relaxed version of the song that would see release on the Wanted: Dread & Alive album more than 4 years later. This is one of only 2 tracks that all three original Wailers have released separate versions of (the other of course Get Up Stand Up).

Peter sings meaningfully "The rich mans wealth is in the shity" he then begins to pick up the pace and another great instrumental break showcases his talents as a guitarist and the tune closes to an end. This haunting version is very reminiscent to Bob's Redemption Song, very touching and poetic making for one of the disc's real highlights and stand out tracks.

In an interview for Vienna TV in 1980 Peter tells the interviewer that you "read about Daniel, David, Isiah, Jesus Christ in the bible but they are just fantasy paintings of I'n'I's reality". He informs listeners that the rastaman is nothing new under the son, he lives the life of Christ but doesn't intend to subordinated to colonialism, slavery and victimisation and the shitstem. He even tells the journalist that he "doesn't like to talk English cause it gets his tongue complicated"

A long intro jam which builds into Jah Guide soon begins. A really powerful intro to one of the songs from Peter's latest album at the time. He sets a fantastic tempo on his guitar and sticks with it, really ripping it up, the house at this point was probably shaking! A real testament to Jah with Peter singing with a lot of pride and conviction. There is a fantastic instrumental passage to close out the song with Peter just jamming away, in his own world, oblivious that he is in a small room taking part in a live interview segment.

Peter urges his black bredren of Chicago to overcome their low self-esteem and that they need to get more conscious of themselves and recognise the colour of their skins and love it, before insisting that "sheep don't grow hair".

A second take of Can't You See (this time a full vocal version) starts with a sweet instrumental passage, playing the chorus first before joining in. Peter's vocal delivery is very slow as his guitar ambles along with him, before slipping into another instrumental passage. Peter almost sounding in pain at times. The third verse sounds very improvised and playful, showing that Peter is really enjoying himself and feeling relaxed in his surroundings. Jamming as if he was in his yard and not in a radio station.

In an interview with Jacky Knafo conducted whilst Peter was in Paris he talks of how society doesn't like the truth and how during one interview a journalist was offended when he said that he taught Bob Marley how to play music. Peter's explanation for this was that "maybe I was too black to teach a white man son music. The shitstem underestimates my ability and integrity. I realised I am too black for the business, cause my business is truth and rights. Music is my business". He discusses how he not only taught Bob music but also Bunny and Alton Ellis too, yet the shitstem wants to make it look like I was Bob's student, but I am the dean of my university.

Perhaps the discs real highlight is the unreleased track Handsome Johnny that was recorded for Dermott Hussey's radio show in Jamaica, late 1976. Peter sings of the Angloan war, describing how the peaceful rastaman refuses to surrender in the fact of attack, marching to the Angolan war with an M16 clenched tightly in his fist. The song adapts Richie Haven's Woodstock classic to great effect, although very spontaneous and recorded during an ad break (thankfully the tape was kept rolling) it does sound very polished and something that Peter had spent time working on, one wonders whether a studio recording of this gem exists in the vaults.

Peter defines the word bumboclaat for Peter Simon in the next interview clip. He tells Peter that this is one of Jamaica's passwords that releave's the spell of evils. "In the beginning was the word and the word was with Jah, and the word was Jah, the same as in this time, so shall it was in the beginning shall it be in this time". "Bumbaclaat, rasclaat, bloodclaat and every claat is bad word and indecent language". He re-tells the story (this was also documented in the fabulous Stepping Razor: Red X documentary) of how he was once held down by vampires and how he couldn't move his mouth, his tongue couldn't shake, nor move his hands, the only thing that could make him move was to shout out "move your bumbaclaat" and he was free from the evil spirits. From that day on Peter never stopped saying bumbaclaat, even going to such lengths as using it for a song title.

A glorious instrumental begins with Peter just noodling away before playing the most wonderful soft melody. A very spontaneous jam, with Peter showing his scratch guitar prowess on the short riff.

Saul Smaizys asks Peter, what part does marijuana play in his life, to which Peter retorts that he does not smoke marijuana, he smokes herb and that marijuana is a girl from Cuba! Showing Peter's witty and humorous side. He tells Saul that herb and music is the healing of the nation, herb is the key to inspiration, the doors of inspiration, without herb any other thing cause distortion and confusion, before Peter explains that ganja is an abusive name, before once again showing his humorous side by (once more) claiming that ganja is a bird in Australia and that he doesn't smoke ganja.

Peter was not a prolific song writer (this showed as Peter re-cut a number of tracks over the years), nor did he spend a great deal of time in the studio, however Peter was an incredibly talented song writer, this is proved by the spontaneous jam on a song called (I'm Gettin' Disgusted) Don't Wanna Get Busted which he played during the Oregon interview, livicating it to "all the intellectual herb smokers of Oregon", saluting their efforts in legalizing marijuana. "I'm getting disgusted, where every laws adjusted". A very poignant and sincere rendition of a song that would not have felt out of place on his debut solo album Legalize It. "they can not be trusted, end up in jail and you'll never get bail, got to face a judge" Peter singing from experience before exhalting that "Man want to smoke free!"

Peter recounts his brutal beating after his fierce and ferocious livatribes delivered at the One Love Peace Concert to Stephen Davis in a 1979 interview. Tosh explains to Stephen how he was waiting for rehearsals at Halfway Tree at Aquarius Studio, standing outside with a roach in his hand, before a plain clothes Police Officer (Peter was not aware that he was a Police Officer) took it out his hand, grabbing at Peter and tearing his clothes. The Officer managed to contact one of his associates who pulled out his gun and waved it in Peter's face. When asked if the Police Officers knew who he was, Peter explained that he was a very humble individual that does not dress in a jacket and tie, carry a briefcase or drive fancy cars, he looks just like the people and that "you don't have to know a man to know how to treat him". Between 8-10 Officers beat Peter down, punching him in a corner, beating him with batons for 90 minutes, breaking Peter's hand as he tried to soften the blows to his head by blocking them with his hand. Their intentions were to kill Peter, but Peter was wise to this shituation and so laid still and played dead till they thought they had finished the job and left.

The opening notes of Legalize It brings a round of applause from the gathering present in Oregon. This version is very close to the album version though given a slightly different feel due to the lack of backing vocals. Peter sounding as if he were onstage performing to 20,000 adoring fans and not in a small studio in front of 20 fans. Peter does incorporate the lines of "Legalize It, Mr. President, that's the best thing you could ever do" to great effect before admitting "even his lawyer smokes it", which brings a chuckle from Chris Mays. Peter starts to experiment with his vocal delivery towards the end with his voice getting noticeably deeper.

In the first of 2 interview clips taken from interviews with Roger Steffens, Peter talks about his future being in Africa as he can't take the discrimination. "Forward ever, backward never". He talks about being sick of being abused, condemned, abused, humiliated and the plots on his life.

A fantastic version of Get Up Stand Up starts out at a slow pace with a lot of passion and purpose. "You a ghost and you don't know what life is really worth". There is some fantastic guitar work during the middle section of the song. The chorus is really gripping with Peter pleading the people of Chicago to "Get Up Stand Up". The song ends with Peter repeatedly singing "Don't give up" and a long outro. An amazing version that has seen release on the Honorary Citizen boxset.

The album closes with Peter discussing another near fatal police attack whilst composing Mark Of The Beast in 1972. He explains to Roger Steffens how he had come from the country with some good clean herb and started to write Mark Of The Beast at his kitchen table, locked off into his music, creating the music and rhythm. Peter was singing "I see the mark of the beast on their ugly faces, I see them congregating in evil places, me know them a wicked", before Peter could reach the second verse he heard a shot fire and people started to run through his apartment, Peter not wanting to break his concentration and inspiration from his music stayed sat at the table with a spliff in his mouth before being confronted by a plain clothes policeman demanding Peter give him his spliff. The Officer then took out his gun and went outside to call 6 of his friends. 2 of them came inside and dragged Peter outside. It took 2 Officers on each arm to hold Peter down before they started to punch him in the abdominal area with a loaded .38, before wailing into him with their fists till they were tired. One of the Officers took a rifle from his friend and slammed it into Peter's ribs, dislocating one of his ribs, but they were not finished, the same Officer took a piece of stick and whacked him in the forehead, requiring 7 stitches to close the wound. Just 15 minutes earlier Peter was prophetically looking into the future. He truly was the mystic man who fought down babylon and won. One can only wish that Peter was still alive today to reap the rewards, instead he was mercifully killed by a moron whom Peter had fed, clothed and helped. "Always be careful of your friends" was a true prophecy.

This is a faultless album, the music is of the highest quality and gives us a chance to hear the softer and more intimate side of Peter, whilst at the same time showcasing Peter's enormous talents as a singer/songwriter and guitarist. Never far from his reach was his acoustic guitar or keyboard, making every interview a fun experience, the fun and relaxed attitudes show throughout the disc. Chris Mays was fortunate to have interviewed Peter in Oregon and her recollections of this remarkable late summer evening are re-told in the accompanying booklet. Along with Chris' re-collections come some of the most intimate and exciting photographs ever seen of Peter. Kate Simon's extensive photographic collection has been trawled through and more than a half a dozen photos of Peter playing his acoustic guitar have been included, all being published for the first time. Whilst the possible real highlight of the booklet is the stunning colour photo of Peter that was taken during the KZEL broadcast; Peter with a customary black beret perched atop his locks and acoustic guitar clutched in his grasp, an extension of his right arm it would seem. The photos manage to show Peter in great spirits, with a big smile beaming from ear to ear, relaxed, at ease and sharing with the world his many talents as a musician, righteous rastaman, preacher and prophet.

This is one of the years most anticipated albums and is sure to be a big hit, a great pity that Island/Universal do not have the foresight to do the same type of project with Bob, with countless hours of unreleased acoustic tracks in the vaults and an extensive re-mastered series taking place now would have been the perfect opportunity to give the world what they have been crying out for; an unplugged Bob album. Thumbs up must be given to JAD for the way they have so far handled the most recent Tosh releases.

PETER TOSH
I Am That I Am (JAD-CD 1012)

Tracks: I Am That I Am, Interview 1, Fire Fire, Interview 2, Pick Myself Up, Interview 3, Can't You See Instrumental, Stop That Train, Interview 4, Fools Die, Interview 5, Jah Guide, Interview 6, Can't You See, Interview 7, Handsome Johnny, Interview 8, Instrumental, Interview 9, Don't Wanna Get Busted, Interview 10, Legalize It, Interview 11, Get Up Stand Up, Interview 12