A thunderous 6 minutes instrumental opens the disc. A wonderful bluesy rhythm with Wya's organ bubbling away and Robbie's basslines thick and heavy. Sly and Robbie leading the band as Al Anderson and Don Kinsey add some wonderful guitar licks. The band were tight and in a groove. Peter had yet to grace the stage but already the band had set the tone for the evening. Wya's organ solo's punctuate the mix nicely alongside keyboardist Tarzan. The two made for a great combination alongside the two lead guitarists, Sly and Robbie with Skully providing percussions. A crash on the symbols by Sly closes the intro jam and the count in to Igziabeher follows.

Igziabeher begins with a great swirling intro, as Peter arrives onstage to a loud cheer, his deep powering voice echoes throughout the theater. Peter adding his famous scratch guitar riffs. Peter singing his praises to Jah. The chopping guitar riffs filled out the bands sound. Peter pacing the song to perfection, the crowd hanging on every word. "Igziabeher, let Jah be praised, madanialam let Jah be praised" sings Peter with his chest puffed out. The final verse features crashing symbols immitating lightening, brimstone and fire. Peter sounding menacing on the "kill them dead, before them spread" verse. Peter's chopping guitar is interspersed by some wonderful organ licks. The song coming to a rousing end with a wonderful extended outro.

A thumping intro signals the start of 400 Years. The male harmonies provided by the rest of the band. Tosh turning his attentions to 400 years of mental slavery, it's about time black people rose up. A rallying cry for the opressed. Peter sounding furious with a very passionate version, improvising and adding lyrics to great effect. Peter stops the band midway through the song leaving the chopping guitar riffs and male harmonies for support. The band begin to pick up the pace. "Slavery come and slavery go". Some wonderful keyboard licks from Tarzan, bubbling and throbbing away alongside the rich drum and bass sounds.

A deep rootsy version of No Sympathy features soaring guitar solos. Peter outlining his troubles and lack of sympathetic love, holding onto the notes for what seems an eternity. A gloomy, mesmeric version. The twin guitar sound to the forefront. The band all join in during a great verbal exchange offering places to look for love. "Look in your back pocket, look in your heart, can you find your love?". "Take a look in your heart, lookin on the outside not on the inside". Don's guitar solo really shines. Peter putting his heart and soul in, his lips resting on the mic, as he stands tall playing rhythm guitar. Peter then starts up the band again for an amazing finale. The band kick in with a rocking finish to close the song. The twangy basslines supplied by Robbie. As the song comes to a close the crowd clap and cheer, the band start to tune up a little.

Peter then calls in the Bishop, asking if anyone has seen Bishop Brown. The rhythm for Burial begins as Robbie improvises a speech. Informing the crowd that "bredda Iron Shirt passed away and rasta not going to his funeral". The rhythm is pulsating, the band incredibly tight, the sign of a well rehearsed band that gelled together. Skully featuring throughout on percussion. Wya supplying a heavy thumpy rhythm. Peter's rich vocals are backed up by the male harmonies.

Robbie stops the track and starts to give another improvised talk about Iron Shirt. "Ashes to ashes, and dust to dust, and if God don't get you, then the devil must". The pace once again picks up. The band dub out the track with cheers ringing around the theater. A wonderful 3 minute dub of drum and bass with a touch of percussion, the music lightens up and eases off with Wya joining in with some faint organ licks.

Originally recorded in 1973 and a big hit in Jamaica, Mark Of The Beast recounts the story of Peter's Police beating for the possession of herb. A slow rootsy take with glorious harmonies. "They make pledges to destroy even their own mother, so you can imagine what they will do to my black brother". A soulful like rendition. The whole band get a chance to showcase their talents during the instrumental break. Peter and the band repeating "me know them a wicked" to great effect. Robbie's basslines are chunky as Tarzan throws in some wonderful licks. Peter fades out early to concerntrate on playing rhythm guitar.

A few seconds of tuning starts Babylon Queendom, originally recorded in 1975 and released in Jamaica on a 7" single. A popular track with Peter and the band. It is very surprising that this wonderful track never found it's way onto an album. "Gimme back me gold, me ruby and me diamond" exhalts Peter. Funky keyboard licks interject throughout alongside Peter and his scratch guitar. Peter improvises every now and then to great efffect. Quite a relaxed take as Peter and Al duel out during the instrumental break, Skully adding bells to the mix. A 4 minute instrumental wonder jam. Drum and bass close the song as Peter drops out early to whistles and cheers from the crowd.

The slow, smoldering Why Must I Cry? is one of the discs many highlights. Peter re-counting an old love, vowing never to fall in love again. Very rootsy, Wya's organ bubbling underneath. During a delicate guitar solo from Al if you listen carefully you can actually hear a slight mistake. Peter comes back with sweet vocals. The song feels slightly different without the input of the I-Three's, with their backing vocals being replaced by the male harmonies. A tender rendition closed out with a bluesy solo from Don as the song fades down nicely.

The pace picks up somewhat with Whatcha Gonna Do which is greeted with roars of approval from the thousands on hand. Peter's vocal's are animated as Al adds some great guitar riffs. A polished and professional rendition featuring a great 2 minute instrumental.

The chugging Steppin Razor features Peter in dangerous mode. Spitting fire and brimstone. Loose basslines by Robbie are mixed in with some great licks from Al. Peter in defiant mood "If you want to leave till tomorrow treat me good". The instrumental break gives Al and Don a chance to trade licks on the cutting rhythm. Peter's rhythm guitar chopping in and out whilst scatting away. "I'm dangerous!" warns Peter. Live and Dangerous. A fascinating 2 minute instrumental jam closes the song as the guitar trio lead the song to a finish to a large round of applause.

No sooner had Stepping Razor finished, Ketchy Shuby starts with a very bouncy, easy loping rhythm. Bringing cries and cheers. The pace is noticeably faster during the chorus before the pace slows once again for the second verse. Sly and Robbie keep the band in order. Wya and Tarzan throw in some delicate boiling keyboard licks. Peter starts to ad-lib half way through the track with Sly driving the band forward. The song comes to close with an extended lengthy outro, the whole band setting the stage alight. The instrumental break showcases how hot the band were, Peter backed by organ and percussion before the guitars join in once more. Loud cheers and cries break out. Peter working the crowd into a frenzy, dubwise fashion. You can hear "dub wise" cries from some of the band. A phenomenal jam to close the disc. The crowd clap and cheer as the band leave the stage, applauding the Stepping Razor as he strides off stage.

Unfortunately the encore of I'm The Toughest and Legalize It have been edited out due to lack of disc space. This is perhaps the only slight niggle about the whole disc, but by adding a second disc would have increased price. The sound quality on the disc is first class, possibly the best sounding live recording I have heard, taken from the 2 track master soundboard recording.

The artwork is superlative, with glorious eye-popping photos throughout the accompanying booklet. The liner notes are supplied courtesy of Herbie Miller (Peter's former manager). He re-tells the Cambridge concert and the events leading up to the show, including a run-in with some ignorant hotel staff. Some fascinating insights into Peter's debut solo tour spreading over 5 pages.

This is without question a contender for album of the year and quite possibly the best ever Peter release. It is the complete package, both in the music, sound quality, artwork and liner notes.

Three thumbs up to Columbia/Legacy for such a great release.

PETER TOSH
Live And Dangerous: Boston 1976

Tracks: Instrumental Intro, Igziabeher (Let Jah Be Praised), 400 Years, No Sympathy, Burial, Mark Of The Beast, Babylon Queendom, Why Must I Cry?, Whatcha Gonna Do?, Stepping Razor, Ketchy Shuby