Modern Classics Vol. XLIII: Taking Over by Sizzla

"Taking Over" by Sizzla [VP Records - 2001]

It's just been too damn long. It's been nearly ELEVEN YEARS since the last time we did a Modern Classics feature (it is the morning of the 25th of August as I start to write this, HOPEFULLY I can finish this in the next two and half months, otherwise I'll have to remove the word "nearly"). Originally (and still) designed to celebrate albums, specifically, of the modern era (I defined the modern era as everything after the year 2000) which I felt were just of a supreme quality; the series ran all the way to #42 in in nearly six years and, FINALLY, we're bringing it back to take a look at a release which, shockingly, has gone somewhat forgotten in recent times. 

In 2002, Sizzla Kalonji released "Da Real Thing". That album (also a Modern Classic) was and remains universally revered. It would be hailed as a return to the vintage form he had displayed on undeniable greats such as "Praise Ye Jah" and "Black Woman & Child" (the latter produced by the great Bobby Digital, just like "Da Real Thing"). Perhaps it is due to that epic set that we forget that, just the year prior, Sizzla would also produce a magical display in the form of the Xterminator helmed "Taking Over". Marked by a very cool explosiveness, "Taking Over" carried a pair of Sizzla's most well known songs to date but it was also CONSISTENTLY EXCELLENT, a quality which maybe we haven't done the best job of observing in the near quarter-century since its launch....

Let's do something about that. Today we give our greatest honour to yet another album from an artist who, when at his absolute best, may've been without an equal: "Taking Over" by Sizzla Kalonji. 

1. 'Thought For Today'

One perfect love. Though the case could successfully be made that it was done in a very broad way, 'Thought For Today' was kinda brilliant, if you really think about it (let's think about it!). Blessed with a most curious BOUNCE behind him, Kalonji turned in a social commentary of an unusual type (and class), aimed at the youths, specifically.

"Before you trod di badness, hail The King first" 

'Thought For Today' was an adventure. It was an action movie. It was two hours long and it was as exhausting as exciting. What stand out these days is how we take the punchline/title of the tune, address it is LOVE and then spread it around in a way.... damn near vicious! You will act appropriately. You will love yourself and others. You will do several things to improve yourself tangibly and spiritually and it will be "perfect". It was. 

2. 'Brand New'

Trample everything. Hip-Hop has never and will never be 'my thing' but I had less of a problem with 'Brand New' than I typically do with such tunes ("problem" is probably too strong of a term, I usually just don't pay them much attention) because of what it eventually turns into. While the vibe is there, it doesn't go anywhere, and it is respected; 'Brand New' goes on to, like many of the songs on "Taking Over" to enter a place where Kalonji locks in and what we get is this kind of heavily stylized track not entirely bereft of typical genre ideology. Yes it's fractured (which is one reason Hip-Hop doesn't appeal to me much) but 'Brand New' was all sorts of interesting as well.

3. 'Somewhere Oh Oh'

Most delighted. Despite its rather odd title, 'Somewhere Oh Oh' is and has always been an undeniably FANTASTIC song (and you could even go as far as to call it this album's third best altogether, in my opinion). It's also a very fun one to analyze. What I take from it these days is that 'SOMEWHERE Oh Oh' is about finding your 'happy place'. It is about find places and things and PEOPLE who make you happy and surrounding yourself with them as much as you possibly can. Something that REALLY stand out, lyrically, is how there doesn't really appear to be any strife or opposition in 'Somewhere Oh Oh'. Where in Sizzla's music (or in Roots, in general) there is this oppressor somewhere out there - IT DOES NOT EXIST HERE. You'll find it back on the next track but 'Somewhere Oh Oh' not only made a plea for us to find things that brought us joy, completely absent of conflict, it also presented itself as such an item. You find somewhere you want to be, find something you want to do when you get there, someone who you want to do it with and play this song while you're doing it.

4. 'Taking Over'

NOTHING TO FEAR! 'Taking Over' belongs to a very select group of songs that Sizzla has done in my opinion. It takes a seat at the table of any conversation regarding his absolute single best work and... if you wanted to call it his best, that case could be made. Why, exactly? I noted the "cool explosiveness" of the album named after it and that is a quality best demonstrated here. While 'Taking Over' never settles down fully, it does display increasing and decreasing levels of intensity where, at its heights, it reaches downright euphoric levels (he's agitated, clearly, but Sizzla was in a great mood when he voiced this song, I'm convinced).

On top of that, the riddim behind it was gorgeous, made perfect for it and 'Taking Over' does not a put a lyrical foot wrong, it is absolute genius and one of the single greatest musical revolutions that a genre, known for revolution, has ever produced. 

5. 'Fare'

Wear a crown. 

"Never belittle her strength

Or else you'll be missing her strength"

I've never been the biggest fan of Sizzla's love songs but "Taking Over" featured a few of them which would rank very highly in the category in my opinion. The first of them was somewhat unusual and I actually hesitate to call 'Fare' a "love song" (even though it clearly is) (I have issues) because it gets more into areas such as empowering love and women, in particular (using the reference to MAKEDA), and relationships, in general.

"Remember: Your friends and foe may talk 

No evil force can tear us apart"

The song also has an infectious and interesting almost Jazzy sound to it and Sizzla made the most of it with an offering fitting snugly into this album.

6. 'Higher Heights'

Be able and be willing. For WHERE it is situated on this album, you can look at 'Higher Heights' as warming the vibes up for what is to come after what it follows but it is SO MUCH more than an 'undercard'. 

"How about caring and giving?

People working hard these days just to make a little living

Prophecy fulfilling

Righteousness, just be able and be willing

Getting nowhere with this ruthless killing

Hot like a fire when some a dem chilling

BABYLON A DESTROY, CONGOMAN KEEP BUILDING"

'Higher Heights' is HUGE! Like several of the efforts on 'Taking Over', it heads in many different directions but as its core was a wide-reaching spiritually braced statement that brought the HEAT that would fully ignite on the next track. 

7. 'To The Point'

START A FIRE! Along with the title track here, 'To The Point' is what I was referring to when I said that this album contained a pair of Sizzla's most popular songs. Where 'Taking Over' is this soaringly brilliant and brooding trip, 'To The Point' is The Matrix. Shit explodes, there is controversy and there are casualties and no one is safe. In the midst of the madness, 'To The Point' was a dazzling statement of several ideas, so there was SUBSTANCE to be found here and such material would be best highlighted in-person as, if you've ever been so fortunate to actually see Kalonji perform 'To The Point' then you may share my opinion that it may be his single best song EVER in that format. CJ handed him his Tixx Riddim and Sizzla returned a shredded... mess. 

{Note: Apparently this tune is no longer included on the digital version of "Taking Over", however, the disc remains readily available.... and it's all over YouTube as well}

8. 'Reach'

Must reign. Despite the fact that it takes several different routes to show it, what is at the heart of 'Reach' is quite clear. This tune is an inspirational one. It's about giving people that bit of POP they need to push further to go after the things that're important to them and, in that alone (and everything else it tries to do), it is well successful. With that being said, however, 'Reach' is also a praise. It's a social commentary. It's a celebration of music. It is solidly all of these things and you can pick either one out (and probably a few others) and it thrives, again, on that specific front.

There's also the issue of the music on this one which is somewhat complex and damn near melancholy but, ultimately, LOVELY! Fully, it makes for one of the single greatest experiences on "Taking Over", whether we realize it or not. 

9. 'Whirlwind'

Keep the fire burning. Sizzla channels the great Marcus Garvey via 'Whirlwind' and pays him tremendous homage in the process. This tune has always had an almost primal vibes to it to my opinion. What I mean is that, as you progess through it, 'Whirlwind' becomes CLEARLY less situated and rehearsed and what we hear are flames from the core of Kalonji. The pattern is disrupted (though never quite grounded in the first place) and what we get is straight-forward, grimey, toiling Sizzla Kalonji and with a purpose and intent. One of the best songs on this album whether we realized it or not. 

10. 'Profile'

Immaculate. Unlike 'Fare', the next track and that monster four songs on, 'Profile' isn't a love song at all, really. This is the woman-buttressing piece which exists only to uplift women of African descent. What really strikes me about 'Profile' is that it doesn't play things entirely safe. Things get a little edgy at times but such things happen in everyday conversation and approaches. You talk to people like they're people; so, to that extent, the song comes well rooted in reality. Furthermore, the song also takes the next step of speaking to men (and other women, and whoever is listening) about the importance of treating women right and showing respect where it is due.

"Yow she want one of Jah Rastaman fi keep her up

No teach her no fuckery and later on, you beat her up"

11. 'Kebra Negas'

Alpha & Omega. Extending on 'Profile' from right before it, 'Kebra Negas' also sets a course and drops anchor on uplifting women and the relationships we ("we" being WHOEVER and "relationships"  being of all types) have with them. The change here, however, is that 'Kebra Negas' is FAR more broad than what comes just ahead of it. This one has a much more general take and, delightfully, attempts to construct a NATURAL bridge that in supporting women is also supporting positivity and good works - as His Majesty intends. 

12. 'Naw Shield Corruption'

Open up your eyes! Somewhat reminiscent of 'Higher Heights' in terms of its pacing (and only in its pacing) and WHOLLY emblematic of Sizzla's more Dancehall centered style around the turn of the century, for me at least, 'Naw Shield Corruption' may just be the most overlooked and underrated song on the whole of "Taking Over". It wouldn't do much outside of its presence here but.... DAMN! If you were living a positive and productive life and doing what you were supposed to do - you were just fine. If not - 'Naw Shield Corruption' was damn near lethal as Sizzla turned up every stone in every corner of the planet to look for corruption and those who aided in it going forward. BOOM! 

13. 'King Taco'

Incient king.

"Yuh seh you a di nail

Seh you a di sledge

Seh you a di hammer

Seh you a di wedge

Seh you tough like seal when you did melt like lead"

'King Taco' was lyrically PERFECT. I hadn't heard this tune in quite some time but when I started putting this together, I remembered the melody in my head and started singing a b i of what I remembered of the words and it started to come back to me. When you dig into the body of the actual song... I don't want to overrate it but, strictly as a praise, 'King Taco' has to sit amongst the best put together of them all. It also comes off SO DAMN EFFORTLESSLY (more on that in closing) and, as the joint second longest tune on "Taking Over", 'King Taco' is nearly as EXHAUSTIVE (and I mean that in a great way) as it is brilliant as Kalonji puts forth an effort fit for The King. 

14. 'Hold Her In My Arms'

Precious jewel. Don't take this literally but 'Hold Her In My Arms' is kinda filthy. There is something almost guiltily intoxicating about this song and there always has been. It is the definitive love-ish song on "Taking Over" and, without question, one of the finest of Sizzla's entire career. It is surprisingly DARK and HEAVY as well - vibes you just do not encounter on or associate with love songs ever. Melodic, lyrically top tier (if you REALLY pay attention) and just a stunning track, 'Hold Her In My Arms' was and remains IMMACULATE.... in a grungy kind of way. 

15. 'Streetside Knowledge'

GROW! On one hand is the knowledge you gain out of studying and going to school, being educated and then there's what you gain from a more general life-experience. Though I'm certain Kalonji is a supporter of the greater importance of both, it is the latter that is focused upon on the scathing 'Streetside Knowledge'. One of the most interesting aspects of this tune is the fact that it sits as one of the most tangible on the album and, perhaps, one of the most tangible that he's done to date. There isn't a ton of spirituality involved with the building of 'Streetside Knowledge' which is what you would hope and expect to be the case. Such a background makes it entirely more transferable and relatable to by the masses as Professor Collins delivers a lesson on everyday for You, Me, Him and Her. 

Synopsis

I want to take a quick look at the 'state of the times' around "Taking Over", at least in the form of some of its immediate 'siblings'. If you go a year or two in either direction, you'll run into other similarly vibed Xterminator produced sets such as 'Words Of Truth", "Royal Son Of Ethiopia", "Bobo Ashanti" and a personal favourite of mine, "Rastafari Teach I Everything" (which was also released in 2001). While you could well make the case that none of them rise to the level of "Praise Ye Jah" (and they don't. That's fair) -- generally regarded as THE best album produced by the duo and no worst than Sizzla's second best album overall --given the sheer amount of work done and its quality, you could also point to that stretch being the PRIME of Sizzla's work alongside Fatis and Xterminator. It was heavier on the Dancehall side, it was decidedly modern and, for the most part, it was absolutely gorgeous. The level of writing and the delivery of the material was SO high and I'm not going to name any names, but if you listen to what SOME of Sizzla's peers were doing at the same time in terms of combining Roots messaging with Dancehall sound.... there is no comparison. At that point, Sizzla was miles ahead of them.

In terms of "Taking Over" specifically, while you could rank it in any place you like in terms of the aforementioned other albums of its day, for me "Taking Over" was spectacular and has aged incredibly well. From its packaged presentation (courtesy of Chris Chin and VP Records. In my opinion it is very subtly one of the best album displays they've ever created (various spellings of Fatis notwithstanding)) being this ultra-cool and understated cover, ahead of the explosions that the listener was in store for - "Taking Over" hit all of the notes that it needed to in order to cross the bridge from being just a GOOD album, to being a GREAT one. Again, I'd like to pay respect to the general quality of Sizzla's work at the time and just how damn fortunate we are that he was as [overly] prolific as he was because we have such powerful examples of, in my opinion, THE single most talented voice Reggae music has ever produced when at his best. "Taking Over" was both a thundering and downright FROSTY example of this. It was also a BONA FIDE, MODERN REGGAE CLASSIC! 

Timeless: A review of Praise Ye Jah: 25th Anniversary Edition

Historical. I've done a few of these review things over the years, this isn't my first one. In doing so and in becoming, indirectly and informally, a member of the 'media', I suppose, I am aware that "we" are rather fond of using superlatives and extremes. Anything that is above average is potentially "legendary", while something which dips ever so slightly below par can rather easily be discarded as an "all-time low", a "nadir" or "dark period". Yes, it is entirely ridiculous, but it is.... it's just what we do! Should you throw around statements like that enough, however, eventually you're bound to stumble upon a situation where your shouting at the stars that something is an all time classic can't miss etc. actually does apply and applies not in the personal sense alone (because that can HONESTLY be anything depending on the individual), but in a further-reaching scope as well. In the history of this blog, we've been fortunate enough to cover quite a few truly GREAT projects and, once upon a time, I had the relatively decent idea to (I get lucky sometimes) take some of the biggest and my personal favourites and begin a running series called "Modern Classics". These were albums which, for one reason or another, had set themselves apart from even other "great" projects for me. The vast majority of these releases, by design, are not universally regarded as classics. They're largely albums which have resonated with me and writing about them is a challenging opportunity to explain why in some cases and an effort to bring attention to some overlooked gems in others. That is simply the way that it is. As much as it hurts me to admit it, not everyone is crazy about albums like "Phantom War" and "Ghetto Life" -- the first and second "Modern Classics" -- but you know they should be. Still, with that in mind, the genre of Reggae music has been able to produce a few releases in its modern era which have gone on to receive a universal level of acclaim by fans, media and even other members of the musical fraternity alike. During our series we have managed to cover one or two of these such as Gentleman's "Confidence" (which has a shout as being THE greatest European Reggae album ever, in my opinion) and both "Reign Of Fire" and "Still Blazin" from Capleton, the second and third entries from his hallowed trinity of albums for VP Records around the turn of the century which began with 2000's destructive "More Fire". So, while you'll find tons and tons of deliciously brilliant obscurity on in the ranks (such as Yahadanai's downright mysterious "One Atonement"), we've also managed to include something more for EVERYONE. 

2002

That will extend to, arguably, the single most popular album we've ever featured, #15, "Da Real Thing". The 2002 release would gain a massive amount of attention and universal traction as, as its title would indicate, it would mark a return of one Sizzla Kalonji to a devastating form which he was thought to have not reached in half a decade (although I may argue against that) (actually, I would DEFINITELY argue against that and am about to do it shortly). The Bobby Digital produced project for VP Records may even still to this day, now two decades old, be his single most high profile release to date given the promotion it was afforded in its day and, without a doubt, is considered a bona fide, undeniable CLASSIC these days and for good reason... it is one of the greatest Reggae albums of all time, without question. Like I said, however, it wasn't a first time for him and instead was a RETURN.

....a return to what exactly??? Back in 1997 a then twenty-one year old Sizzla, born Miguel Collins would do something which, in retrospect, should probably be considered the JEWEL of the 'overactive album' era in Reggae music around the turn of the century when, in the course of five weeks, he would release two of the greatest albums anyone had (and still HAVE to this day) ever heard. One of these was the direct ancestor of the aforementioned "Da Real Thing" as it was also guided by Digital, "Black Woman & Child", released in September of that year, while the other came via a much more familiar source as Sizzla's homebase label at the time, and the one playing the largest part in bringing him to prominence, Xterminator Productions, would release "Praise Ye Jah". For good reason other than their timing (and I'd forgotten that they were THAT close together until just now), the two albums have seemingly been eternally linked with one another, marking such a powerful period not only for Sizzla, himself, but for that entire era of modern Roots Reggae music around the turn of the century. Personally, for me, it was the same time I was becoming an adult and was VERY open to the material comprising those records and I will tell you that Sizzla is my absolute favourite artist of all time and to that I pay a very large credit to both "Black Woman & Child" (the single greatest album I have ever heard) and "Praise Ye Jah". A true child of his generation, Kalonji would ultimately demonstrate himself capable of at least holding his own in many different facets of the music, including Dancehll (favourite Sizzla Dancehall tune?..... maybe 'Karate') and some of the more harsh vibes it often included, but when he was at the early pinnacle of his powers, he had a PRESENTATION of his messages unlike anyone else and the same is STILL the case to this day. His lyrics often bordered on perfection (and routinely crossed into that territory) and he had such a wonderfully dynamic command of MELODY. I can name you many artists who have one and not the other (Vaughn Benjamin: An amazing writer who often could not care LESS about melody) and I can name you others who have both (like Pressure Busspipe), but I do not know that I could name you anyone who has enjoyed stretches of being, literally, PERFECT at both. Sizzla at his best makes a brand of Roots music which is as informative and challenging to the listener as it is PLEASING. In retrospect, I think that's what made much of his early work so appealing to so many people. Both young and older fans had something to which they could gravitate and the result has been, rather easily, one of THE most influential (and controversial) artists the genre has ever produced. The year 2022 would mark the twentieth anniversary of the release of "Da Real Thing" (a fact which still seems shocking) and the silver anniversary for both "BW&C" and "Praise Ye Jah". Though there has been nothing (that I've seen) in the cases of the first two, XTM.Nation, the direct descendant of Xterminator (literally. Xterminator was, of course, helmed by the legendary Philip 'Fatis' Burrell. His son, Kareem Burrell, takes care of XTM.Nation), has released a remastered 25th Anniversary Edition of "Praise Ye Jah", to mark the occasion. Of course, this isn't the first re-release of the album as, if you've paid attention to it throughout the years (and why would you??), it's had several releases from region to region, with different tracks (more on that later) and even digitally as well. When you are dealing with material this strong, you can't really do much to take away from it (well, I guess you COULD, but fortunately no one has come along with a... Hip-Hop remixed out version of it) and each and every time you have heard "Praise Ye Jah" it has been as excellent as its very first day and its 25th Anniversary Edition is not an exception.

1998

(Because it's just what I do) I do want to spend a couple of seconds on the Sizzla albums which came between 1997 and 2002 because some of them were VERY strong and because none of them would stick in the way that "Da Real Thing" did, it kind of goes to show just how well received that album was. Yes, there was "Ghetto Revolution" which, at last check, was absolutely miserable (may be time to go have another listen to that one, because it's been awhile and I may do it before I wrap this review and come back and change or reinforce that statement later) (yep. It's still pretty bad. The title track is decent though), but there was also "Freedom Cry" which was excellent, "Royal Son Of Ethiopia" -- probably one of the..... top thirty or so albums I've ever played -- and is extremely well-respected from most fans, "Bobo Ashanti", a top ten Kalonji album in my opinion, "Taking Over" was also top notch and I may someday make the point that it was a Modern Classic in its own right and a personal classic of mine, "Rastafari Teach I Everything". I could also throw "Black History" and "Hosanna" in there. Neither of those games are anywhere near GREAT, in retrospect, but were very fun as was the considerably better "Words Of Truth", which was best known for being a double release as it featured a live performance disc. There you go! Oh! And I even missed the offspring of "Black Woman & Child", the somewhat underappreciated Bobby Digital produced "Good Ways". So, as you can see it wasn't a matter of his quality dipping in those five years, it was more of a matter of truly MASSIVE projects bookending that half-decade.

On half of the "cover" end of that book (did you catch that??) was "Praise Ye Jah". I've come to characterize "Black Woman & Child" as having this BIG and often chorus-like vibe to it at times, but "PYJ" was a bit different. It was more streamlined for the most part. It featured no combinations either and, though it's direct predecessor was also very good -- Sizzla's debut, the also Xterminator produced "Burning Up" ["Search fi a, search fi a bit of hardcore. Just burn di herbs and mi want some more. Notify di weed man, tell dem have that in store. Just burn di herbs and mi want some more"] (BOOM!) -- "Praise Ye Jah" showed that the two years in between had been downright MONSTROUS in terms of his maturation as an artist and, all of these years later, it's still hard to believe that what you heard here came from the mind of a twenty-one person (and he was probably just TWENTY (if not even younger) when he actually wrote much of it). Beginning one of the greatest albums made by absolutely anyone EVER was the song for which it was named and the single best remembered of all of its selections. Though I did say that it was "BW&C" which featured the more BIG sounding pieces, 'Praise Ye Jah', the song was one of those moments. Furthermore, if you've ever seen Sizzla perform this one live, you can definitely speak on how well its 'size' transfers to that medium as well. It comes off as a much FASTER and INTENSE track that it may seem in just listening to it... although that experience is also an amazing one. From that iconic beginning ["I did behold!"] develops this EPIC praise which, although one of literally THOUSANDS of its kind at this point, is RATHER EASILY one of the greatest songs ever honouring His Imperial Majesty. Next was a tune which, from a lyrical point of view, was almost overkill. If Sizzla were in school and turned in 'Dem A Wonder' as some type of a paper or an essay, you'd mark him down because... it was just too damn much. 'Dem A Wonder' featured stretches which were lyrical PERFECTION. There is no other way to describe it. He flashed PERFECTION.

"Dem ah wonder how we do this

Dem grow wid hate and anger fi Jah prophet

But as wi locks get longer, heathen heart it ah twist

Nuh spread no propaganda cause yuh caan stop this

Now dem ah ponda how di ghetto youths so slic

Dem grow wid hate and anger fi di prophets

But as wi locks get longer, heathen heart it ah knit 

Mi nah beg unuh fi no sponsa, so unuh caan stop this

Jah seh, no abomination so wi no business a who 

Dis a fi every nation, dis you hafta do

No man no badda than Jah and a wi ah run Jah crew

Unuh coming inna thousand and two 

They stand against you and hating me

DEM JUST CAAN GO THROUGH, DEM HEART NO CLEAN NOR FREE

I REMIND THEM SO MUCH OF WHO THEY ARE SUPPOSED TO BE

I'M OF ROYALTY

THEM LOST THEM IDENTITY"

'Dem A Wonder' was a song about the pure strength of positivity and positive actions. It says what happens when righteous works are carried out: Negative works are jealous. They feel threatened and uncomfortable ["I remind them so much of who they are supposed to be: I'm of royalty, dem lost dem identity"] and they try to draw those that are upstanding down with them ["Now I see you want us to be like the rug, that's where we can be saturated with all the mud"]. Like I said: PERFECTION. The perspective on this one was SO FAR ahead of someone who, just two years prior (at the most), was a teenager. It was STUNNING [!] and the single most powerful moment on the whole of "PYJ" in my opinion. Mighty and highly centered social commentary, 'Homeless', takes up the mantle and the full honour of following 'Dem A Wonder' and it does so masterfully. What I've always taken for this one is the idea of the LACK of responsibility taken by those in charge to protect the people and ensure that they have the proper things in life ["Homeless. Who is to be blamed? Question mark is their surname"]. There's a VACANCY on that end as well and one which Sizzla does an extremely vivid job of bringing to light. 'Blackness' has always been an interesting piece for me and not only because it was almost surely a 'vibe'. It does have this kind of spur of the moment feel to it, but it also isn't entirely without point and purpose. I also feel like it shows Sizzla's youth at the time and I don't mean that in a bad way. It sounds like he's just giving what he feels at the time and, in the course of 'Blackness' he's a warrior, he's a scholar, he's a motivator, a leader, several things and the results, for what it was, were outstanding. The interest in 'Inna Dem Face' is of a far less curious and fascinating type... this thing is just genius.

"Dis yah African face

Smug - mi nah hug nor embrace

Zion is a bountiful place

I chant and di wicked heart chase

Dis a inna dem face

Wi no come yahso fi sip up dem paste

Hey, dis yah greater than great

I CHANT AND DI WICKED HEART QUAKE

Tell dem seh, arise and many surprise and bringing dem to dem sights

GHETTO YOUTH DEM MAXIMIZE AND RASTA OPEN DEM EYES

Round Emperor Selassie I, children stand at the side

Lightning dropping around, they go against The Most High

Wanting of the evil what they want, they began wondering why 

Given the Nyahbinghi chant, now they can't satisfy

Now, have the seeds ah plant and now the youths won't cry

When I all ah chant I know enough ahgo fry

THE RIVERS AHGO STOP AND ALL DEM FLESH GONE DRY

All now dem ah look fi si come from sky

AND BELLOW PON DEM NAH GET NO REPLY

CAN YOU DO WITHOUT THIS EARTH?"

Grrrrr! The tune not only provides some very welcomed BITE to the first half of "PYJ", but it SOARS to the class of material that you will find anywhere here. I don't think that 'Inna Dem Face' has gone onto receive the level of acclaim that I would have expected and it may just be THE most underrate offering here, but for all who TRULY take it in, it was and remains an absolutely DEVASTATING display of and equally disrupting talent.

Speaking of "the class" of an album like this is interesting because pretty much everything that doesn't fall into those ranks, would on virtually every other release (even on other classic projects). So, for example, if I were to take tunes such as 'Give Thanks' and 'How Dem Flex'.... they are ABSOLUTELY PERFECT. They are without the flaw. The former may be a precursor of sorts to 'Thank U Mamma', as 'Give Thanks', specifically pays attention to the powerful Mothers of the world ["Mi come fulfill di whole a you petition and you wish. The morning has been blessed with a wonderful bliss. I've got to find my mom, I've gotta give her couple kiss. Ghetto youths, try take notice of this"] and how they INHERENTLY exist as these figures of RELIEF and motivation (if you're having a bad day or you're full on in pain - who do you want to speak to???). You see a song called 'Give Thanks' and you immediately come away thinking it a certain type of piece of praise and that is precisely what this one was although the target of that praise isn't The One you expect, although this one is given a full reverence. For its part, again, you're going to have a very difficult time find error with 'How Dem Flex'... you know what... you're just NOT going to find anything wrong with it. You might just be living life kind of dirty and, if you are, Sizzla wants nothing to do with you. 'How Dem Flex' has always had this sort of.... 'rough around the edges' quality to it for me. It comes off as this BRILLIANT pouring of thought and one which hasn't been overthought or calculated and the results are magical. A teeny, tiny step ahead of that epic pairing would be the scathing 'Babylon Cowboy' [Grrr!].

"DEM BUSS IT SO PREVALENT, SO NUFF A DEM KICK DI BUCKET

SELASSIE RUN DI RESIDENT, SO GUNMAN WATCH IT

Rastaman come strong wid love inna di district

You a must American, wid yuh gun pon yuh hip

Di corporal, him still ah hide cause Bobby shot di sheriff

Commissioner ah run because wi honour wi commit

Unuh nah know no Jah counsel - yow cowboy go down

Then now yuh bow, you shot yuh brother wid yuh gun

For rights, nah justice, you nah bust it fi none

WELL SINCE A SLAUGHTER, SELASSIE I COME

EMPEROR SIT DOWN ROUND DI BIGGEST MACHINE GUNE

MUSSOLINI TEST AND GET DEM SKULL TURN DOWN!"

'Babylon Cowboy' was as HARSH as it is genius and, on an album which has become this mountain of a project, for what it was, it's probably gone slightly underappreciated (there's a tune on "BW&C" called 'Dem A Gaze' (might be my favourite song on that album), which is downright prophetic and 'Babylon Cowboy' has always reminded me of, lyrically). Perhaps the same could be said for 'Greedy Joe'. A quarter of a century later and after, literally, A GRENERATION OF SONGS, and it is my opinion that 'Greedy Joe' is probably in the top twenty or so that Sizzla has ever written. When you really dig into the finer details of what goes on here, you have that broad idea of Kalonji simply speaking on people who are on receiving but not so much on giving and he takes this to an almost unnecessarily beautiful level. You just DO NOT get much better than this if at all.

"Si all weh mi have and you been wanting

Then you run come ah grab

I have been asking - why is the youths dem livity you have been stealing?

Bigga man, memba a concrete make yuh ceiling

What's the meaning of life without living?

I LIVE SO - I HAVE TO CONTINUE GIVING

SI YOU MAKING UP GAPS, WELL THEN I COME BRIDGING

Gimme no more mishaps, ghetto youth - no more killing

I'm still gonna say, give it up greedy joe 

The day makes possible everything

So take yuh share and live loving

To the way you been handling di youths - you know wi got to sing

Judgment keeps on coming

You fence will be burning

Beat di levels, you get nothing

I BRING DI SWORD, I BRING DI SLING

Look at the crowd: Love they bring

Shout aloud: A Selassie I King

Watch you dutty living

Fire will be burning

Give that up greedy joe"

.....twenty-one years old... like at the most.... probably younger.... and it still goes higher! Even more formidable would be the MAMMOTH praising shot that was 'Haile Selassie'. If ever you fall into the trap of thinking that such pieces are, at all, rigid or formulaic, you dig up this GEM and take in hills and VALLEYS of diverse sounds, experiences and ideas. 'Haile Selassie' is barley four minutes long but it can be an EXHAUSTING experience (and I mean that in a great way). You come away feeling as if you've just watched three-hour long action film - perhaps largely courtesy of what just may be THE finest chorus on the entire album. My absolute favourite tune on "Praise Ye Jah" follows 'Haile Selassie' and blossoms on its direction as 'No Other Like Jah' is downright MAJESTIC and it always has been. This song is a one of a handful, for me, EVER, that I rank as signature moments of Kalonji's entire career. It is impossible, for me, for his story to be told WITHOUT mentioning 'No Other Like Jah'. On a smaller scale, it's also brimming full of unforgettable words which have become bassline punchlines for his work.

"Full time babylon realize:

Sizzla - is the element of surprise"

This, along with a vibes which can be called unusual or even 'quirky' to a degree (across Xterminator's cut of the Mr. Brown Riddim) (seriously, the chorus and the entire first verse are DAMAGING material!), made 'No Other Like Jah' not only the greatest moment on an all time great of an album but one of the greatest songs that I have ever heard.... like period.

There're two (technically four) things I want to mention in relation to this release and the first two are very simple. Chances are pretty high that if you do own a physical copy of "Praise Ye Jah", it contains a pair of selections --'Did You Ever' & 'Government' -- which are not present on this remastered copy ('Did You Ever' is perfect. It just is). I was actually a bit surprised by this but, if you're curious, they are readily available and, fortunately, if you do still collect physical media, 'PYJ" was very popular and is not difficult to find either on vinyl or on disc in various editions. The other thing that comes here is WONDERFUL. In honour of this remastered edition, Boomshots TV has also produced a documentary on "PYJ". This thing is all kinds of fascinating for someone like me (and probably you and you'll probably posted in this review, right beneath this paragraph) with the various individuals to whom -- such as the younger Burrell (who, delightfully, refers to Sizzla as 'Uncle Miguel', Dean Fraser, Tarrus Riley and, of course, Sizzla himself -- really just dealing with the CULTURE of Xterminator and the reverence for both the elder Burrell as well as Kalonji. One of the most striking moments for me is when Sizzla mentions how he would be working on his school homework on one page of his notebook while, on another, writing lyrics for "Praise Ye Jah". Furthermore, along with the documentary, XTM Nation has also done an official "PYJ" anniversary mixtape which features, along with Sizzla, the likes of Riley, Spragga Benz, Pressure Busspipe, Jah 9, Kabaka Pyramid and others. They REALLY did it up for the moment befitting such a ROYAL release.

Overall, what do we say about this. "Praise Ye Jah" is one of the greatest albums of all time. If you wanted to call it THE greatest, I may not agree, but I do not think it's such a far-fetched conclusion to arrive at and you would hope that such a respect would be paid for it by at least what remains of its creators. Time and nature have taken from us the opportunity to hear what Fatis, himself, may've had to say for the occasion, but what they have managed to do here is exceptional. Along with the documentary and the mixtape and the EXPERIENCE, there's also the opportunity to once again celebrate this wonderful sound, which is what is most important. A quarter of a century later nothing has changed at all. The album is as BEAUTIFUL as it has ever been and perhaps a release like this one may go on to open up this masterpiece to a new generation of fans of who were not on the planet the first time around and have yet to go back and hear it for themselves. "Praise Ye Jah" sits as the single greatest piece of work from Xterminator's entire legendary catalogue in my opinion and it is amongst a very small group of crowning jewels of the entire genre from an artist in Sizzla Kalonji who is one of the greatest to ever do it. Flawless. 

Rated: 6/5

XTM.Nation/Xterminator Productions

2022 org. 1997

CD + Vinyl + Digital

IT LIVES: A review of XTM Nation Presents Fatis Tapes In The Oven Vol. 3

Heritage. I'd like to think that it is the case for almost everyone who takes pride in doing almost anything that you'd like to be able to say that whatever it was that you've done, you have managed to make some type of lasting impression. Even if your "whatever" is working some random, dead-end job; you'd probably take at least a little gratification in knowing that, when you left and moved up in the world, your poor replacement/s had to go through a month or two hearing about how large the shoes were that they had to fill. Even for me, I do have to admit that at the beginning of our hiatus, it was nice to see people on the page and sending us messages saying that they missed us and needed us to come back because it makes me feel that when the day does come that we end things around here, as I have said in the past, all of this work that we have done can be useful to someone somewhere. It's a nice thing to think about. When we talk about musicians and artists, it is exactly what I just said but magnified maybe millions of times over. Can you imagine making a song that has touched people to a degree that, as long as there're people on the planet to sing it, someone somewhere will be singing that song and telling others just how great it is?? Can you imagine how good that must make someone, particularly in the winter of their lives, seeing clear evidence of the successes of their life's work. On the largest scale as far as what we do, I wonder if Bob Marley had any idea of just how big the legacy he had created was before the end of his life. I wonder if he knew that he had provided the necessary framework to send the greatest musical artform the world has ever known into international prominence and, quite literally, make himself one of the most popular and beloved individuals to have EVER lived. He probably had no idea and that's too bad. I often wonder about (and talk about on these pages) our current artists today. Some of them have an entire career worth of music that will never be forgotten, while others have singles here and there for which they will likely forever be known and others still may have come to [and remained in] be beloved for various reasons (such as an unsual skill for example) (biggup Vaughn Benjamin). As we progress, it will be most interesting to see how history begins to treat many of them.

Of course something that helps to build a legacy and notoriety which lasts beyond you is when you have someone directly continuing to display your work to the masses. When the generation after you and the generation after that knows who you are and has some type of grasp on what you did in your own era -- and then has a reverence for the work -- you may have something very special and may be in the process of 'building' a reputation which will last as long as humankind does. Let us take, for example, the case of my absolute favourite producer and favourite label of all time, Philip 'Fatis' Burrell and the notorious Xterminator Productions. There is first the direct method of remembering the work of Burrell and Xterminator: The label would be very instrumental in the careers of bona fide Reggae legends Sizzla Kalonji, Luciano, Beres Hammond and Cocoa Tea, and it would also see to stardom a variety of especially gifted vocalists such as [but not limited to] Turbulence, Mikey General, Prince Malachi and Chezidek. The work done in the case of all of these wonderful artists, and others, will find its way onto the tongues and lips of someone, somewhere in the world FOREVER. In those instances, however (as is the case right now - and for pretty much everyone) (trust me. I know), you may be unlikely to know the source of the material that you're singing, outside of the artists (and, then again, maybe not). The actual work of making sure that people remember the XTERMINATOR name directly is most vividly being done in another way.

2018 & 2019

I don't know if Xterminator is still at work today in any form. I doubt it as Philip Burrell transitioned just about eleven years ago. What I do know is that what I have to come to expect from the label in terms of actual releases over the last few years or so has been in the hands of one XTM.Nation. Ran by Fatis' son, Kareem Burrell, XTM.Nation (a BEAUTIFUL name) has done a wonderful job of not only existing as its own brand and imprint, but also of being something of an evolving musical museum of sorts for the works of Xterminator (and further research reveals that XTM Nation is Xterminator. They are one and the same). One of the ways they have accomplished the latter is through releasing albums full of some of the, perhaps, lesser known bits of Xterminator via a most interesting series by the name of "XTM Nation Presents: Fatis Tapes In The Oven". The first installment of the series would arrive almost five years ago now in early 2018, featuring top notch sets from the aforementioned likes of Turbulence and Chezidek in particular, as well as others such as Nadine Sutherland. The very next year the second release in the series would arrive and, though a third smaller than its predecessor, the album will still carry compelling tracks from Lutan Fyah, Ras Shiloh ["There's no reason for this life of war. What the hell is it that you're fighting for?"] and even Jr. Demus. Though it's now taken nearly four years, we're getting the third piece as "XTM Nation Presents: Fatis Tapes In The Oven Vol. 3" has now arrived. There're definitely children of former greats in Reggae music who are, in one way or another, doing their part in keeping alive of the respective memories of their parents. Someone who definitely comes to mind is the great Addis Pablo (new album, "Melodies From The House Of Levi", out now), who is continuing, DIRECTLY the life's work of his legendary father, Augustus Pablo, by utilizing the same obscure instrument [the melodica] to demonstrate a master class of Reggae music. This method here, however, seems even more direct and, again, as someone who was greatly impacted by the music of Xterminator at their peak and still to this day, I am SO happy that much of this work is put together in this type of package for the masses and, particularly, for some of the younger listeners. Old heads, like You and I, will also enjoy and not only for nostalgia. One would presume that the younger Burrell and XTM Nation would have an unrivaled level of access to Xterminator's vault (like ALL ot it, basically) and because of that you'll encounter tunes which are incredibly obscure and others which are totally unreleased altogether. Regardless of who you are, you are almost assured to find some level of interest in this project and all of that is just on paper.... wait until you actually listen to it!

Along with being my favourite label ever, Xterminator has always been an interesting point of discussion for me, in general. Not long ago at all -- without even knowing that this release was in the offering -- we cracked open the vault and, most randomly, took a look at "The World Shall See", a more than respectable compilation of the imprint's music now more than a couple of decades old! Add to that all of the years of Sizzla, Luciano, Turbulence and Luciano albums that we've done and, CLEARLY, it's something that I look forward to writing about and biggup XTM Nation for the FRESH opportunity once again (was SO excited to dig into this one). Coming through at an hour spread across fifteen tracks (meaning a very healthy four minute average), "XTM Nation Presents: Fatis Tapes In The Oven Vol. 3" (which I will now begin referring to as "Vol. 3") begins with a song that I've never heard before courtesy of the esteemed Ini Kamoze, 'They Don't Know'. Just a few weeks ago, Kamoze released a remastered version of an older single, 'Hardware', on XTM Nation and his most recent album, 2016's "Trampling Down Babylon" was another project with Xterminator/XTM Nation. Most notably, the union also produced the massive hit, 'Hot Stepper', as well; so, whether you realize it or not, the Ini Kamoze - Xterminator connection is one which definitely reaches back quite a ways. This tune is a LOVELY one which I took to be about the mistakes you make in underestimating people and overestimating yourself - thinking that you're smarter or just full on BETTER than anyone else. Kamoze has always had a very interesting style for me. It's at times both monotonous and highly melodic and though I rarely speak about his work, I well respect his talents and it's because of pieces just like 'They Don't Know'. Next up is one of the main attractions for me (and probably for everyone), as my favourite artist OF ALL TIME, of course, makes an appearance as Sizzla Kalonji spellbinds on 'What I See'.

"What I see is harmony-

Taking hold of everyone's hand

As for me, let it be

Stop the war, it's been much too long 

Look what they live fi si -

LOVE, within the neighbourhoods

Gratefulness happening as it should

In time passed by, even I myself would-

Wonder who would step forth and show me any good

BUT IT IS THERE

I see it all now

Love in the air, no war is allowed

Everyone been caring

Only love outpouring

We should all know to grow all di seed weh wi sew"

This track, BRIMMING with positivity actually reminds me a bit of another older tune from Kalonji, also produced by Xterminator by the name of 'Love Amongst Me Brethren ["To Sizzla, that heaven. None of us can run from the truth"], for some reason. They resemble one another FAINTLY at best but both were sensational on a very direct and basic type of vibes. You won't be shocked to find out that, albeit by the slimmest of margins, 'What I See' is my favourite song on the whole of "Vol. 3", but I think I may be a bit biased. Up next is the legendary 'Messenjah', Luciano who makes his contribution in a big way (also quite simple, but that is the norm in his case) on 'Youthman'. You know precisely what this one is about simply based on its title but don't make the mistake of letting its predictability cloud your judgment in respects to its quality: 'Youthman' is EXCELLENT as the dominant singing voice in modern Roots Reggae gives a MASSIVE pep talk to the youths of the day. This song has some very difficult to describe FEEL about it.... or something  that is quite special to my ears. I'm struggling mightily (and am about to give up trying) to find the right word but there is some... CRISPNESS to 'Youthman' which definitely heightens it for me and if I'm the only one who feels that way, it won't be the first time. The big voiced Jack Radics asks 'Where Do The Children Play' which, at least for me, is VERY clever. What I got from the direction on this one is the idea that the world has gotten SO ridiculously complicated and people have become involved in so many different things that we have never throughout history that we have managed to lose focus on some VERY basic aspects of traditional everyday life and Jack Radics is STUCK on it  ["We've come a long way. We changing day-to-day. Tell me, where do the children play?"]. He's wondering what the hell is going on and, unfortunately, he may be in very select company. 'Where Do The Children Play' is fantastic if you give it the opportunity. Wrapping up our first third of selections on "Vol. 3" is Reggae royalty, Marcia Griffiths, with the delightful 'Cry To Me'. If this one does NOT get your head bobbing and something moving in you then you may want to consider seeking immediate medical attention. 'Cry To Me' isn't going to change lives (obviously, it's almost thirty years old), but it is a JOY to listen to and, of course, any time you can attach Griffiths' name to virtually anything, it's only going to improve it.

Perhaps by design or perhaps by coincidence, but the next lot of artists on "Vol. 3" features five extremely esteemed vocalists, two of which were fairly consistent in terms of the work they did with Xterminator and three others who were a bit more surprising, at least for me. The biggest of them all provides a tune which I'm almost certain that I've never heard before as the truly timeless Beres Hammond brings 'Never Again' and says it to, arguably, the second finest tune on the album. There's just something about this man singing a song where he pushes his vocals -- even just a little that just you. It's almost unsettling and I mean that in a good way. As to the actual tune, 'Never Again' doesn't fall out of the scope of what you've come to expect from Hammond throughout the years in terms of either direction or quality and, again, it is exemplary from someone who has made an entire career (and then some) out of being exemplary and does so, here, in the nature of learning from one's experiences. Cocoa Tea is an artist whose career has been very closely associated with Xterminator and while no one will be surprised to see him appearing on "Vol. 3", we should be pleased with the results in 'Each Man Take Over'. Cocoa Tea's style has always been fairly simple and straight forward for the most part (even when at his best) (particularly when at his best, actually), but this one is a slight deviation in my opinion. 'Each Man Take Over', won't confound anyone lyrically (hope it doesn't) but it is a set about how, anywhere you go in the world things change. Everyone from everywhere sets the rules and laws (whether actual or.... territorial) for everywhere you go. Wayne Wonder did not voice a lot of songs for Burrell that I know of but he clearly made the most of what he did as evidenced by the very COOL 'The Way I Am'. I barely even know how to describe this almost R&B-ish piece outside of "very cool". The vibes are so nice and relaxed that I wouldn't at all be surprised if Wonder heard the riddim and just came up with the song on the spot. It isn't amongst the class of this album, but you let this song play and play and it'll probably show itself to be better than you originally thought. The generally underrated Spanner Banner does go just a bit higher with his solid lover's tune, 'I'm Crying'. I've never really been much of a fan of Spanner's, but he is someone whose talents I do appreciate (and I can say the same of his brother, Richie Spice, whom he often resembles vocally)and have appreciated throughout the years. I've never heard this particular song and while it isn't great to any degree, if you needed more a direct love song for this compilation, you have it here. Outside of 'Never Again' the second best tune you'll find in the middle portion of "Vol. 3" is definitely 'Know What Is Life' by the always welcome Pinchers. While I have rarely ever written about the work of Pinchers, I have been a fan of the curious voiced singer and, here, somewhat like Hammond, he delivers a golden offering largely about experience. In this particular case, Pinchers make a direct correlation between POSITIVITY and life experience and how crucial it is to not only look after one another, but to accept help when you need it (and ADVICE). 'Know What Is Life' is very impressive, although somewhat oddly vibed (I told you what you'll do with your head on 'Cry To Me', I'm thinking this one may just have you neck confused) - we'll overlook that.

Impressive singers continue to appear throughout the balance of "Vol. 3" as its final trio of selections come via big time crooners. As far as Xtermintor goes, in particular, none of them are bigger than the tones behind 'We Tired A It': Mikey General (big new album, "Hold A Heights", you should check it out). Again, I'm going to have to confess my potential bias in this instance because I LOVE Mikey General and 'We Tired A It' is a big, big winner her to my ears. The track finds the General outlining frustration of having endured centuries and generations of oppression.

"They gave us emancipation, but they took away our rights

Through some education, they demoralize our lives

Give worldly possesions only to a few

And use it as a barrier against the multitude"

This one comes in with quite a bit of lyrical HEFT as the singer does pay attention to get as detailed as he possibly can in several instances, which is a nice thing. It succeeds in its specificity which isn't something you're always going to say about Mikey General's music, but let this be an exception and an impressive one. The great Sugar Minott says that "you can kill 'The Goose' who laid the golden egg" on a tune that I'm well familiar with prior to "Vol. 3" (I cannot confidently say that I knew it was from Xterminator though. I'm actually inclined to say that I did not know that). I've always taken this song as an expression of both the level that Minott was pleased to have reached during his career and as a statement of the responsibility which he felt came with it. He was one of the biggest 'big men' of his era (of any era) and, thus, it came with the obligation of setting a good example and being a good role model for all of the youths and elders aspiring to be where he was. Sugar Minott embraced that and I think that 'The Goose' was his 'invitation' for others at his level and near it to do the same. The final tune on the album, 'We Give Thanks' from sugary sweet singing Al Campbell, is definitely not a favourite of mine, but I do not hate it. 'We Give Thanks' is just kind of here. It's harmless and pretty much anytime you get to hear a song sung by Al Campbell, it can't be too horrible, but the song doesn't do much at all for me. Following the middle of "Vol. 3" and given what was to come later on, it could have definitely used a bit more in the way of fire and if you need fire in Reggae music, you cannot possibly do better than in retaining the services of pyrotechnics MASTER, Capleton who well adds some bite with 'Clean Hands'. I've said it before and I will say it again here: You will often find yourself distracted when it comes to Capleton, given all of the FLAMES and dramatics that the man comes in with, but when you REALLY get into it, Capleton is a top ten lyricist in the HISTORY of Reggae music. He toys with the words at his best and you listen to what he does with this one - a scintillating display about bathing oneself (spiritually) and living up to your standards (or upping those standards if need be).

Another veteran of Xterminator, Jesse Jendau (aka Congo Jesse, Jesse Jender & Jesse Jendah), also provides this release with a little bit of chanter's heat with 'Where Can I Find' (which, for some reason to my ears, sounds like something you'd hear from Determine. You wanna talk about underrated lyricists.... don't even get me started on Determine. That man is a master) (probably my favourite Jesse Jendau tune was 'Ghetto Youths' with Sizzla and he had another named 'Fear No One' which was GIANT). 

"Where can I find

LORD

That peace of mind

WHOI

Lord, in this time of war and crime

You set up mi bredda fi be warmonga

All over this world, inna di ghetto era

Substance abuse, it gone pon top

Everywhere big .45 clock

WI NO DESIGN NO GUN, WI NO DESIGN NO CRACK

But war ah hit inna di Black man lap

You look inna di future and yuh bound fi si di trap

Oh lord, what a joy when Black man touch di top"

Jendau SHINES on the excellent social commentary, which finds him searching for a more basic and peaceful plane of existence; something which certainly isn't too much to ask for. "Vol. 3" would be less than it is sans 'Where Can I Find', well registering as one if its definitive highlights.

Overall, I don't want to make more of it than it is, "XTM Nation Presents: Fatis Tapes In The Oven Vol. 3" is just a damn solid compilation. That is true even if you take out the circumstances. Such a setting when observed, however, will make it more for people like myself (and probably yourself, if you're still reading this). This one comes in with all the nostalgia and musical ECHOES that you would hope from such a project and I really LOVE, again, how this music can be given and re-given to older fans as well introduced to newer heads at the same time. When XTM Nation does that, not only are you keeping the music of Xterminator alive DIRECTLY, but you're also very likely putting it in a position where someone who was never familiar with their work ends up doing what I did so many years ago and falls in love with what is EASILY one of the greatst musical legacies in all of Reggae music history. 

Rated: 4/5

XTM.Nation

2022

Digital

The Vault Reviews: The World Shall See

Golden days. As a music fan and as a fan of virtually anything, the longer we occupy ourselves with that particular thing, the greater the opportunity is there for us to begin to acquire favourites. If you're fortunate and you pay a great amount of attention, you might have several favourite artists and producers and riddims and performances (both that you have personally attended and that you have seen recorded) and a variety of other things which have stuck with you and will remain with you for the rest of your life, hopefully. Favourites have a variety of different classes as well and, as you very well know, they can be very significant and emotional things for people, making it all the more crucial when we come across them. So with that being said (and returning to writing this review after about a month or so. I know. I'm sorry. Technically you've been waiting for this review for over twenty years), today I thought I'd go back and celebrate one of my personal favourites which TRULY has no equal in what it was in its day, for me. There was an, unfortunately, now either wholly lost or extremely underpublicized set of circumstances in Reggae where we had these groups of artists under one umbrella-ing label. The vast majority of these, whether they do or do not exist in any way today, are relics of yesteryear which're left for us to think back to in forms like this as 'da good ol' days. I'm thinking about stations like Beenie Man, Tanto Metro & Devonte and Lil' Kirk at Shocking Vibes for Patrick Roberts. There was the Main Street crew and Danny Browne who, with a wholly infectious and very digestible style of the music, brought Dancehall fans years and years of hits courtesy of the likes of General Degree, Red Rat, Mr. Vegas, Mr. G/Goofy and others. Main Street, in retrospect, has aged quite well in terms of the music it made (having produced, for example, both the wildly popular 'Granny' and 'Pianist', respectively, for Degree) and the impact some of its direct and indirect stars went on to make. On the Roots side there were people such as Richard 'Bello' Bell and Star Trail family (biggup the Star Lion Family) who is probably best known these days for having brought the legendary Anthony B to prominence, but the label was also very instrumental in building up names such as Everton Blender, Norris Man, Capleton and even Beres Hammond who they worked extensively with in their day. Continuing on that same line of thought, I can distinctly recall Star Trail being like half of what would turn out to be a sizable explosion of modern Roots Reggae music (in retrospect, probably the most significant it has ever had) in the mid to late 1990's or so. The other half of that equation would be the reason that we're here today -- about to talk about a random, twenty-two year old release -- and simply my favourite Reggae label (label of any kind, really) of all time. 

Of course I'm referring to the immortal Philip "Fattis" Burrell and his Xterminator Records imprint. The easy way to explain it is to say that Fattis and Xterminator developed and brought to prominence some of (and THE in my opinion) greatest artists in Roots Reggae music in its day; they also produced some of the greatest songs and full albums as well and that is a solid legacy in and of itself in my opinion. However, when you begin to look at it as far as what resulted from the work that they did and who influenced whom and what became of that following generation, the label has left a lasting legacy that continues to reverberate to this day and will NEVER stop (have I mentioned that I'm reviewing a twenty-two year old album??? I have? Okay just ignore that part there then). How many artists today grew up listening to that same generation of Xterminator alums and how many MILLIONS of fans did the same and, in turn, passed it on their children? We've gotten to that point already where, looking back to the not too distant past, has grown to this wonderfully nostalgic degree that we find ourselves looking at a random, twen.... oh yeah, nevermind. 

2002

Along with doing releases for artists, occasionally labels would put out compilations, while these were far more prevalent back in da day, you still see them today, generally as riddim albums, but sometimes something a bit more. These release stand/stood as kind of updates as to what the label had been up to at a given time or even as greatest hits type of releases for the label or for a certain artist. Xterminator was no different as, along with albums for their artists (some of them were outstanding) (a handful of them were legendary), they also did greatest hits sets and general compilations from the label. Perhaps one of the best known of the latter was 2002's "Rough Inna Town", a drop featuring hits from both the then-current and past and future stars of Xterminator; and there were others such as an installment of Charm's (I know.... it's Charm (I don't if anyone really knows what was going on with Charm back in the day, if there is someone he/she is not me) but it was solid) "In The Producer's Hot Seat" series (that album contained two of the finest songs I have ever heard, so I had to mention it) and others still, like a Dub album for Jet Star. Within this group and just ahead of most of them was a lovely collection through VP Records at the turn of the century by the name of "The World Shall See". If you are familiar with the actual tune for which the album is named then you probably already know why I dug this one wayyyyyy up for a vault review (if there're perfect songs, it is one of them). I've had this actual disc for maybe five or so years and I always wanted to talk about it because of just how thorough it was for its time. There're three names on "The World Shall See" that do not leap out at even more faithful followers of the genre and the label and one of them, in particular (technically two, actually) I could not name you ANYTHING else they did in their career without research. That, alone, isn't very good (isn't bad either), but what that was attached to just happened to be precisely what you would expect from a general release from Xterminator in the year 2000. It was LOADED with absolute giants of the genres, up and comers and just solid contributors to the Xtm legend. Though there was one unfortunate omission -- Mr. Mikey General -- but every other base at the time would have been covered as far as that era via this one set. On top of that, the material that was present on "The World Shall See" was powerful for the most part. As I said, with a certain tune being at the head of it, this a fine, tiny representation of the label around the time and what something that I really have enjoyed about it is what you find in the 'ancillary' artists (and I mean that in the most respectful way possible, of course, I just really wanted to use that word). There're certain people who have come to link with Xterminator -- about to tell you about a few of them -- but there are certain other BONA FIDE LEGENDS who you may not realize have also done extensive work and recording with Fattis and company. Vocalists of all types end up shining on "The World Shall See" making it, though underknown, a powerful example of one of the greatest outfits Reggae music has ever seen. 

Even if you were to take out the set of circumstances and the label involved on this project (and bias towards it) what most immediately stands out just running down the tracklist of "The World Shall See", at least for me, is the extremely impressive line of vocal talents present here. Regardless of what brings them together, even a casual fan of the genre is likely to be impressed by the run of exactly who is present here. If you need an example of that, you need not go any further than the opening selection on "The World Shall See", a personal classic for me and many others I'm sure, 'Stand Tall' by Capleton. I forget this tune was actually produced by Xterminator and it probably (surely) is better known for appearing on the Prophet's opus, "More Fire", also for VP in 2000. 'Stand Tall' was complete and utter genius.

"I see di wicked man will have to fall!

And all the righteous man will haffi stand tall!

A DI WRONG MAN NAME DEM GUH CALL!

And now dem back against di wall, dem fall 

Longtime mi ah warn dem and dem neva waan listen

Tell dem no diss di man weh get di blessing

Listen to di birds when you hear dem ah sing

Listen di leaves all on di tree limb

Watch all di fishes in di sea when dem swim

EVERY LIVING THING HAFFI COME HAIL DI KING

And all di water from di spring!"

Despite its nature (it was downright SWEET at times), if you really tuned in 'Stand Tall' it could be overwhelming at times. Capleton kind of built it in a way where, though it didn't change in intensity much, it became a matter of just LOADING the listener with knowledge and ideas that, especially in its latter stages, 'Stand Tall' was.... probably one of the finest praising songs we've ever heard. Speaking of songs which may've been unintentionally candy-like, another superstar and one well known for his work with Xterminator, Luciano (oddly credited by his actual name here, J. McClymont, comes in next with 'Free Up The Herbalist'. The year prior, Luciano would release one of the most popular sets of his own on VP Records, "Sweep Over My Soul" (so named after another Xterminator steered shot) and while this tune did not appear on that album, it would have been, EASILY, one of the finest works there (though, I did not love "Sweep Over My Soul"). 'Free Up The Herbalist' was fantastic and it does have its running theme, it's a ganja tune, it's also a very detailed social commentary and a spiritual song. It succeeds on all those fronts as well and I hesitate to call it one of Luciano's best, period, only because I know the weight such a statement carries, but it is EXCELLENT! Label staple, Prince Malachi, would also have an album on VP in 1999, "Love Jah" and "The World Shall See" plucked from it its GOLDEN title track. It's either been far too long since I've heard this one or I've just spent the last twenty years or so really underrating it because I don't quite recall it sounding this good at any time. Malachi's work with Xterminator, in general, may be overlooked these days by many and if you're one of the people for whom nothing he did during that period immediately stands out, I would DEFINITELY direct your attention to 'Love Jah'. Such a stunningly beautiful piece of praise and, after I'm done here, I'm going to dig up some old Prince Malachi (pretty sure I have both "Love Jah" and "Watch Over Me" on disc).

In 2000, it was well within the timeframe when the great Sizzla Kalonji (you knew He was coming) would release at three albums a year for the three biggest Reggae labels of the day, VP, Greensleeves Records and Jet Star. His VP album from that year was the very interesting Xterminator produced "Words Of Truth", best known for being a double disc, with both a studio and a live album in the packaging. His set for Greensleeves also came via Xterminator, "Bobo Ashanti". To my opinion, "Bobo Ashanti" was one of the.... best ten or so albums Kalonji has ever done and it was crowned by one the greatest tunes he (or anyone else) has ever done in my opinion, 'The World Shall See' (it was just called 'The World' on that album). TEARS! ABSOLUTE FUCKING TEARS! I've said in the past that Sizzla's music changed my life, it changed my way of thinking and it was songs like this ["Then, dem neva know: Seh A KING SELASSIE RULE THE HEART AND THE SOUL"] that did much of that work and opened my eyes to something I had been surrounded by for all of my life. This is the best song on this album (they knew it was, that's why it is named after it) and it's probably never appeared on any album where that wasn't the case and it almost surely never will. BOOM! In 2000 Fattis would fully bring his next charge, Turbulence, to the masses with his debut self-titled release on Xterminator. The following year he would deliver his second album for VP, "Rising", deemed a modern classic on these pages and still the greatest album of his career in my opinion. There's a pretty good chance that the very first time Turbulence would have appeared on any VP project was on "The World Shall See" as he contributed the sublime 'Think Of Peace'. This song wasn't on either of the first two albums and I don't know why, it was pretty good. It wasn't the strongest lyrically (he was still very, very young at the time. It's dated 1999, he was probably eighteen when he wrote it), but it did have a nice vibes to it and, good luck finding it anywhere else. And speaking of the youths, rounding out our first third of selections on "The World Shall See" were the young Morgans, L.M.S., with 'Follow Jah'. LMS is another one [three] whose time with Xterminator has probably gone forgotten, but it says a great deal that two of their four albums were produced on the label, so there was some clear chemistry in the work and it shows on this tune. 'Follow Jah' isn't amazing, but it's very solid and the more you hear it, the more it grows on you. It has a delightful vibe to it which wasn't rare to find in L.M.S.' music, even if I wasn't the biggest of fans.

'Bubble In The Struggle' featured the elder Morgans, Morgan Heritage. Though not as extensively as their younger siblings, MH also did quite a bit of songs with Xterminator as well and this is one of their best in my opinion. Coming in with a nice old school sound, the Morgans used the vibes to check in with a message about people not only surviving and maintaining in troubling situations, but THRIVING within them as well. The immortal Beres Hammond is another one still whom you may not know for appearing on the label but even he made several songs with Fattis and co. One of them, the outstanding 'Hold On', is carried on "The World Shall See". Hammond is someone who, with his delivery and his general CLASS, can get something out of just about anything he does (you have to TRULY be rubbish as a producer to push out a bad song by Beres Hammond) and 'Hold On' was of his typically high level and with a powerful idea of showing just a bit more patience, perseverance and not being afraid to stand up for yourself and show some backbone when necessary. This tune was actually a pretty nice sized hit for Hammond and, in 2003 when VP released his greatest hits anthology, "Can't Stop A Man", it appeared there along with several other Xterminator songs; the most popular probably being 'Full Attention' (it was also the title track of an Xtm produced Hammond album in 1993). You'll also find in this grouping 'The Story Of My Life' by US singer, Anthony Mills. Mills is one of the three that I alluded to whose name surely will not be very familiar to Reggae heads if you don't remember what he would do with Xterminator (and even if you do recall it, there wasn't a tremendous amount of it). His effort here is fine. It's kind of a Gospel themed tune, but what stands out for me, is the music. There is an infectious electric quality to this riddim which seems ULTRA simple at times but really is not when you tune it in. The singer would do more work with Xterminator and is obviously still active these days so feel free to look him up if you like this song, there is a TON more from him. Malachi returns with his second and final effort on "The World Shall See" with 'Life Cycle', taking on the same track behind the title track. Just as was the case on his first piece, 'Life Cycle'  is also EXCELLENT. This song I'll call a spiritual celebration of NATURE. Malachi deals with Mother Nature in the greatest sense but also in the most terrestrial and, 'stemming out', how important it is that we maintain the world because we are TRULY lost without it ["Combined together with Jah forces, She's our home and She is our hostess. Oh Mother Earth, oh Empress. Yes I know. We continually need Your service and no many coulda neva deny this"]. 

Sizzla returns with his own second (of three) selections on "The World Shall See", the well underrated humility anthem 'Why Boast'.

"Why boast when it get you nowhere?

And your riches will soon disappear

Trying to be like those and prove you so unfair

Come to protect the poor

I love them ever-dear

Why boast when it get you nowhere?

And dem riches will soon disappear

Trying to be like those and prove you so unfair

Come to protect the poor and Jah is ever there

Dem neva want us reach nowhere

Yet I know - I & I are everywhere

From Holy Mount Zion to the Earth's plane

The Conquering Lion bringeth no shame

NO RESPECT FOR THE POOR AND YET THE TABLE PREPARE

Continue to ignore, they insult our care

WE COOK THE FOOD THEY EAT AND MAKE THE CLOTHES THEY WEAR

What a tribulation poor people deh bear

Inna every situation, still wi neva fair

They make it all so dem start move queer

And a dem thief out di poor man share"

This isn't quite what I would call vintage Kalonji from that era, but it is damn close. At his zenith during the early 2000's, Sizzla would weave these nearly perfect lyrical GEMS which could reach a listener on pretty much every level. 'Why Boast' was maybe half a step lower, but even such quality rises it near the best on a more than solid release like this one. The other vocalist who appears here more than twice, Capleton, returns with first of subsequently a pair of combinations, 'Jah Kingdom', alongside Luciano. BOOM! These two have linked up several times throughout the years -- with probably the biggest being 'Hail King Selassie' for Black Scorpio -- but I have to tell, as far as any combination between the two, 'Jah Kingdom' is AT LEAST as good as anything they've ever done. I'd have to do some more research to see if I'm forgetting something, but if it was THE best Capleton/Luciano song ever, I would not be shocked at all. 

"Jah kingdom come down upon earth

Rastafari voice must be heard

Jah kingdom come down upon earth

King Selassie I a wi shepherd

Jah kingdom come down upon earth

Rastafari voice must be heard

Jah kingdom come down upon earth

Revolutionary soldier is at work

Babylon haffi go stay mute, dem haffi accept di truth

Cah man a revolutionary, every soldier, longtime recruit

Dem haffi stay mute, dem haffi accept-

Well dem caan stop mi from dig out mi truth

Babylon, yah gun dem soon nah have no use

No more ghetto youth dem you caan come shoot

Di youth dem seet and dem find di truth

Dem caan sow wi like no seed nor pick wi like no fruit

I AM DI BRANCH, I AM DI LIMB, DI STEM AND DI ROOT

Luciano! Kick dem wid di gideon boot!

Behold The Lion Of Judah has conquered again and again

Set all the captives free again"

It's direction was precisely what you expected it to be (the same as 'Hail King Selassie') and its quality is as well with these two PILLARS of artists coming together in honour of His Imperial Majesty and to slap down corruption any and everywhere it exists. 

The final lot of tunes on "The World Shall See" gets downright colourful in regards to the artists, making for some genuinely memorable moments in the process, including one or two that you might not have remembered/known were products of Xterminator. The legendary Leroy Sibbles also blessed Xtm with some fine work in his day and a great example of that would be his tune here 'Fight' (if you need another taste, look up a song of his by the name of 'Oh Jah') (even if you don't NEEEEEED it, you may want to look it up anyway). This one was a call to action and a call that maybe it's time to begin taking some personal responsibility for yourself and your well being ["If you're a man, you've got to stand on your own two feet. That's the only way you're gonna eat"]. It was just very well-written and I'm sure there're many fans of the music, even some diehards, who may not even know that it exists. The same surely can't be said of Cocoa Tea's 'Mr. Neck Tie Man', as it was pretty well known and Cocoa Tea is someone who voiced extensively with Xterminator, having delivered several albums for the label in the 1990's and 2000's (five by my count). 'Mr. Neck Tie Man', which used the same riddim as Luciano's classic 'Sweep Over My Soul' was featured on 1998's "One Way" for VP (big tune on that album called 'No Faith') and probably a few other greatest hits styled compilations as well. It deserved the run that it received, in my opinion as Cocoa Tea, as is his signature, gave us the wonderful SIMPLE message about those seemingly living two different lives at the same time ["Sometimes you hold the Bible in your hand. The other times you hold the alcohol pan. Wanna know - what is your true religion? Are you praising Jah Jah or it is Satan???"]. You'll also find a pair of combinations near the end "The World Shall See" which grab attention for a couple of different reasons. The first of them is 'The Vibes', linking together the only two artists here appearing thrice, Sizzla Kalonji & Capleton. Though I've never loved this song (it almost seemed like they knew it would be a good idea to make a song together and just.... vibed it together and 'The Vibes' is what they came up with), it's probably a little better than I've given it credit for being, though nowhere near as strong as one might imagine such a combination being. The other combination here on the other hand, 'One Gun', is better than you're thinking. Placing Turbulence alongside rapper Fucious. This tune appeared on Turbulence's aforementioned debut album. I do not hate this anti-violence tune and it does have its moments ["War a nuh nice thing, remember that. A nuh mosquito bite when you get gunshot"] (Turbulence's entire first verse is pretty impressive), but I've never been the biggest fan of Hip Hop and Fucious... yeah, I'll just leave it there. He clearly does his best. The unfortunately all too interesting Jah Cure also popped up on "The World Shall See" with one of his greatest earlier tracks, 'Trod In The Valley'.

Here's another selection many may've forgotten was produced by Burrell. When this one truly came to prominence, the Cure would have still been incarcerated (.....the more things change, the more they stay the same) but 'enjoying' a situation where he was becoming this kind of underground artist that had an ever-swelling fanbase. Many of those were coming to figure out what exactly was going on with him and who he was, but they would stick around for genuine classics such as 'Trod In The Valley'. Lastly was a very, but not really, underknown Mr. Biggs who does a respectable remake of an R&B song by US artist, Tyrese, 'Lately'. The story here, besides the song (and maybe even more so, twenty years later) is that, as far as I know, Mr. Biggs is actually Donald Dennis, one of the most esteemed players of instrument of the modern era and ever, really. He plays bass on every single song on this album and he also does some keyboards and guitar as well and, like all talented active musicians - you've probably heard his work dozens of times without realizing it, particularly on Xterminator material.

Overall, while I didn't want to paint the picture that "The World Shall See" was this all time great classic of a compilation and that it had been woefully forgotten by the masses (although that second part there is true). What I did want to show, however, is just how completely SOLID of a set it was and what a fine job it did in encapsulating a high point in the history of my favourite label/producer ever. Mikey General is missing, as I said, and so is Chezidek (though, in his case, this album arrived before he rose to notoriety. His own debut, "Harvest Time", would come for VP Records two years on from this one), so it could never be called 'DEFINITIVE' even in regards to the work done in a decade's span, but just judging it for what was here, "The World Shall See" was not only very good, but it does retain a very nice sense of nostalgia and, from time to time, is a JOY to go back to listen to. You'll find some of the material here on classic albums which you're likely to draw for far more consistently than it, but if you, like me, just occasionally want to drift back, pretend that you're not an old ass man or woman and enjoy some of the strongest work from the immortal Philip "Fattis" Burrell and Xterminator Records, you can do no wrong in digging up "The World Shall See".

Rated: 4.40/5

VP Records

CD + Vinyl [good luck with that] + Digital

2002