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.
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| 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
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