Distinguished: A review of Endeavors by Spragga Benz

Heavier. As is the case with virtually anything else, when it comes to music, respect is a thing that is earned, first and foremost. Whether or not it is lasting in any particular case is another question but when you receive the respect and the deference and the adoration of fans and your peers, you have to be doing something right. On one scale, we could look at the status of a 'one hit wonder' who could, conceivably, attain a level of immortality via one big tune (and you could probably think of songs from... fifty years ago now, which are eternally linked to the name of one individual). That is a type of respect: You made a giant song and it made a lot of people feel good - THANK YOU! Going beyond that, we can look at individuals who, while they aren't amongst the absolute biggest of stars in any certain genre, they have achieved a level of acclaim and distinction which, again, has made them unforgettable in the eyes of many. Not too long ago, we did a Signatures feature on Jah Mason and he's a pretty good example of that. I was prompted to write that feature in reaction to seeing someone refer to the Mason as a one hit wonder (insanity) but when you really get into the rest of his career, you realize that he's been SO MUCH MORE than just one massive tune and his been a very consistent soldier of Reggae music for a very long time. I look at several of Jah Mason's Roots geared peers such as Bushman, CHUCK FENDA, the late Determine and others in the same light. These are long-tenured artists who have given us endless enjoyment through the years and while they have peers whose names are more widely known, their contributions are not to go overlooked or underappreciated. As I have discussed in the past, on a personal level, there are those who, for one reason or another, have charted a very high level of appreciation and reverence for me and not just on the strength of their music (though primarily) and another, still, whose names just carry a lot of weight with me. Aside from the lot that you're expecting (i.e. Mark Wonder, Norrisman, Queen Omega...), I'm thinking of people such as the fantastic General Degree, Mad Cobra, Ras Batch and I've come to realize that Spragga Benz is definitely amongst these. 

2019

These're artists who may not be very active for the most part (in the case of Degree and Batch, not hearing a single thing from them over the course of an entire year is not a rarity at all) and that surely helps; but I find myself so damn interested in hearing what they're up to when they do finally reach with something. Their names carry such a weight with me and I'm just HAPPY to see them attached to some project. Gone are the days when the Dancehall heads amongst them would hop on any riddim (I don't know how old Batch is but Degree, Cobra and Spragga are all sixty within the next four or five years) and, of course, the genre has changed to a large degree in that aspect; so I appreciate when they're out and contributing. On top of that, as you might expect, I don't get to write about any of them very often, so I also stay looking for opportunities to do so in order to celebrate what they've given us previously but are also still currently up to. 

2020

Taking a look at these specific cases: I THINK the last time Batch made an album remains 2017's "Rootz & Kulcha" (need to do something about that), I haven't a clue when the General's last studio project released (I THINK there was an EP maybe a year or two ago) and Mad Cobra's last album is probably STILL be "Snypa Way" which is damn near twenty years old at this point and was likely one of the first reviews I ever did on this blog (and it was not completely new even then). Spragga Benz, on the other hand, has been downright prolific, by comparison. Spragga's most recent album release was 'just' five years ago in 2000's very well received "The Journey Chosen". That set, though very varied (what!) was SOLID, fun and featured guest spots from the likes of Kymani Marley, Konshens and Wayne Wonder. The year prior to that was "Chillagon" which was even more diverse and though less of an album than "The Journey Chosen", was an okay set and did a decent job of showcasing Spragga's talents, albeit in spurts. What is Spragga Benz good at and how did he earn his stripes over the years?? I'd make the case that what really draws me to his style is just how FREE it is when he's at his best, with this LARGE, beautiful voice. Spragga has this way of... doing damn near anything that he wants, lyrically, without falling too far away from the subject at hand. It's very loose. For contrast, take General Degree. He's very SHARP and to the point and CLEAN (Degree's music is awesome. It's just so damn fun to listen to), and I would also include people like Beenie Man, Buju Banton and the likes who, if ever there was a school of delivery, they attended and were the top scholars. Someone else who would fit in there BUT has a hint of something else is Agent Sasco who took a grand amount of inspiration from his mentor, Spragga Benz and, at least for me, Assassin is one of THE most gifted lights the Dancehall has ever produced. PERIOD. You do hear that kind of spontaneous and rough-around-the-edges approach from Sasco though on occasion and I owe that to Spragga. If you remember Mega Banton and how BRILLIANT that an could be but it never sounded too well situated or planned out, that's always where I've put Spragga Benz. Whatever it is, it's worked for him, historically, and it's still working for him as 2025 sees him on a new project, "Endeavors". The album comes via Red Square Productions [DUH!] as well as Lamar Reynolds who handles production via his LMR PRO Productions outfit. As has been his norm in recent times, "Endeavors" is a blend of several different styles and had I written this review a month or so ago, it probably wouldn't have been this positive. As it is, while I do not LOVE everything I hear, it does prove to be a compelling and colourful piece by its end. Not doing anything at the moment?? I'd love to tell you about it. 

Along with being well respected amongst fans, Spragga Benz has also made a name for himself with his peers and he's able to pull in three huge ones to feature on "Endeavors", including one VERY special guest.... so we might as well start there! There is an all kinds of interesting tune here by the name of 'Shoot Down That Drone' which features the late, great Calvin Scott, bka Cocoa Tea who we lost earlier this year. The tune has been billed as the final recording of Cocoa Tea and I've even seen it suggested that the tune may've been done via AI. Cocoa Tea doesn't sound his typical self in the vocals (I've also read that it may've been recorded (or at least partially) from his deathbed), Spragga, on the other hand, is absolutely dominant in one of the finest displays on the whole of "Endeavors". 

"Countering system weh wi call Drone Killa

Wi need some dung a Tivoli and need some up a Villa

And send some fi mi thugs a Trinidad & Anguilla

So wi disrupt every signal weh dem fly ova di hill yah

Haffi link up Raggamuffin, haffi link up Gongzilla

Cause di ting is like a little monkey vs a gorilla"

The anti-surveillance (or is it pro-privacy???) track stands as a legitimate highlight here not only for its background circumstances but also for its quality as 'Shoot Down That Drone' makes a heavy impact in its brief time. On the very next tune up, the very THICK praiser 'Teach Them', things go even higher as joining Spragga this time is Sizzla Kalonji. BOOM! You may recall a couple of albums from a year that I don't feel like looking (had to be almost twenty years by now) up, by a label called Drop Di Bass (didn't have to look that up) - "Prototype" & "Addicted". I think they were both released on or around the same day and they were full albums from Spragga Benz and Sizzla Kalonji, respectively ("Prototype" was average and "Addicted" was horrible, if I recall correctly. "Addicted" is probably THE worst album Sizzla has ever done in my opinion, even still). Both of those albums featured two or three combinations between the two and none of them were noteworthy and they've had at least one other song together and you've surely seen them on stage more than once as well; so, obviously, they're very good friends. 'Teach Them' is the best song they have together in my opinion and, by the slimmest of margins, it's also the best song "Endeavors" has as well. While Spragga remains on top of his game ["And when mi use mi weapon Jah Jah gimme a reward. But dat weapon yah no kill you, but it help. DI WEAPON YAH CAN MEK YOU FIND DI GOD INNA YUHSELF"], Kalonji also shows flashes of the brilliance that you know is still somewhere in there (just wish he'd bother digging it up more often than he does these days) ["Judge mi by my character and that is all. Cause me and the devil ain't no friend at all. This can't be duplicated, I'm not easily manipulated. Rastafari you're the greatest, we ever stand tall. And mi seh now would be the right time: Turn from evil, change yuh lifestyle. Stop hurting people when a night time. Praise Rastafari with a bright smile! Don't you sell your soul, you've got an option. And don't you go mix inna corruption. Better stand firm at the junction, cause babylon system ah malfunction"] making for a GORGEOUS display and one which well draws you in to this release. A lot happens in what turns out to be a relatively short time at just south of three minutes. The star power continues on the lovely 'Believe In You' where Spragga taps Tarrus Riley to beautify the vibes and, of course, he serves that purpose to near perfection. Perhaps it's getting redundant to say how well Spragga performs here (BOOM!) but both reach similar grounds (high, WAYYYY up in the hills) on the inspirational/praising offering. Along with pushing names like the Rileys, Sizzlas and Cocoa Teas, of the world, Spragga also shines some light on some names that, perhaps, you should begin to get better acquainted with, such as that of the sweet singing Lucian, Ashley Skerritt. Skerritt has a VERY interesting voice it's... hypnotic... it's Sade-esque. She's very chilled but has an excellent way of conveying emotion in her tones and is just SO nice to listen to. She leands her infectious talents to a song which is a bit stronger than I originally gave it credit for being, 'You And I'. You already know what this one is about and in what direction it goes and I'm not going to blow it up and say that it's amazing and one of the album's best but don't just run through it thinking that there's nothing to see there because it's better than you're probably thinking. The other combination aboard "Endeavors" finds Spragga linking with a couple of his own artists, Bittah Sosicka & loooooooong time spar (who I THINK might be related to Spragga, actually) the talented Briggy Benz who all come together on a very intense (and clever) social commentary, 'Monsters On The Run'. You typically hear these songs in a done which is saying that it's best to change your ways before The Almighty comes but 'Monsters On The Run' goes on the attack (they literally say, "God may forgive you piece of shits but we won't") and it is a very nice change of pace from the norm because I was clueless as to what to expect from this one based on its title.

Quickly, I saw a clip of a review that Spragga Benz did to promote "Endeavors" and he mentioned that there were "no gal tunes" and the interviewer (who had done his homework), corrected him by saying there were a few (there're three, technically, if you include the aforementioned 'You And I'). It speaks volumes that Spragga forgot them and when get into them, 'She No Happy' & 'No Ordinary Girl', you see why. Both sound similar to one another, both are horrible and that's that. He didn't remember them and you shouldn't either.

Sans those two songs, while Spragga is on his own throughout "Endeavors", he puts on a strong show.... shit, pretty much the entire album is some kind of decent besides 'She No Happy' & 'No Ordinary Girl'. Check the towering opener, 'Mountain'. Despite its rather awkward beginnings, the tune hits its zenith fairly quickly and becomes something DAMN impressive. It's a dual meaning here with it kinda/sorta being a ganja tune of sorts but also one that serves as an inspiration (therefore, discussing two different types of HIGH-NESS). When I saw (heard) what was going on with 'Mountain' and the lumbering 'uniqueness' began to grew on me, the lightbulb over my head popped on and I realized that we had something special there. Lagging not too far behind at all -- figuratively and literally -- is the album's second selection 'Busy Like Bees'. There's something really GRIMY about 'Busy Like Bees' and though it does have somewhat of a dark edge to it, that isn't quite what I mean. The song never seems to FULLY consummate the marriage of riddim and lyrics (they just don't perfectly lock up) but it comes very close and the fact that they DON'T sync up is almost an attractive quality here. Spragga is enjoying his status and all that he has managed to achieve and, to some extent, in an almost ghoulish way, 'Busy Like Bees' seems to be a celebration of that. Spragga basically chooses to SING his way through 'Brotherly Love' and, by its end, it's clear that he chose properly. It isn't the first time he's done such a thing. On one of my favourite Spragga Benz tunes, 'Sleep With Angels' [TEARS!], he does the same thing and 'Brotherly Love' may not have a seat at THAT table, it is a very nice song that grew on me after awhile. Here, the artist openly wonders what has become of a certain way people used to treat one another and it comes through on a tune that has this GIANT sound that doesn't sacrifice melody or any general appeal (it's pleasant to listen to) that it has at all. Sizable of a different kind (only quality) (the most important kind), is later tune 'Them A Chat'. Hundreds of years ago, Spragga once had a song of the same title [basically] ("them" = "dem") on the Amharic Riddim, which was ridiculous in every single way and I mean that in a great way. This one isn't quite up to those lofty levels but it isn't lagging too far behind either. A swipe at jealousy and envy, 'Them A Chat' is on point, entirely focused ["All weh dem do is watch another doing what dem caan do. Chat people business from dem limited angle"] and it is ACTUAL DANCEHALL music. It's a Spragga Benz specialty and it's mere PRESENCE on this album makes "Endeavors" better, in general and far more fun as well. 

I don't love 'Best Friend' but, who cares what I think because the tune was actually chosen as the album's most recent single as far as I can tell. It's kind of an R&B song without the singing (in terms of its sound and subject) and though I don't dislike or think it bad (it is farrrrr better than 'She No Happy' and 'No Ordinary Girl'), it's just kind of average and I think that even if it was your goal to capture the attentions/affections of a non traditional Reggae audience, there was at least one better choice to be made (called 'You And I'). Finally (one of the easiest to write reviews I've had all year. I had started it a few weeks ago and put it down but just picked it back up YESTERDAY and here we are) is the title track (when's the last time that happened??) which might be another choice as a future single if you're looking at reaching a broader audience. 'Endeavors' didn't work for me initially so I poured some time into it (probably have listened to it more than any other selection here) and I never arrived at a place where I can say that I actually LIKE it totally -- the sound is kind of strange and it just doesn't work for me -- but LYRICALLY, it has its moments.

"Let's talk about manners

Some seh 'wah dat?' all dem know a just dollars

Love take hits and ah boast just for others

TAKE TIME, SCROLL FIND SOMEBODY FI FOLLOW"

I can appreciate something like that ^ anywhere I find it and even if I'm not crazy about the package that it's been wrapped up in (and I'm not), it is noteworthy as, again, Spragga Benz takes a look at those who have their priorities kinda fucked up.

Overall, I don't want to overrate this album and you can skip ahead to see the number grade I gave it to confirm that I am not but "Endeavors" is just an interesting and COLOURFUL release. If you do not love it, that's fine (neither do I) but I think most fans of Reggae will find something here that is enjoyable. For the most part, as I said, it catches its star in a fine form and, furthermore, Spragga has enjoyed a pretty good year in 2025. Earlier he reached with a tune by the name of 'Hallelujah' which did some damage for him and was probably one of his biggest hits in recent years. You would have thought it would have been on this album (would have made perfect sense) but even in its absence, "Endeavors" manages to hold its own. While you won't find Spragga Benz at the height of his esteemed powers here, "Endeavors" does showcase a talent still well intact after allllll these years and one well worthy of your time and respect historically and, clearly, presently. 

Rated: 3.25/5

Red Square Productions + LMR PRO Productions 

2025

Signatures Vol. VII: Cocoa Tea

When I started doing this series, I never expected to be doing this one. As I've said in the past, Signatures was created to sort of make my own personal 'greatest hits' style collectives of artists who didn't have such compilations already to their credit and, presumably, were not going to have one anytime soon. That most certainly does NOT apply to the great Cocoa Tea who has, at least, one in the form of an installment of VP's "Reggae Legends" (which, literally, brings together more than FIFTY of his most well known selections, spread across four discs). So, you really didn't need me to tell you about his most popular songs, you already know them, save for one or two twists I may take you on. Unfortunately, however, earlier in 2025 we lost Cocoa Tea in the physical as he made his transition and respects are in order.

The well revered Clarendon native born Calvin Scott made a brand of Roots Reggae & Dancehall which can best be described as SWEET! Gifted with a style, a vibe, a voice and a presentation which were made for the genre, Cocoa Tea's music left an impression on fans around the world and his contributions to this wonderful sound is not to be overlooked or forgotten. Today we celebrate the SWEETEST of them all. Signatures: Cocoa Tea. 

1. 'Tek Weh Yuh Gal'

She can't take her eyes off me. More than twenty years ago, Cocoa Tea would pop up with what would prove to be one of the biggest -- and unlikeliest -- hits of his entire career, the downright hilarious self-produced 'Tek Weh Yuh Gal'. The song was almost charmingly basic. It was incredibly straight-forward and it did a serious level of damage in its day to the point where one could even go as far as to argue that 'Tek Weh Yuh Gal' is THE single most well known tune that Cocoa Tea did, EVER. He said what he said and he did what he did. It's time you came to terms with it. Your girl is gone. She's with Cocoa Tea now. It's time you moved on. 

2. 'Tune In'

Keep rocking. It does not matter where you are, under which rock you may rest in any remote corner of the world; if your ears are functional, you are not outside of the reach of Reggae music. You can be caught. You can be infected. You can be DOMESTICATED (it will literally tame you). That was the [illuminated version of the-] sentiment behind another sizable hit of Cocoa Tea's, 'Tune In'. This song is within the absolute core of tunes that make up the foundation of who Cocoa Tea is as an artist. It is amongst the quintessential building blocks of his magic. 

3. 'Pirate's Anthem' featuring Shabba Ranks & Home T

Play what the people want. A legit, 100% signature track, 'Pirate's Anthem' is another tune in the discussion for being THE single most well known of Cocoa Tea's entire catalogue. Linking  together with the legendary Shabba Ranking (would rank very highly for him as well) and Home T (EASILY the most popular they've ever done), the Gussie Clarke produced song has aged incredibly well and is one of "those" (you know these songs! You rarely hear them but they give you a very good feeling of nostalgia when you do) that just give you all kinds of good vibes as the artists came together in the name of making the music available to everyone who wants to hear it.

4. 'Spin The Song Ya'

Jam jam. Sure. I get it. You could make the case that this rather random record from a rather random, nearly two decade old album wasn't the best written. It wasn't. HOWEVER, what 'Spin The Song Ya' did have going in its favour was VIBES! You listen to this song and tell me it doesn't do something for your nerves! It makes you feel good, doesn't it?! Carried by the Xterminator helmed "Save Us Oh Jah" way back in 2006 (I own this album, have been looking for it, off and on, for years. It's around here somewhere and I will find it!) (dammit!), 'Spin The Song Ya' found our star seeking supremacy for his sound and Cocoa Tea would not leave without the victory! 

5. 'Feel The Power'

It must be The Most High. I don't know the 'official' name of the riddim but it's the same one best known for underpinning Sizzla's massive 'Taking Over' (so I'm going to call it the Taking Over Riddim) but whatever you want to call it (the Taking Over Riddim), Cocoa Tea took his turn on the  track as well and the results were gorgeous with 'Feel The Power'. The song would title his 2001 Xterminator steered album for VP Records and was a downright PILLARING praising tune. All these years later what most stands out about 'Feel The Power' is its chorus. It sounds like he's smiling. Cocoa Tea CLEARLY had a great time singing this song and it came through not only in his performance of it but in its overall quality as well. This song was fantastic. 

6. 'Rikers Island'

Him gone. On what is, easily, one of his most recognizable and downright popular selections ever, Cocoa Tea relayed a very unfortunate story of wayward youth who'd lost his way in life and ended up in the infamous New York prison, 'Rikers Island'. Such a thing, unfortunately, has certainly happened dozens (thousands) of times throughout the years but.... it probably shouldn't sound this good. Rikers Island is kinda beautiful. It is melodic as all hell and will have you moving in the name of something so damn tragic. Not to be overlooked, yes, there was a message here but I would argue that the presentation of this song was just as important to its creators while they were making it. 

7. 'She Loves Me Now'

Glory, glory. Another gem produced by the Cocoa Tea + Xterminator relationship, 'She Loves Me Now' always struck me for having a bit of 'moodiness' to it. No one will ever confuse the singer for being the most fiery of vocalists but have ever listened to this song? I MEAN REALLY?! If you have dug a little deeper into this one, perhaps you've noticed what a fine vocal performance it is. Cocoa Tea does charge up things slightly (which makes you think/hope that he was having a really good day when he voiced it) on a song that, though it was well respected for what is was (and still is, today), probably doesn't get the full credit that it deserves based just on how beautiful it was. 

8. 'Israel's King'

Hail to The King! Fatis supplied his cut of Mr. Marley's One Drop Riddim for Cocoa Tea and, to him, the singer returned an undeniable classic praise in the form of 'Israel's King'. Maybe it's just me but this song as the almost unerring ability to MAKE ME SMILE (it literally does it EVERY single time) and with that signature easy Cocoa Tea style. That being said, however, 'Israel's King' wasn't just a vibe an bereft of substance. In fact, one could well make the case that it stands as one of the more detailed of its kind from his entire catalogue.

9. 'Love Me Truly'

Until eternity. This classic drop would ultimately get a remixed version featuring the aforementioned Shabba Ranks but it was the solo version, at least in my opinion, which soared highest. 'Love Me Truly' finds its groove relatively early on and it then GLUES itself right there and it does not move! For all of its EPIC simplicity, 'Love Me Truly' represents one of the sweetest love songs not only of Cocoa Tea's entire career (which is saying A LOT) but one of the best Lover's Rock tunes of its time, altogether. 

10. 'Sweet Life'

Special place. If you've never at all heard of 'Sweet Life' and have NO CLUE who sings it and I were to tell you that it's by a guy named "COCOA TEA", you wouldn't be the least bit surprised. Whatever you played this song through -- WHATEVER MEDIUM OF YOUR CHOICE -- it was in jeopardy. The SWEETNESS would clog it up and you may never get to use it again as the sweetest to ever do it was in a particularly sugary form, painting a gorgeous picture on this personal favourite of mine.

11. 'Rocking Dolly'

No electric boogie. The Junjo Lawes licked 'Rocking Dolly' is another member of the quintessential Cocoa Tea songs which would render such a list obsolete were they absent. 'Rocking Dolly' is just VIBES. In a genre so known for producing dances, this one would lead to a track which, legitimately, stakes its claim as being THE sweetest of its kind - EVER.

12. 'Bust Outta Hell'

Time will tell. It's time to turn your back on your old, negative ways and do better for yourself and others. That's the sentiment backing the very upful 'Bust Outta Hell', another one of Cocoa Tea's most well known tracks. This tune had so much going on with it. Produced by the legendary Junjo Lawes, 'Bust Outta Hell' was chaotic at times and brilliantly so. It was also a song that demonstrated how sharp the singer could be, lyrically. As I'm sure I've said in here somewhere before, Cocoa Tea was never known as some fantastic songwriter, but you listen to this one and you'll see that you do not get as far as he did on voice and style alone. 

13. 'Hot Sweet Cocoa Tea'

Make it warm. Lastly, I don't think it is legal in any country on the planet to make such a list without including Cocoa Tea's LITERAL signature, 'Hot Sweet Cocoa Tea'. Just in case you forget with whom you are dealing, Cocoa Tea made it crystal clear all through this classic set.

"Seh nuff a dem did check seh dat di Cocoa did gone

But know a Cocoa Tea, him neva exit di lawn"

He's not gone, he'll never be gone and as long as our species exists, someone, SOMEWHERE will be singing a Cocoa Tea song. 

The Sweetest of Them All

Some people will never be forgotten. 

Cocoa Tea is one of those people. 

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