Living HeART: 25 Years of Xterminator Records

Intro by Jesse Serwer, Words by Kareem Burrell—

This year marks the 25th anniversary of Xterminator, the reggae and dancehall label founded by Philip “Fattis” Burrell. In celebration of this milestone and the late producer (who passed away in 2012), Fattis’ son Kareem Burrell has organized Living HeART, a compilation collecting unreleased productions from his father, and new tracks he’s produced for core Xterminator artists like Beres Hammond. The project is out March 11 via XTM.Nation, as the label is now known under the direction of Kareem.

Pre-order Living HeART here, and preview tracks from from Lee ‘Scratch’ Perry, Pressure Busspipe and Jahman featuring Jesse Royal.

In light of the 25-year milestone and Living HeART, we asked Kareem to share his picks for his favorite classic productions from the Xterminator catalog. Click through for stories behind some of the label’s signature releases, plus rare and exclusive photos courtesy of the Burrell family.

Nadine Sutherland – Baby Face (1993)

Dem song deh, up to now haffi play. It’s one of our biggest songs — up to now they still set the mood. Mi know aunty Nadine from mi young, too. She has been a part of the label for a long time, and she still supports the label. Dem chune deh show we dynamic. The work that Fattis was doing was serious work, it shows it’s not just one particular thing, our father loved music and him make music for all people. You can see from the artists and the type of tunes that we attracting it still stands today. Just check the diverseness of them. Theres a variety to cater to a lot of different types of people.

Ini Kamoze – Hot Stepper (1990)


My first time meeting uncle Ini is a funny story. I was very young, I don’t remember what age, I remember there were two songs at that time that was my songs. “Jump” with KrisKross, and the remix of “Hot Stepper.” When dem tune deh used to come on the music channel stations, my fadda would see my reaction.

So uncle Ini forward and check we now late in the night and, about 5 minutes before, my mada tell me seh, Bedtime. So mi a seh, Wah kinna abruptness dis, you could at least give di I a warning. Just when I walk off, di general walk in and mi a walk past him like mi no see him, so mi fadda say Remus yuh nuh see uncle Ini? And me turn me head and seh, Unu no just tell mi seh mi fi go a mi bed? When mi reach in mi room it hit me, I just walk past the Hot Stepper. I grab a book and a pen and go seh Yo, no disrespect but yuh see the difficulty that I’m facing wit this bedtime thing, so I seh beg you sign this, mi no know if mi a catch you a next time?

Cocoa Tea – Good Life (1993); Hurry Up & Come (1995)

Bwoy, all dem people and my father, it just seems like they were friends forever because Fattis and Cocoa Tea share love for horses. [At] Caymanas Park, dem own horses and groom maybe three horses you know. It’s not like them just buy some horse and say deh a go race dem. Dem deh deh. Up until now. The other day me and Jesse [Royal] did go check him and one mawnin — when Cocoa Tea train him horses he run around the track wid dem, him nuh stand up and watch him horse run.

There’s nuff Cocoa Tea tunes weh mi love cah Cocoa, mi love him and feel his power. He just has that veteran sound, where its just fresh. To me, [“Hurry Up & Come”] is a funny track still.

Cocoa Tea and Buju Banton – Too Young (1993)

“Too Young,” how you can leave out “Too Young”? Dat deh song mash up dancehall when all Buju part come in — it sick! Sometimes if you really study my fadda ting, apart from di live ting dem, cah him love di live ting, he love the remix ting. He love to put a twist on something that was done before and create some serious hits. Even the concept, you seh the tune was a likkle out there, just mek coco touch it again and buju and put it fi him part and it work, just the upbeatness of it wit the Gorgon an him lyrics — its just crazy.

Beres Hammond – Show if Off + Full Attention (1993)

First of all, Uncle Beres an mi fadda did have a special relationship. Dem two man check fi each other like two bredrin. Me remember some time when dem stay up fi hours, like just a play music til 7 o’clock a mawnin and laughing. Sometime mi just dede fi a likkle piece like when mi go pick up mi fadda early in di morning or something but its a special relationship. Dem two chune de full a tension, it’s some lyrics fi di ladies. You have a softer side of the label where they put out some serious lovers tune and Uncle Beres wid him voice, deliver in those riddims. Dem chunes still stand out inna dance.

Luciano – Messenger (1996)

Messenger, that album is crazy. Until now, I remember the promo package for Messenger, the posters, the phone cards for it. The tune, it just one of his stamp[s]. I remember some sessions, that singer voice just come and stamp Xterminator, and was uncle Luci. Initially it was Luci, Sizzla, Shadow Man, Jesse Jendau, Ragnam Poyser, Mikey General. It was just one movement and I remember that as a yute. I never did go a lot a di studio sessions but I remember a lot of the songs. I remember when Baaba Maal was here—it was epic with all the talking drum an ting. Even the musicians that were apart of it and the engineers— Uncle Sly, Uncle Chinna, Uncle Robby, Danny Bassie, Firehouse Crew, a whole heap of work. There’s a lot of people who you associate Xterminator to them—Luci and Sizzla, Uncle Mikey, Beres, Cocoa Tea. Especially Luci and Sizzla, those were the two main breakout artists for my father.

Sanchez-“Never Dis Di Man” (1995)

He did “Amazing Grace,” “Forever,” whole heaps of chunes we did do. I can’t really tell you much about those tunes deh but I remember Sanchez[‘s] gold rings. Bredda always had a big smile on his face and a wicked voice.

Sizzla – True God (1995)

My father have a very special love for Uncle Miguel. Him put a whole heap of effort in making sure things get done for Miguel. It was more than just an artist/producer relationship. Sometimes I pree it as a father-son relationship. Some people say [Fattis] treat [Sizzla] like a son. It was a respectful relationship when them roll on the road. Yuh can see it, in the works dem do from dem times. I was around Uncle Miguel sometimes saw how certain tunes get wrote in just the time and space of the moment. “True God” is a next powerful song, classic riddim, classic song wid a powerful message.

Sizzla – Praise Ye Jah (1997)

“Praise Ye Jah,” it’s a sick riddim from the intro going in. You know hear Sly and them individually study so when dem a go lay certain idea then you see the birth of certain magic happening.  Even when they perform it live, they actually play the original riddim, it wicked! You would hear dem songs played in a set an you woulda say Whoa! Dis song powerful! It really touch you from di start.

Taking Over (2000)

“Taking Over” is a special thing. I was actually in Anchor Recording Studio when Mitchum Chin— Khan di sick guitarist—play di line fi di riddim and I was like, Bumboclaat! This serious. It was a wicked tune.  Certain dance and certain stage show, dem tune de mash up di ting!

Pinchers – Lift it Up Again (1987)

Pinchers now a next artist and time period mi cyan really tell yuh bout [“Lift It Up Again” was released on Vena, Fattis’ label prior to Xterminator, in 1987] but from the stories that my father did a tel wi bout, him did a enjoy it. I remember he had this one joke where one time he was at the movies, the Carib Theater and Pinchers must have seen a girl weh him like an a go psst and di girl turn around an go, Wapm to you, you losing air? And everybody was laughing after Pinchers now and he just came with his wittiness and seh, No that is how the bagan approaches the roach and the whole Carib just done. My father everytime him tell that joke, I just know it was one of those joyful moments from those times.