Album Review: Sizzla - Don't Mislead the Youths EP

 Album Review: 
Sizzla - Don't Mislead The Youths EP

by Gerry McMahon (Reggaeville.com)

Don't Mislead the Youths - EP - Sizzla 

Continuing his voluminous output pattern – which allegedly runs to nearly 70 albums (over 20 of which have made it on to the Billboard's Top Reggae Albums chart) -
Sizzla strikes yet again with his new
Don’t Mislead The YouthsEP 
(Locksmith Records). Following fast on 2 already well received album releases in 2012 (‘In Gambia’ and ‘The Chant’) the only limitation that his vast army of followers will detect in this latest issuance is that it’s not another full album! 

Comprised of six considered compositions, the EP opens with the upful melody So Lovely, a romantic rhapsody devoted to the love of his life, who understandably ‘makes his day’ – a must hear for all lovers. This is followed by the title track, with its warning to Babylon that it 
Don’t Mislead The Youths in the face of ‘King David’ roots (or the message of righteous Rastafari), delivered via verbal volleys in a dancehall style with varied pitches and paces of delivery.


An equivalent theme features in Learn To Read (and write). This track extols the merits of education, in a tune and topic that should resonate worldwide. With education frequently the privilege of the wealthy - who are well aware (as Sizzla explains) that ‘knowledge is the key to the way to rule’ - the track urges the dispossessed and disenfranchised to make every effort to banish their ignorance with some serious schooling.

Hotta Fire sees some Sizzla screeching, as the track effectively blends rapid fire delivery and conscious considerations about the need to respect and help the people, before the rhythmic Party (with the people) track kicks in, in a manner that will excite and energise the many ‘hot steppers’ in the dancehall. 

The EP’s closing track Ganja (hardly surprisingly) reminds listeners that this substance is the healing of the nation, with much potential for those engaging in musical, medicinal, meditative and related positive pursuits. Yet again, the track effectively delivers street level salvoes at the expense of those of a Babylonian persuasion on the subject, in favour of the ghetto youths freedom (and necessity) to indulge the substance. Sizzla’s stance on the matter – as a longstanding member of the Bobo Ashanti sect of Rastafarianism - is unequivocal. 

This EP confirms (yet again) that Sizzla is a talented, thoughtful, intelligent and fluent performer.

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