Released in 1972, was a statement of intent that sadly saw release only in Jamaica (on the label); thus, it was four more years before finally got his message out to the massive beyond the island with the masterful . However, the previous year, hit the shops, at least in Jamaica, with picking it up internationally in 1978 and releasing it under the title . The set suffered accordingly, being a bit out of place and out of time, but its power still managed to shine through. In reality, was a compilation of recent recordings, and although nabbed the production credits on the album, , , and also had a significant hand, as did the uncredited , who produced the title track. The musicians' roster is equally star-studded -- , and (of course) and , along with the horn section of . Needless to say, with such a cast of producers/engineers and backing bands, there's a corresponding diversity in sound, rhythms, and atmospheres. But militancy overwhelmed rules, and 's powerful cultural messages stitched the set together brilliantly. Every number within is a stunner, beginning with the opening title track, wherein succinctly presents his platform for running the world over a jazzy, strongly syncopated riddim. Not that there's much time left for that, for the final days are coming, and the singer sends out a powerful of its approach. provides a warning of a very different kind, its threats all the more belligerent for remaining unspoken. In these turbulent times, even Rastas can lose their way, but is a watchful shepherd, grabbing the lost with his hook of a song which bubbles gaily on its way down the path of righteousness. At the other end of the spectrum comes the highly syncopated its slashing rhythm decimating the unbelievers, as proclaims his own righteousness. But even this righteous Rasta is occasionally overcome by confusion, but would help put him right, assuming the singer can lay his hands on it. And the lack of peace in his neighborhood described on that number is further reflected by the events related on when the police raid a local party. No wonder is demanding to "take I away from Babylon," begging Jah to and "let Jah children repatriate." This album was a revelation, the very diversity of its riddims and productions a plus at a time of often repetitive, sound-alike backings, while 's performance is top-notch throughout. The record helped set the stage for the following year's , a masterpiece that would permanently cement 's reputation as one of the island's top cultural artists. ~ Jo-Ann Greene