Hot Shot Ultramix

by Alex HendersonLike bootlegs and collections of outtakes, remix albums are not meant to convert non-believers; they make money by preaching to the choir. And in the case of Hot Shot Ultramix, the choir is Shaggy's hardcore fans -- people who bought 1997's Midnite Lover and 2000's Hot Shot the minute they came out. The primary focus of this 2002 release is remixes of songs from Hot Shot, a risk-taking album that, like previous efforts from the artist, successfully avoided dancehall's limitations by having a lot of urban, hip-hop, and pop appeal. Arguably, Shaggy is to dancehall what the late Grover Washington, Jr. was to jazz: a charismatic crossover artist who has no problem winning over those who have only a casual interest in his type of music. Washington won over a lot of people who had never listened to Charlie Parker, Sonny Stitt, or John Coltrane, and, similarly, Shaggy has attracted many listeners who don't necessarily have a lot of Shabba Ranks or Ninjaman in their CD collections (which isn't to say that some of them haven't gone on to explore more hardcore dancehall just as some of Washington's devotees went to on explore straight-ahead bop). Whether or not one needs to acquire Hot Shot Ultramix depends on how much of a fan they is. Although not essential, this CD is enjoyable if you have more than just a casual interest in his work. Shaggy's most obsessive followers are the ones who will have fun checking out remixes of songs that range from the playful "Chica Bonita" to the naughty hit "It Wasn't Me" (which gets two very different remixes; one is skeletal, while the other is slick and elaborate). But casual listeners can safely pass on Hot Shot Ultramix, which is only recommended to completists.