The Best Of Cocoa Tea: His 20 Most Essential Songs

Colvin ‘Cocoa Tea’ Scott, who passed away on Tuesday at 65, was one of Reggae and Dancehall’s most enduring and beloved vocalists. Hailing from Rocky Point in Clarendon, he rose to prominence in the early 1980s, performing on Kingston’s sound systems before catching his big break with producer Henry ‘Junjo’ Lawes as part of the Volcano Sounds roster. Known for his silky, effortless vocal style and captivating performances, Cocoa Tea also delivered timeless hits with legendary producers like Lloyd ‘King Jammy’ James, Augustus ‘Gussie’ Clarke, Phillip ‘Fatis’ Burrell, and Robert ‘Bobby Digital’ Dixon.

In this tribute, DancehallMag honors his remarkable career by revisiting 20 of his most essential recordings. Rest in Power, Cocoa Tea.

20. Heathen (1996)

A cover of Bob Marley & The Wailers’ reggae rock fusion The Heathen (1977), Cocoa Tea’s Heathen is a powerful call to action against those who oppose the mission of righteousness. It was the title track on the riddim that also included Morgan Heritage’s Protect Us Jah, Shabba Ranks’ Heart Of A Lion, Ninjaman’s Old Picture, and Yami Bolo’s More Than Gold.

Producer: Bobby Digital
Album: Heathen Riddim

19. Love Me Truly (with Shabba Ranks) (1994)

To be loved for who one is, and not for what one has is the philosophy that led Cocoa Tea and Shabby Ranks to this timeless classic, in which both men make the case to be loved truly by their partners. The song explores the insecurities some men face regarding women who may only see them as a meal ticket. Proudly proclaiming ‘No monetary love!’, Shabba Ranks sets the record straight on his and Cocoa Tea’s expectations.

Producer: Robert ‘Bobby Digital’ Dixon
Album:  Tune In (1994)

18. Come Again (1987)

A vibrant backing track, his characteristic vocalizing, and a life lesson interwoven throughout make Come Again a classic Cocoa Tea offering. Though the track at points borrows from the melody of Santa Clause Is Coming To Town, it stands tall as its own unique offering, bearing a timeless lesson about keeping your secrets safe from even your friends, who may one day become foes.

Producer: Lloyd ‘King Jammy’ James
Album:  Come Again (1987)

17. Tek Whey Yu Gal (2004)

Oozing confidence, Cocoa Tea delivered perhaps one of his most iconic songs in Tek Weh Yuh Gal – a track in which he eyes another man’s woman who apparently has the hots for him. He does more than eye her in the track, and goes on to promise the man that he’ll “tek weh” his woman.

Producer: Cocoa Tea
Album: n/a

16. Hot Sweet Cocoa Tea (1994)

Cocoa Tea does a little more than pop his collar in this groovy track, reminding fans that he’s here in the music to stay. The singer, who reportedly got his name as a result of his love for cocoa tea, plays with that experience again, singing this time that he’s hot and ready. 

Producer: Philip ‘Fatis’ Burrell
Album: n/a

15. Israel’s King (1996)

Using music as a vehicle for spirituality is a common method employed by Cocoa Tea, and that was the case in Israel’s King, delivered on a slightly altered One Drop riddim made popular by Bob Marley’s song of the same name. ‘The Rastaman Redemption’, as Cocoa Tea calls it, captures the sentiments explored in this track, as the singer turns his focus to the 12 tribes of Israel as a strong reference point for the foundation of his faith. As is a common trope in his work, Cocoa Tea also pinpoints Babylon as the enemy, and Israel as the goal and final destination. 

Producer: Philip ‘Fatis’ Burrell
Album: Israel’s King (1996), One Drop riddim

14. Pirates Anthem (with Home T and Shabba Ranks) (1989)

Defiance abounds in this well-recognized hit from the trio, perfectly encapsulating Reggae music’s spirit of rebellion against the status quo. Pirates Anthem is a tip of the hat to those who remain unwavering in giving the people what they want, resistance be damned. Cocoa Tea makes it clear that in the track that in this case – the mission is to give the people the music they want. Rebels in arms, Home T, Shabba Ranks and Cocoa Tea creatively drove that message home. The track was reportedly made in response to attempts by several governments to shut down Black-owned radio stations to curtail their supposed negative influence on members of the black community by way of music.

Producer: Augustus ‘Gussie’ Clarke
Album: n/a

13. We Do The Killing (1994)

Cocoa Tea issues lyrical death warrants for opposing sound systems and selectors in this ruthless dubplate tune, instructing the undertaker to waste no time making their coffins. Sung against the bed of horns and vibrant bass line from Winston Riley’s Stalag riddim (1973), the tune follows through on its declaration that whichever side Cocoa Tea finds himself on, they’ll ultimately come out the winners – while the other side will be left with figurative bodies to bury.

Producer: Robert ‘Bobby Digital’ Dixon
Album:

12. Hurry Up & Come (1996)

Overflowing with positivity and spirituality, Hurry Up & Come is an open invitation to those looking to flee Babylon on the brink of its inevitable collapse. Issued by the Reggae crooner himself, the invitation not only opens the door to a new home (Zion), but it rolls out the mat of unity, calling people from all nations to make the trek to their new lives together, all while turning their backs on the oppressive regimes left by Babylon.

Producer: Philip ‘Fatis’ Burrell
Album: n/a

11. Tune In (1986)

At any party, once Cocoa Tea’s Tune In was played, it was almost a sure sign that things would be moving into high gear. The track, which is a rub-a-dub staple, uses an especially unique hook to push the song along, while simultaneously locking the attention of the listener into place. Tune in, Cocoa Tea beckons, as the magic unfolds.

Producer: Lloyd ‘King Jammy’ James
Album: Tune In (1994)

10. Rocking Dolly (1984)

With Henry ‘Junjo’ Lawes behind the mixing board on this one, Cocoa Tea delivered another easy-to-love hit with Rocking Dolly, sung on Lawes’ Real Rock rhythm. The singer codifies his disapproval of certain behaviours from women he’s observed, with the term Rocking Dolly being his go-to reference.

Producer: Henry ‘Junjo’ Lawes
Album: Weh Dem A Go Do (1985)

9. She Loves Me Now (1993)

Another easily-recognized hit by Cocoa Tea, this track’s opening, She Loves Me Now, forms the bulk of the hook that makes this classic one for the books. Though the song chronicles the singer’s interest in a woman, his difficulties getting her attention, and ultimately winning her love her, Cocoa Tea makes his triumph the central point of the track.

Producer: Philip ‘Fatis’ Burrell
Album: Tune In (1994)

8. Rastaman (1996)

A message to his fellow Rastafarians, as well as a reminder to those outside the faith, Rastaman is a tune that grounds Cocoa Tea in the familiar spirit of defiance often associated with his beliefs. The track declares, in no uncertain terms, that the Rastaman will cling to his principles, even in the face of the DEA and/or the CIA.

Producer: Philip ‘Fatis’ Burrell
Album:  Israel’s King (1996)

7. Good Life (1994)

As soon as that iconic bass line drops, Reggae lovers know the next thing to be heard on this groovy backing track is Cocoa Tea’s smooth vocalizing. In it, pillow talk is creatively spun into a tale about relationship expectations, made complete with a composed delivery by the singer.

Producer: Philip ‘Fatis’ Burrell
Album: Good Life (1994)

6. Informer (1984)

Though he makes it clear he’s not a murderer or robber, Cocoa Tea’s Informer is a groovy yet spirited rejection of the quintessential informer – whose company he refuses to keep. He believes the informer is capable of spreading rumors, and he wants no part of it, hence the shunning of the ‘informer’.

Producer: Henry ‘Junjo’ Lawes
Album: Weh Dem A Go Do (1985)

5. Lost My Sonia (1985)

The catchy and groovy opening to this track makes it another standout amongst the singer’s iconic catalogue, and whoever and wherever his Sonia is, she is to be thanked for leaving. Without that, this party-rocker of a tune wouldn’t exist. Channeling his feelings of loss and remorse, Cocoa Tea pours it all out on a track that’s been a staple for most sound system operators.

Producer: Henry ‘Junjo’ Lawes
Album: I Lost My Sonia (1985)

4. Waiting In Vain (with Cutty Ranks) (1997)

Cocoa Tea and Cutty Ranks’ spin on the iconic Bob Marley and The Wailers’ song, Waiting In Vain is another testament to the St. Clarendon native’s artistry. While the song is ultimately reimagined as a Reggae and Dancehall fusion, it is Cocoa Tea who shoulders the burden of having to keep pace with Marley’s delivery, and he does it confidently.

Producer: Robert ‘Bobby Digital’ Dixon
Album: n/a

3. Young Lover (18 and Over) (1987)

In this 1987 classic for King Jammy, Cocoa Tea puts his world-renowned, smooth vocals to good use in this melodic repudiation of a young girl who, while blatantly interested in the Reggae crooner, is much too young for him. Cocoa Tea points a finger to almost every relative belonging to the ambitious young pursuer, all of whom are persons she can “go home to”. In 1993, Buju Banton joined Cocoa Tea for an update of the track, produced by Philip ‘Fatis’ Burrell.

Producer: Lloyd ‘King Jammy’ James
Album: Come Again (1987)

2. Rikers Island (1990)

Cocoa Tea uses New York City’s Rikers Island as the backdrop for this cautionary tale in which a young Jamaican visits the US and gets caught up in wrongdoing. Despite his mother’s warnings, and much to her regret, the young man ends up on Rikers Island – which houses New York City’s largest jail. The story is delivered on a peculiar, slightly up-tempo backing instrumental.

Producer: Cargill ‘Mr Doo’ Lawrence
Album: Holy Mount Zion (1997)

1. Holy Mount Zion (1997)

Almost an old negro spiritual, Holy Mount Zion connects to the core of the Cocoa Tea’s spirituality with the soul-stirring Kette Drum riddim, coupled with a few chants and moving melodies. The track is one of reflection, longing and gratitude, as Cocoa Tea expresses his intentions to make it home to ‘holy Mount Zion’, juxtaposed against the reality that ‘Babylon’ is not his final resting place. He also takes aim at racism and institutional corruption, and encourages others to abandon those systems in favour of better ones – likely to be found in Mount Zion.

Producer: Robert ‘Bobby Digital’ Dixon
Album: Holy Mount Zion (1997)