Buju Banton's albums

Stamina Daddy (1992):

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 Voice of Jamaica (1993):                                               

This is the kind of album that leaves the listener breathless with amazement, not least of all because Voice of Jamaica was Buju Banton's international debut, but the artist didn't compromise a single note on this set, insuring that Voice is very much a Jamaican product.In fact the album scoops up a clutch of recent Jamaican hits, then spun off a whole new batch, with one "Make My Day" giving the DJ his first UK chart entry. That was a lush and gorgeous romantic number, boasting the dulcet harmonies of the Friends Crew, who provide superb backings across many of these songs, but Voice has it all, from hardcore dancehall to hiphop.Over a third of the tracks are combination numbers, the smoldering "Searching" and the smooth "Commitment" both boast Wayne Wonder, the sizzling "If Loving Was a Crime" feature the stellar harmonies of Brian & Tony Gold, while veteran soulman Beres Hammond ignites "A Little More Time". The African flavored "Tribal War" boasts Tony Rebel and Terry Ganzie, with the Golds again providing sonorous backing. But the most adventurous combo pairs Banton with Busta Rhymes on "Wicked Act", a jazzy-hiphop-reggae brew, which like "War" also calls for an end to violence. One of the most talked about songs at the time was "Willy (Don't Be Silly)" an incredibly contagious call out for safe sex. And one hopes that Banton took his own advice once he won the girl of "Good Body" fame, one of the most exuberant numbers on the set. More subtle is "Red Rose", but still the poor DJ gets "No Respect", at least in the dancehalls.In the cultural realm it's a different story, and two of Banton's best are "Operation Ardent" and "Deportees (Things Change)", the former a scathing expose of the police sweeps and curfews inflicted on the dancehalls, the latter a vociferous attack on an ex-pat who lived high in the States, and shared none of his good fortune with his suffering family back home.Thus, the album is true to its title, touching on a myriad of themes personal, political, and cultural. The sound is just as diverse, not surprisingly considering the wealth of producers within - Donovan Germain, Dave Kelly, Sly Dunbar, Steely & Clevie, and Busta Rhymes. The rhythms mostly lean towards tough dancehall, but R&B, breezy reggae, and roots are all conjured up as well.It's a superb album, and deserved every accolade it received.

 Mr. Mention (1993):

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'Til Shiloh (1995):

1993's Voice of Jamaica was a stellar set, an aural collage of the island, with its swirl of diverse styles, sounds and themes. Bringing dancehall to the wider world, that album was a revelation, and to attempt to better it would have been futile. And so, Buju Banton didn't try, instead he moved in a new direction. After the completion of Voice of Jamaica, two of the Banton's friends were killed; their murders prompting him to re-evaluate his own life, leading to his conversion to Rastafarianism, and bringing to an end his glorification of the gun. These life-changing events are reflected throughout much of 'Til Shiloh, which proves a much more introspective set than anything heard from Banton before. This is most evident on the haunting sufferer's song "Untold Stories," as Banton reflects on the world around him, beautifully accompanied by a gentle rhythm and Glen Browne's evocative acoustic guitar. But Jah now sustains him, prompting the artist to open the album with the brief a cappella psalm, "Shiloh," then launching into "Til I'm Laid to Rest," which revisits the sufferer's theme, but intertwines it with an homage to Africa and his faith in the promised land. Still, Banton has not yet found peace, and his inner turmoil is at its rawest on "Murderer." Written in the aftermath of the aforementioned killings, Banton struggles with his grief and fierce desire for vengeance; all else pales before this most emotionally powerful of songs. It's "Not an Easy Road," as Banton vividly relates on that song, and he has been left vulnerable. Still, he opens his soul on "Wanna Be Loved," and exposes his loneliness on "What Ya Gonna Do" joined by Wayne Wonder. "Complaint" has Banton toasting over this fabulous Garnett Silk number, praising Jah and scattering the heathens before him. "Chuck It So" takes a similar stance, as Banton takes on a Big Man, with the 2 Friends Crew sweetening his ferocious assault. It's a heavy-hitting album, with only "Hush Baby Hush," a jubilant version of the 1960 classic "Stay," adding a lighter note to the proceedings. Musically, however, this is a gentler album than its predecessor, although still very much in a dancehall style. Another masterpiece.

Inna Heights (1997):

Off-island fans of Buju Banton could only listen in amazement at the transformation the artist underwent during the mid-'90s. Debuting internationally in 1993 with the highly diversified Voice of Jamaica album, two years later Banton offered up the gorgeous, introspective 'Til Shiloh, and by 1997 had grown into a mature superstar with Inna Heights. "My favorite thing about being able to bring across reggae music as a part of my culture...is sharing the excitement of it, the joy of it, the pleasure and splendor it bring." So Banton explains on one of the "Inter Lingua"s on this set, wherein he briefly meditates on his music and personal philosophy. And with Inna Heights he succeeds beyond most people's greatest expectations, capturing the glory of Jamaican music in virtually all its forms, imbuing it with the excitement of the dancehalls, yet ensuring that its cultural underpinnings shine forth. As with Shiloh, Heights opens with an a cappella prayer, but closes with the striking "Circumstances," another virtually a cappella piece that is an emotive cry against violence and the circumstances that breed it. The 19 tracks in between (including the four "Lingua"s) sweep across the spectrum, both musically and thematically. Reaching back in time, Banton and DJ vet Jah Stitch deliver up the jubilant skafest "Small Axe" (no relation to the Wailers classic), while Banton revisits the reggae age with a soulful Toots Hibbert for a phenomenal version of the Maytals' classic "54-46 Was My Number" and moves into roots territory with the Marley-esque "Hills and Valleys"; all three are standouts amidst a myriad of fabulous tracks. The bouncy "Redder Than Red" has a calypso lilt, while the anthemic "African Pride" and sufferer's "Mother's Cry" both boast Afro-beats. Lush romantic numbers, upbeat, contagious pieces, among them the sparkling hit "Love Sponge," and onto the superb dancehall of "Love Dem Bad," a combination number with Red Rat -- Heights has it all, musically and thematically. The cultural numbers resonate with wisdom and faith, and all are absolutely mesmerizing. The thoughtful "Hills," the lovely, introspective "Destiny," the optimism and strength of "Close One Yesterday," the infectious prayer "Give I Strength," its glowing ambience heightened by Ras Shiloh's emotive vocals, and the heartfelt appreciation of the "Single Parent" -- every one is a classic. In fact, virtually every song on this album is phenomenal; some are deftly self-produced, the bulk expertly overseen as always by Donovan Germain. Banton attained brave new heights, and in the process recorded a masterpiece.

Quick (1998):

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Dubbing with the Banton (2000):

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Flames of Freedom (2000):

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Unchained Spirit (2000):

The once controversial Buju Banton, vilified for his anti-homosexual sentiments on his early single "Boom Bye Bye" and for his typically violent and slack dancehall, artistically turned the corner in 1995 with the release of the conscious and wistful Til Shiloh. The follow-up in 1998, Inna Heights, was equally spiritual and devoid of negativity. The third installment in this awakening is Unchained Spirit, released in September of 2000: a vital and rhythmic mix of homegrown Jamaican philosophy, biblical harmonizing, and just plain eerie dancehall. Banton sets the album off with a slow chant of "Psalm 23," giving the album a spiritual center with which the rest radiates. The stunning duet with the silk-throated Luciano, "We'll Be Alright," is simply a beautiful song as is "Pull It Up," Banton's duet with elder dancehall crooner Beres Hammond. Political and social themes abound in tracks like "Sudan," "Law & Order," and "Guns & Bombs," but, to round things off a bit, Banton returns to his roots with an ode to the females, "Women Dem Phat." There is even an ambitious experimental collaboration with ska-punk band Rancid on "No More Misty Days." While not without its dull moments, this album favors heavy rotation. Banton's vocal ability is filled with depth and soulful texture that invite the listener to accompany him on his spiritual journey. His music speaks to enlightenment and wisdom and appeals to peace and positivity. Banton is the rare contemporary artist who uses his medium to uplift with messages of love, peace, and justice. The chorus from "Pull It Up" encapsulates this listening experience: "Pull up da vibes that you're playing/Can you play some more?" Yes Banton, please play some more.

Rudeboys Inna Ghetto (2000):

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Want It (2002):

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It's All Over (2002):

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Friends for Life (2003):

The smiley-face tone of this album title is not misleading. Although a couple of cuts tastefully skirt the edge of slackness and one (the very fine "Mr. Nine") is an angry denunciation of Kingston's gun culture, Friends for Life is more accurately represented by song titles like "All Will Be Fine," "Spectacular," "Good Times," and the twin throwaway tracks "Tra La La" and "La Da De Da." Banton remains a better DJ than singer. He acquits himself well in the latter category on the heavily Bob Marley-influenced "Maybe We Are" and on an amazingly powerful anthem of racial uplift entitled "Up Ye Mighty Race," but he shines brightest when delivering his trademark gruff-voiced toasting over hard-edged dancehall rhythms. He spars brilliantly with DJ Bounty Killer on the dark and funky "Teaser," but his combination track with singer Nadine Sutherland is something of a letdown. "Damn" is disposable dancehall loverman bluster, but the ska-inflected "Feeling Groovy" is a pleasant stylistic surprise. This is not his best album by a long shot, but it does demonstrate his clear superiority to most of the dancehall pack. Recommended.