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"To whom much is given, much is required," says a thoughtful Buju Banton. Mature beyond his 21 years, Jamaica's top dancehall reggae star has
completed 'TIL SHILOH, his Loose Cannon Records debut, and a powerful follow-up to 1993's VOICE OF JAMAICA. Buju is establishing new musical horizons by combining the spirit of Bob Marley with the soul of the dancehall.
With 'TIL SHILOH, which means forever, Buju debuts as the premier artist on Loose Cannon. On his label shift: "Lisa Cortes signed me to Mercury. She understood where I want to take my music. When she left to start Loose Cannon, it made perfect sense that I go to her label so that we could continue what we started," he says. Over the two years since his last release, Buju has focused on artistic growth -- through touring, performing and producing for himself and other artists -- and exploring Rasta, the essence of which informs the spiritual and
musical direction of this disc.
With its thirteen tracks that range from themes of love and to education and inspiration, 'TIL SHILOH is part of the evolution of a remarkable artist who continues to set the standards of excellence in contemporary reggae. In a genre where artist longevity is rare, Buju -- the artist who broke Bob Marley's record for the most #1 singles in one year on Jamaica's music charts -- remains the island's top concert
draw. But beyond moving records or selling tickets, what sets him apart is the ability to bridge the gap between the reggae of the 70's and early 80's and the brash new sounds of dancehall. He demonstrates this fully on 'TIL SHILOH, combining infectious, upbeat tracks like "Only
Man," SHILOH's first single, with powerful social commentary like "Murderer," which decries the senseless violence claiming the life of many Jamaican youths.
"Murderer," one of reggae's most influential songs, was originally released as a single in Jamaica in 1994, when dancehall was under considerable attack for slackness (sexually explicit lyrics) and gun talk (music that allegedly inspired violence). The song quickly became a classic, spawning a whole host of imitators. Its genesis is in a real life tragedy, the brutal murders of Panhead and Dirtsman, two promising musicians and childhood friends. After hearing the news, Buju immediately wrote the song that, according to Billboard magazine, "turned the lyrical tide for dancehall" from "lyrics about graphic sexuality, gangsterism, gunplay and violence" to themes of Rastafarian spirituality and self-respect.
"When I sang 'Murderer,' the whole record business came back home in terms of positiveness," he explains. "That doesn't mean it didn't exist before, but I know that the song shed some light in that area. It opened my eyes even more to the philosophy of Rasta, as well, making me more sure that truth and righteousness must prevail."
His repeated willingness to challenge society's ills is to be expected, given his childhood. Born outside Kingston as Mark Myrie, the youngest of fifteen children, Buju is a direct descendant of the Maroons, a fiercely independent clan of fugitive slaves who banded together and fended off attacks from British colonial regiments who wished to return them to slavery. His moniker is a remnant of his Maroon roots: a
chubby child, he was nicknamed buju, the Maroon word for breadfruit, a starchy, oval-shaped fruit eaten as a staple. Banton comes one of his favorite Jamaican artists, Burro Banton. It is this historical perspective that also comes to bear in Buju's music and which makes him such a popular artist in Jamaica, especially among the youth there.
"I know the long suffering. I remember growing up in one room in a site on Salt Lane. We had no running water and had to get water from the public standpipe in the yard. That you can't forget," he explains. Acutely aware that it was his ability on the microphone that brought him out of the ghetto, he is determined to be a voice for those left behind and hopes to bring more talent to the fore through his own Jamaica based studio and label Cell Block 1-2-3, a venture whose tag line is "Riddims in Custody Breaking Free." He has produced 'TIL SHILOH's "Not An Easy Road" and through Cell Block has worked with Brian & Tony Gold, Chevelle Franklin, Sanchez and Beenie Man.
He's also guided his pet project, Operation Willy, which helps children with AIDS through Jamaica AIDS Support. Funded with the proceeds from VOICE OF JAMAICA's "Willy (Don't Be Silly) -- Jamaica's first pro-condom song -- Buju has already raised in excess of J$50,000. He and members of his fan club have also visited ill children, offering moral support as well. "Our next step is to start the Operation Willy label, where other Jamaican artists can record songs, from which we can donate money to the Foundation and then to take it international," he explains.
While Buju is concerned with Jamaican youth and religious beliefs , 'TIL SHILOH focuses on what's important to Buju as an artist, the music: from the hip-hop fueled "Champion," powered by a classic Evelyn Champagne King sample, to the retro reggae of "Hush Baby Hush" to the joyous
"Wanna Be Loved" to the introspective "Til I'm Laid To Rest," the album reflects his growing strength as a lyricist. Working solo or with other artists (the legendary Marcia Griffiths sings background on "Hush Baby Hush" and "Wanna Be Loved," reggae singer Wayne Wonder is featured on "What Ya Gonna Do," and the late Garnett Silk appears on "Complaint"), Buju Banton's expanding musical prowess is evident.
'TIL SHILOH's gem is "Untold Stories." With its simple two-chord progression performed on acoustic guitar, the song, reminiscent of Marley's "Redemption Song," is an ode to "the low budget people" who are "spending a dime, while earning a nickel." These are Jamaica's poor, for whom education is a privilege and not a right, and whose children often stay at home for want of bus fare to get them to school. "So when Mama spend her last/To send you go class/Don't you ever play," Buju wails. "Untold Stories," with its elliptical phrasing, is the artist at his finest.
No longer the wide-eyed, 19-year old he was at the release of VOICE OF JAMAICA, Buju has crossed many rivers -- socially, spiritually and artistically. A consummate veteran and recipient of international accolades for his albums and live concert performances, he remains humble: "I feel that the things I speak about on this album are universal. I just want people to listen to this record with open hearts and open minds." |
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