Jamaican music experienced a dramatic transformation in the mid-1980s. The popularity of roots reggae?s signature drum and bass driven beat receded with the development and rapid proliferation of digitally generated beats. The solo singers and harmony groups who ruled the Jamaican charts just a few years earlier were practically dismissed as patois chatting deejays (i.e. the Jamaican equivalent of rappers) dominated the country?s cultural landscape.
Some of the most celebrated deejays in the pioneering era of digital reggae (which soon became known as dancehall reggae) included Admiral Bailey, Josey Wales, the extra raw Shabba Ranks (who was just a few years away from global stardom) and the booming gravel toned resonance of the inimitable Burro Banton. These artists inspired many Jamaican youngsters to pursue musical careers: one such hopeful youth was the talented Mark Anthony Myrie who was captivated by the deejay?s skills in spitting lyrics over records played by sound system selectors. At age 12 Mark entered Jamaica?s musical fraternity as the "Lambada
Man" and shortly thereafter became known as the Gargamel.
"Being in dancehall at such a young age, seeing people with microphones, hearing the music was the most mystical feeling I ever encountered," he recalls. "The first time I got the chance to make a song my head swell so big, I knew right there that there was no turning back!"
Displaying a precocious commitment to his chosen profession in his preteen years, Mark adopted yet another moniker that would prove to be as enduring as his career would turn out to be: Buju (the childhood nickname given to him by his mother) Banton (in tribute to Burro Banton?s influence). By the time he turned 13, Buju was perfecting his deejay delivery by working with a variety of sound systems including Rambo International and Sweet Love. Deejay Clement Irie introduced Buju to Robert French who produced his debut single "The Ruler" in 1986; Buju went on to record with Bunny Lee and Winston Riley, the latter producing his first hit "Stamina Daddy."
While voicing for Patrick Roberts Shocking Vibes label, Buju met Dave Kelly, then the resident engineer at Donovan Germain?s Penthouse studios. Kelly brought Buju to Penthouse where he voiced the hits "Man Fi Dead" and "Lef Wi Business," his vocals growing coarser and more robust with each tune.
Buju soon became an island wide sensation with the release of "Love Mi Browning," highlighted by his ferocious delivery. Subsequent chart toppers came fast and furious for the teenager including "Love Black Woman" (his answer to "Browning") "Batty Rider" and the irrepressible "Bogle" which offered instructions on the era?s most popular dance craze named after its creator the late Gerald "Bogle" Levy.
Buju?s debut album Mr. Mention generated overwhelming attention among reggae fans worldwide. Following full-length releases Voice of Jamaica recorded for Mercury Records, (he was signed to the label immediately following his show stopping performance at Reggae Sunsplash 92) and Til Shiloh, which demonstrated an effortless integration of his (then) recently accepted Rastafarian way of life into his lyrics earned him iconic status. Inner Heights, Unchained Spirit (for Anti/Epitaph) and Friends For Life each showcased the provocative, profound rhymes and remarkable style that has earned him the esteemed and enduring designation as the "voice of Jamaica."
Buju Banton now returns to his roots with his first unadulterated dancehall album in 10 years Too Bad, also the first full-length release on the deejay?s Gargamel label, which recently secured a North American distribution deal with Tommy Boy Distribution.
Too Bad?s title track was one of the biggest dancehall tunes of 2005. Voiced on the Young Legends Throwback Jiggy riddim built on an old school Steely & Cleevie production, Buju?s astonishing flow and good-natured boasting seamlessly juxtaposes the vitality of a newcomer with the precise timing and lyrical creativity of a seasoned veteran.
Equally impressive is his rapid-fire delivery on the spirited street single "Nothing." Produced by Buju and his Gargamel team, "Nothing" entered (Jamaica?s) Hype TV?s Top 20 Singles Chart at #18 and debuted at #7 on BBC 1Xtra?s highly influential Top 10 Dancehall Chart. From the gritty ghetto tale related in "Better Day Coming" told over a military styled beat to the carefree "Me and Oonu" on Danga Zone?s retro "Wipe
Out" riddim Too Bad honors various dancehall archetypes but also pushes the music?s boundaries. "Fast Lane" offers an avant-garde riddim steeped in jazzy keyboard riffs and free flowing flute grooves over which Buju reflects on the possible causes of derailed aspirations: "I was living life on the fast lane like atrain on the track/here is a perfect example look at me and where I am at."
With the release of the landmark hits "Deportee" and "Operation Ardent" in 1992 Buju proved that tunes bearing strong social commentary can become wildly popular in the dancehall. Too Bad revisits that concept with "Who Have It" as the deejay ponders throughout this inner city expose: "Who have the money and hide it from the youth? Who have the knowledge and withhold the truth? Who give dem gun and tell dem fi shoot? Who go make the ghetto youths have to revolute?"
Uncompromising expression comes naturally to Buju Banton. Born Mark Anthony Myrie on July 15, 1973, the youngest of 15 children born to a higgler (market vendor) mother, he is a descendant of the Maroons, the fierce freedom fighters who fended off attacks from the British colonial regiments by escaping into Jamaica?s dense mountainous areas. Six years after he began deejaying professionally, his career accelerated into high gear with the 1991 release of Mr. Mention; propelled by the overwhelming popularity of the hits "Big It Up" and "Batty Rider," in 1992 Buju broke Bob Marley?s record for the most number one
singles in one year on the Jamaican charts.
At just 20 years old Buju?s 1993 release Voice of Jamaica (Mercury Records) was lauded for its topical lyrics as exemplified in the safe sex anthem "Willy Don?t Be Silly." At this time, Buju also demonstrated that an artist?s responsibility to his fans and wider community transcends the performance stage: in 1994 he launched Operation Willy, a nonprofit organization run in conjunction with JAS (Jamaican AIDS Support) which promotes safe sex education while assisting those afflicted with HIV/AIDS.
On the musical side he remained equally progressive releasing the Grammy nominated Til Shiloh (Loose Cannon) in 1995, which Rolling Stone magazine cited as one of the best albums of the 1990s. ?Shiloh delivered a well-balanced mix of conventional reggae rhythms and computerized dancehall?s combustible energy, while the tracks "Murderer" and "Untold Stories" played major roles in redirecting dancehall lyrics
away from x-rated and violent imagery and towards positive themes.
Buju displayed even greater versatility on 1997?s "Inna Heights" his gruff sing-jay approach deftly applied to everything from African choral chants ("Afrikan Pride") to shuffling ska ("Small Axe"). His 1999 release Unchained Spirit boasted an array of guest artists including the alternative rock band Rancid who revved up the punky reggae party vibes of "No More Misty Days." The deejay?s 2003 offering Friends For
Life (Atlantic/VP Records) featured the African percussion dominated "Up Ye Mighty Race" inspired by the teachings of Marcus Garvey and a triumphant return to his dancehall origins with the ingenious anti-gun anthem "Mr. Nine."
The unbridled utterances that are synonymous with the Jamaican dancehall, and the pivotal role Buju?s incomparable vocals, skillful story telling and insightful observations have played in dancehall?s international renown are fully celebrated throughout "Too Bad". Sure to please his longtime fans as well as recent converts, Too Bad is particularly gratifying to Buju because it is the first full-length release on his own Gargamel label.
"In music one must become more entrepreneurial in understanding the foundation of the business and the engine of it," observes Buju who was voted Comeback Artiste of the Year in 2005 by the Jamaica Observer newspaper based on the excellence of his live performances and his succession of hardcore dancehall hits. "My company has been in inception for nine years so this is a blessing. I give thanks to the Most High God and I hope people will gravitate towards this music as they have towards my previous work."
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Music Video: Buju Banton - Paid Not Played
