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Buju Banton
Friday Jun 29, 2007.
By Rosalind Cummings-Yeates
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But these artists represent only a small portion of the scene. Dancehall culture and its patois dialect don't translate so easily, and unless an artist is willing to compromise a few elements like lyrics and image, crossover appeal proves to be elusive. Such is the case for dancehall legend Buju Banton.
"I focus on making uplifting, quality music that can withstand the test of time," says Banton of his 15-year career. "I make the music that I feel in my heart and soul at that very moment."
His catalog of hits boasts soulful, roots-heavy tunes, such as "Murderer," "Untold Stories" and "Destiny," not only reflect the raw energy of dancehall but offer relevant social criticism as well. Credited with changing the face of dancehall with his politically-conscious classic 1995 album Til Shiloh as well as surpassing Bob Marley with the number of hits on the Jamaican charts, Banton has earned icon status in Jamaica. His sand-paper-textured voice and electrifying performances won him the spotlight early in his career, and he shows no sighs of relinquishing it.
"I make my music for the world to hear, and I keep my music positive so it may serve as an inspiration to others," he says.
But this wasn't always the case. At 33, Banton has matured into a devout Rastafarian and a thought-provoking songwriter. When he began his career at 13, however, he made a name for himself with his slack lyrics and rude boy antics. Back in 1993, when a "Jamaican invasion" of dancehall stars like Shabba Ranks, Patra and Shaggy tore through the mainstream, Banton was poised as the next crossover success. His major label release of The Voice of Jamaica promised just that, with the requisite hip-hop/dancehall duet with Busta Rhymes and a radio-friendly sound.
All that changed when word of "Boom Bye Bye," a song he wrote at 15 and recorded on his 1992 Jamaican album Mr. Mention, leaked to UK and U.S. gay activists. Although he intended the lyrics as a metaphor in response to a child molestation incident in Jamaica, the song caused such an uproar that any crossover dreams stalled. Refusing to adjust his image or music to American tastes, Banton won success on his own terms, largely in his own country.
Even though Banton has not performed "Boom Bye Bye" since the early '90s, it continues to haunt him, spurring occasional protests and boycotts in the UK and U.S. But the significance of his music remains unaffected. With dancehall wallowing in much of the same violence and misogyny as hip-hop, Banton has maintained an inspirational slant, with albums Inna Heights and Unchained Spirit geared toward peace and spiritual awareness. "Jah's message can always be found in my music," says Banton.
His current CD, Too Bad, produced on his own Gargamel label heralds a return to the pure dancehall sound that nurtured him, but with the same social awareness as his previous, more rootsy albums.
"I have had numerous dancehall tunes circulating in Jamaica throughout the years that just didn't end up on any of my own albums," he says of the perception that he hasn't been producing straight dancehall music. "I never left the dancehall and never will. It is where I come from, and it will always be a part of me and my music."
Coming soon to a stage near you: Check out Buju Banton Wednesday, July 4, at the African Caribbean Festival of Life, at 55th and Cottage Grave Ave.
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