Banton, Buju

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BUJU BANTON

Born: Mark Anthony Myrie; Kingston, Jamaica, 15 July 1973

Genre: World, Reggae

Best-selling album since 1990: Voice of Jamaica (1992)

Hit songs since 1990: "Murderer"

Rude boy reggae singer/songwriter, the youngest of fifteen siblings raised in a slum, Buju Banton managed a 180-degree turnaround in social attitudes over his decade-long career. From the scandal he caused at age nineteen, calling in his song "Boom Boom Bye Bye" (1992) for violence and death to be reigned upon Jamaica's homosexuals, Banton has become a spokesperson for AIDS education, composer of the first Jamaican song advocating condom use, and advocate of religion.

The parents of Mark Myrie (as Banton was named at birth) were impoverished street vendors, but claimed direct descent from the Maroons, Jamaican blacks who carried on a long fight against the colonizing British for freedom and independence. Mark Myrie's nickname "Buju" means breadfruit; it refers both to his baby fat and the weight of his patrimony. He took the name Banton, a word for a skilled dancehall storyteller, from Burro Banton, another dancehall performer he admired. At age thirteen Banton wielded a mike behind a dancehall sound system, and he began recording thereafter, starting with "The Ruler" (1986). Even then his hoary voice belied his youth, and he had a wild, wooly nihilism to match them both. His album Mr. Mention (1991) broke all Jamaican sales records, including those set by famous Jamaican singer Bob Marley.

Banton's conversion to greater tolerance and social consciousness has been gradual, and while it was surely the wise, if not necessary, response to the outpouring of criticism leveled at him for "Boom Boom Bye Bye," he appears to be genuine in his commitment to a shift of position. That most offending song, upon its release, was just another in his series of harshly worded, sexually explicit, and provocative songs such as "Bogle," "Love Me Browning," "Love Black Woman," and "Big It Up," all co-written with his then-engineer/producer, David Kelly. Raw language delivered with breathless articulation over nonstop reggae beats advanced Banton to the head of his dance floor class.

However, protests from gay organizations in the United States and tourist boards throughout the Caribbean islands resulted in Mercury Records asking its artist to write a statement about the song. He did so, but justified his antigay sentiments with reference to the Bible and his religious beliefs.

Banton evidently rethought his readings and conclusions following the incident. He became a Rastafarian and subsequently his lyrics exhibited more interest in love than sex, more generosity and consideration behind his positions, and concrete devotion to his causes. For instance, proceeds from his pro-condom song "Willy (Don't Be Silly)" from his album Voice of Jamaica (1993) were donated to fund his Project Willy, created to help AIDS-afflicted children.

Banton's subject matter and his music have both matured. On "Murderer" he delivers an unflinching diatribe against exploitive and destructive elements of dance-hall culture as exemplified in the shooting deaths of two aspiring reggae performers. The song reached the top of the charts in Jamaica; its success inspired imitation, and may have influenced some DJs to stop playing gun-happy songs. His mixes are complex, often pitting his hoarse gargle against lighter, more melodic male voices. 'Til Shiloh (1995) shook up the assumptions of the dancehall genre, formerly an exclusively synthesized and computer-generated music, by returning to the use of a live-in-the-studio band with horn section. Banton's success is not confined to Jamaica; 'Til Shiloh was cited as one of the Top 20 albums of the year by Spin magazine, and Banton is reputed to be the first dancehall DJ to sell out New York City's 5,600-seat Paramount Theater.

Banton consciously courts a crossover audience. On Unchained Spirit (2003) he ventures beyond his dancehall purview to sing ska, gospel, soul, and African highlife-inspired tunes, with guests including his reggae rival Luciano and punk rockers Rancid.

SELECTIVE DISCOGRAPHY:

Mr. Mention (Penthouse, 1992); Voice of Jamaica (Mercury, 1993); 'Til Shiloh (Loos Cannon, 1995); Inna Heights (Loos Cannon, 1997); Rudeboys Inna Ghetto (Jamaican Vibes, 2000); Dubbing with the Banton (Germaine, 2000); 'Til Shiloh [Expanded] (Universal, 2002); The Voice of Jamaica [Expanded] (Universal, 2002); Want It (NYC Music, 2002); Friends for Life (Atlantic, 2003); Unchained Spirit (Epitaph/Anti-Gravity, 2003).