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BUJU BANTON: UNCHAINED SPIRIT
ADAM ULLIAN
ADAM ULLIAN
Speech 214
Rhetoric of
Reggae
Final Paper
Spring 2002
His
voice is thunderous and piercing. With each lyric, he pounds away at our psyche
and makes our bodies shake with rhythm. He has become the crown prince of
Dancehall reggae in Jamaica, and is a force to be reckoned with in the Jamaican
music scene. He is young, but mature and powerful, and his name is Buju Banton.
Born Mark Anthony Myrie on July 15, 1973, Buju Banton
has used his lyrical skills and pounding voice to take Dancehall by storm. He combines
his own musical influences with those of Burro Banton and Bob Marley to achieve
a sound and beat that is bringing generations of reggae listeners together for
an enjoyable experience. He owns the audience with his lyrics and his stage
presence, and is forming both a musical and cultural movement that is taking
over Jamaica. (www.bujubanton.net)
One
of 15 children born to a street vendor inside Trenchtown, Banton lived in
poverty for most of his upbringing. A direct descendant of the Maroons, his chubby
appearance earned him the nickname of Buju, the Maroon name for breadfruit. His
last name is a tribute to another reggae legend, Burro Banton, as well as the
name for talented storytellers, from which much of his influence is derived.
Buju entered the Jamaican music scene at age 12, where
he was known as the ÒLambada ManÓ of the Dancehall, working with the Sweet Love
and Rambo Mango sound systems. In 1986, DJ Clement Irie introduced Banton to
producer Robert French, who produced his debut single, Ò The Ruler.Ó At the age
of 15, Banton had already worked with artists like Bunny Lee and Red Dragon. He
was destined for success in the Dancehalls. In 1991, he met producer Dave Kelly
of Penthouse Studios, and debuted on the label with 1992Õs Mr. Mention, which broke all sales records on the island,
including those of Bob Marley. With songs like Love Mi Browning, where he professed his attraction to light-skinned
women, caused an uproar among the dark-skinned Jamaican women who viewed such
comments as an insult towards their looks. He made up for his remarks, however,
with the song Love Black Woman, and
demonstrated that he had love for everyone in his repertoire. He became the only Dancehall DJ to
sellout New York CityÕs 5600 seat Paramount Theater.Recording Studio. (www.eng.miami.edu)
BantonÕs
music, a combination of rap set against a dub background, quickly grabbed the
attention of the Dancehall revellers.
In his early years, Buju focused on the part of Dancehall known as
Òslackness.Ó This is where artists sing about sex, female sexuality, marijuana,
and other topics using obscenities and graphic lyrics. While this style was
entertaining to those in attendance, it was seen as offensive as a whole to the
Dancehall scene and detrimental to the vibe that was trying to be cast. People viewed this behavior as leading
to more violence and anger in the already struggling community, as well as
influencing people to commit violent sexual acts against women.
Along with this style of ÒslacknessÓ came Lovers Rock, which was done with slower love songs for the women, rather than sexuality explicit lyrics used to demean and exploit them. This style led to a more controversial attitude in the Dancehall, which has existed in Rastafarianism for some time, but was not widely discussed. It was the issue of homophobia. Artists like Shabba Ranks, Capleton, and Bounty Killer all sounded off against what they believed to be immoral and improper behavior. In 1992, the 19-year-old Banton struck a controversial tone with his song Boom Bye Bye, which publicly denounced gays and ÒBatty BoysÓ as detrimental to society and not even worth living. It hurt his career briefly, just as he was beginning to reach stardom. Even though homosexuality is not widely accepted in Jamaica, and is viewed as evil behavior, on an international scale, his lyrics were hurtful and got him in trouble. He was forced to cancel numerous concerts and public appearances, and basically had to keep a low profile until the controversy died down. Luckily for him, the controversy did go away, and with it, his focus on sexual and drug related themes.
His
first album on Mercury Records, 1993Õs Voice of Jamaica was credited as being a new sound in Dancehall, with
songs like Willy (DonÕt Be Silly),
JamaicaÕs first pro-condom song, Operation Ardent, and Deportee. At only 21 years of age, He brought in a new sense of social
awareness, where people were not just talking about having sex and smoking
marijuana. There were real life issues to be dealt with, such as the curfews of
Kingston on Ardent, and Banton
wanted to bring those issues into the limelight and educate people about the
dangers of living recklessly and ways to improve lives in the face of Babylon.
As he grew both physically and emotionally, his voiced matured and brought
forth the deep tones that became the trademark of his music. He was able to
talk about sex, drugs, and poverty, but also about success, living well, and
being a good spirit. He was taking the music of Bob Marley and spinning it into
the Dancehall, where the combination was lethal and pleasing to the crowds.
Banton was showing why he was so good, and in doing so, took Dancehall music
through the 1990Õs. He shaped the Dancehall with songs like Batty Rider, Woman
No Fret, and Bogle Dance. His
music was stepping away from the rudeboy slackness and pioneering its form into
the realities of ghetto life and events that were very true to the Jamaican
people. His song, How Massa God World a Run, was a prime example of how the ruling class was
oppressing the underclass, and why many people suffered from the conditions.
With
his second album, ÔTil Shiloh, meaning
forever, Buju continued to shape his music around the welfare of his people,
expressing love for the community and the battle against ignorance. It was his
debut on Loose Cannon Records, and sold very well, cementing his icon status in
the reggae world. He embraced the Rastafarian faith just before releasing the
album and grew dread locks. His music took on a new social consciousness and
was more about love rather than sex. It was a full step away from the slackness
of his rudeboy Dancehall days, and a full step into a new message of peace and
harmony. He had started an AIDS effort called ÒOperation Willy,Ó which he
designed to raise money for children sick with the AIDS virus. He was also
started his own record studio Cell Block 3-2-1, which he used to produce the
single Rampage . He wanted to
bring forth the underprivileged youth of Jamaica, who were living in poverty
and deserved better. With songs
like Untold Stories, he described
the poor children who had no education because they could not afford the bus
fair to school.
So Ð Mama spend her Last
To Send You Go Class
DonÕt You Ever Play
(www.diegodj.com/lyrics/bujubanton)
He was working with artists like Beres Hammond, Wayne
Wonder, Marcia Griffiths, and Carol Gonzales. He was bridging
the gap between the 70Õs and 80Õs and the sound of dancehall. People were coming together in the
Dancehall from many different backgrounds, all in praise of Buju. The Marley
fans were being intertwined with the Dancehall people, and Buju was the
ringmaster. On his track Murderer, he decried the senseless act that claimed too many
of JamaicaÕs youth. It was a reflection on his own life as well, and the loss
his childhood friends DJ Panhead and Dirtsman. He released the album during the time when Dancehall was
under attack for promoting violence and sexually explicit lyrics. According to Bilit Magazine, he had Òturned the lyrical tide for Dancehall from
lyrics about graphic sexuality, gangsterism, and violence to themes of
Rastafarian spirituality and self-respect.Ó He was using his ability on the microphone that brought him
out of the ghetto to reach the masses who wanted to emulate his success, but
did not have the resources.
His
next album, Inna Heights, on VP
Records, was a continuation of his Rastafarian rhythms in a fluid balance with
Dancehall. He progressed with the same cool
rhythms that had defined his past work, and
matured with an aggressive message of inner peace and social justice. He was
moving towards an activist stance, and his work on Inna Heights proved that he was a force to be reckoned with. The tracks Hills and Valleys and Destiny are musical wonders, not only because of their beauty and strong tone,
but more so because he sings:
Verse 1:
The rich man's wealth is in the city
Destruction of the poor is his poverty
Destruction of your soul is vanity
Do you hear
I and I, I wanna rule my destiny
I and I, I wanna rule my destiny
Chorus:
Destiny, mama look from when you call me
Destiny, mama look from when you calling
I wanna rule my destiny
yeah,
yeah oh help I please Jah Jah mek mi rule
(www.diegodj.com/lyrics/bujubanton)
On Inter Lingua, three separate spoken word tracks, Buju Banton discusses his love of
reggae, and his ability to communicate his emotions and his feelings with the
world through his music. He expresses his love for God, and for the people of
Jamaica, and why his messages in his songs are important for everyone to near,
no matter what race, creed, color, or ethnicity. It is his way of giving the
people what they want, and a way of expressing how he feels about his work,
candidly and truthfully. The tracks are a special part of the album because
they demonstrate that besides his vocal skills, Banton has matured into a
caring adult who understands the plight of the people he represents. He is willing to take large steps towards
helping those who have been given no chance to succeed in life.
To
understand his passion and his drive for success and understanding, it is
important to take a look back at the culture that produced Buju Banton. As he
details through his stage name, he is a direct descent of the Maroons, the
tribe of African slaves who lived to escape and conduct warfare against the
British colonials in the 1800Õs.
The term Maroon is a form of the Spanish word Òcimarron,Ó which is defined as a wild, untamed being, and was applied to blacks when they were fugitive slaves and lived in the mountains of Jamaica and the West Indies. The fugitive slaves left their masters in groups and organized themselves in the mountainous areas of the island. After the Spanish had vacated the island, the Maroons took it upon themselves to resist the invasion of the island by the English, who were looking for more land and wanted to use the slaves on their plantations. (Historic Jamaica)
The so-called ÒWild MenÓ of the Jamaican mountains,
staked their claim in the hillsides of Jamaica in order to capitalize on sneak
attacks at any given moment. They were prepared to fight for their land, and
did not approve of the British colonials coming in with their men and trying to
take over. They lived off the land and knew all of the good hiding places. They
could attack during the day, or at night, and knew where the British would
be. They blended in well with the
brush and trees, and were like ghosts coming in the night. (Jamaica: The
Portrait of an Island)
Originally, they mixed with the surviving Arawak
hunters, native to the land. When they realized there was a shortage of women
to be used, they plundered the male Arawaks and took the women as their
possessions. They were not hostile towards Europeans until the island was
invaded, and then they began to serve the Spaniards as scouts. The English
befriended them and used them to defeat Don Cristobal Ysasi. A tribal consciousness developed as a
result of fighting. Their membership had increased because of the other
fugitive slaves who did not want to be transferred to new masters. A shortage
of black women among them led to the killing of the Arawak male leaders so they
could take the females. They asserted their independence, going so far as to
call themselves the heirs of the Spaniards, and began to fight with the English
colonialists. They grew and grew as slaves came over from Africa and made
attempts to join them. They had the ability to hide in the mountains and then
attack unexpectedly. Natural lurking places were the central forested ridge of
the island, and the northern slopes of the Blue Mountains at the eastern
end. There is evidence that
planters complained very early on that Maroon depredations made it difficult to
reap crops or rear cattle on the north side of Jamaica. The broader, more
populated southern plains suffered too, because of daring nocturnal raids by
the Maroons.
Indians
were brought from the Mosquito Coast as a reinforcement against the Maroons in
their woodland camps and caves. The tactic was not successful, as the
aborigines from sea level were not capable of fighting in the mountains, and
the few who were not killed joined the enemy. Next, more soldiers were sent from England, along with local
militia companies. The military campaign, which lasted for seven years, is
termed the First Maroon War. The war was a largely losing battle for the
English, as they were fighting with ghosts. They rarely could see the Maroons,
who bounced around the wilderness and were good at not being seen. They could
vanish at a momentÕs notice, only to return and ambush the enemy with massive
casualties. Their fighting methods can be described as follows:
Ò Such are the natural fortifications
in which the maroons secured themselves in times of danger, and from which it
has been ever found difficult to dislodge them. The maroons, whenever they
expect an attack, disposed of themselves on the ledges of the rocks on both
sides. Sometimes they advanced a party beyond the entrance of the defile,
frequently in a line on each side, if the ground would admit; and lay covered
by the underwood, and behind rocks and roots of trees, waiting in silent ambush
for their pursuers, of whose approach they had always information from their
scouts.Ó
(The
Rastafarians p.32)
The British troops were accustomed to orderly battles,
where they knew the location of the enemy and had a direct approach. Quite
often they would march into battle, drumming away, a mistake in warfare with
the Maroons. The equipment of the English troops was no match for the terrain
of Jamaica. They could not move around easily in the mountainside, and quite
often were not prepared to defend themselves. On the contrary, the Maroon
warriors were prepared to defend themselves on their own terrain, and knew the
secrets of the land. They could perform sneak attacks when necessary, and
understood how to take the English off guard, thereby killing as many of them
off at once as possible. The terror the Maroons caused the English in the
seventeenth and eighteenth centuries was far greater than what the maroons
could have commanded in size alone. But the deployment of small groups by
Cudjoe in sudden and savage attack and swift withdrawal kept the English
completely disoriented about their strength. Their ability to use the rugged mountain terrain provided
another effective strategy. Their excellent intelligence network allowed them
to know well in advance when a mission was being sent against them.
They understood the weaknesses of the English, and that is why they
dominated the warfare for decades, before the treaty was eventually signed. The
Treaty, officially ratified on March 1, 1738, and gave the Maroons five official
settlements where they could live relatively undisturbed. John Guthrie, in the
role of a militia colonel, was the dominant figure in effort for peace. He
negotiated the treaty with Cudjoe, one of the maroon leaders, which gave them a
form of autonomy, while at the same time required them to perform duties of
their white overlords. The Maroons
of the west were declared to be Òin a perfect state of freedom and liberty.Ó
Even including the fugitive slaves who had joined them during the war.
They were
given 1500 acres adjoining the Cockpit country, and were allowed to hunt wild
hogs anywhere in the forest, except within three miles of town or
plantation. Cudjoe was the ruler,
provided he had the power to inflict punishment on crimes committed by his
people. Two white men were picked by Colonel Guthrie to stay with Cudjoe as
liaison officers. The five
territories were Trelawny Town, Accompong Town, Moore Town, Charles Town, and
ScottÕs Hall. The move was
politically advantageous for the English, but later destroyed the image of the
Maroons as a symbol of freedom in the Carribbean (The Rastafarians
pp.32-33).
The Maroons
have been exalted and praised as the first blacks to serve the cause of freedom
in the Western Hemisphere. This is not entirely true, as the leaders did not
act in the interests of the people, but rather the interest of themselves.
After the treaties had been signed, the Maroons became much friendlier with the
Governor and the other authority figures.
They reaped the fruits of a treaty for themselves, and left their fellow
Maroons to the perils of their own devices. (Jamaica: The Portrait of an
island P.65).
The
legacy of the Maroons in Jamaican history is a long and enduring one. They were
the original warriors who fought off the enemy using the skills and war tactics
that the English were not prepared for. These Òinferior wild menÓ were in fact
superior when it came to fighting, and with the fire in their souls, they
managed to defend themselves and their people from British colonization.
The fire in their souls still exists today, and it comes through in the
words of artists like Buju Banton. He is a fiery performer, speaking out against
the oppression that he feels from Babylon, and taking care of those who he
feels have been cheated in life. The poor, the sick, the tired, and the hungry
children who were born into poverty and have yet to escape it. He is a hero to
some, and an idol to others. Just as the Maroons had to defend their land and
their space from the mighty British enemy, so has Buju Banton had to defend
himself from the mighty international circus of criticism and hoopla. He has
been controversial and even offensive, but he has matured and grown to show the
softer side, his Rasta side. He has shown what the spirit of Jah means to him,
and his people, and is not afraid to speak his mind in his work.
The distinctiveness of Buju Banton comes forth in his ability to bring together the 70Õs roots rock reggae vibe with the gruff, ruff 80Õs and the 90Õs dancehall style. His ability to perform and wow an audience is unquestionable. His other ability, to overcome major controversy early in his career, is what has made him into the person he is today. He has gone down, into the pit of his soul, and emerged as the premiere reggae artist of his generation. He focused on his artistic, spiritual, and professional growth in the period following the controversy. He kept busy by touring, performing, setting up his own independent Cell Block Studio in Kingston, starting the Operation Willy AIDS Charity, and producing himself and other artists. (Michael Conally YUSH P ONLINE ).
In
a 1996 interview he took part in for YUSH P Online, he states to interviewer
Ola Okunola,
Ò There must be a point in time when you
decide to make a choice. If itÕs not God, itÕs the Devil.
OLA: Tell me about your background growing up in
Jamaica?
BUJU: Growing up in Jamaica, I grew up in a poor and
humble home where my mother tried to find what she could and I give thanks to
her everyday. But it was really rough group you you know.
OLA: Murderer in memory of Panhead, a close DJ friend
of yours, killed after a dance in Kingston, reminds those who kill in cold
blood that God will judge them. Is he the only friend of yours to die this way?
BUJU: No. Dirtsman died in that brutal fashion. Early B
also died in that brutal fashion. Lui Lepke died in that horrible fashion. Jim
Kelly died in that horrible fashion. I mean I could go on and on as if itÕs
never been told.
Murderer!
Blood is on your shoulders
Kill I today you cannot kill I tomorrow
Murder!
Your insides must be hollow
How does it feel to take the life of another
Yes, you can hide from man but not your conscience
You eat the bread of sorrow
Drink the wine of violence
Allow yourself to be conquered by the serpent
Why did you disobey the first commandment
Walk through the valley I fear no pestilence
God is my witness and He is my evidence
Lift up mine eyes from whence cometh help
You will never escape this judgement
OLA: Rampage suggest that there is a lot of mindless
shooting and killing going on in Jamaica by people who have no love for anyone
not thinking of what they are doing until itsÕ too late. You are obviously
frustrated by whatÕs surround you at home in Kingston. What do you hope to
achieve through the message ÔTil Shiloh is conveying?
BUJU: Rampage is more like a prophecy you know, IÕm
just telling you what is to come. IÕm looking into the system and saying what
we gonna be doing and itÕs now taking place every day. (I hope) to convey
oneness, a sense of togetherness in the black race, you know and a sense of
between the black race, a sense of true love and dignity and pride and
upliftment..
OLA: Boom Bye Bye made headlines in 1992 accusing you
of being homophobic. What affect did the publicity have on your career at the
time?
BUJU: All negative, but itÕs a white manÕs so what do
you expect.
OLA:
Has it stopped you from performing the song?
BUJU: No, but I have had many songs. That wasnÕt the
one song about me: thatÕs the one song they wanted to believe I was all about.
I try and come across with my other songs and they always say Ôoh you donÕtÕ
want to do that songÕ and rey-rey-rey and find some crummy excuse. But IÕm all
about many songs and many things. Many, many songs. ItÕs my job to keep moving
with all my songs and not to get stuck on that song. ItÕs called strength of
character. If my audience say they want Boom Bye Bye, they get Boom Bye Bye and
thatÕs my song you know.
OLA: Love Mi Browning caused controversy with dark
skinned Jamaican girls in 1991. Has your new outlook on life caused you to
re-evaluate what you value in a woman?
BUJU: What you a talk Ôbout? You know, you must get
this straight. It wasnÕt me who said any prejudice thing you know. No prejudice
remark was passed by me. It was interpreted outside the studio as a prejudice
song, you know. So, I have no need to rephrase any statement.
(YUSH P ONLINE, 1996)
From
this interview, it is obvious that Banton is a committed artist. He has grown
in his trade, and he speaks from the heart. He does not shy way from topics
that others are uncomfortable with, and discusses issues that are dear to him
and his people. He attacks the street thugs for killing his DJ friends and says
that they must understand what the ultimate outcome will be. A belief in Jah as
the almighty is what guides him and gives him focus. He cares about his people
and his audience, and does whatever is in their best interest. The publicity he
gets now is better than it has been, as his controversial songs have moved
aside in favor of more spiritual ones the appeal to the inner sanctum of people
across generation lines. The continuation of the soul on Inna Heights came to us through his next works, 2000Õs Dubbing
with the Banton, Rudeboys Inna Ghetto,
and most importantly, Unchained Spirit. Of ÔSpirit, Banton states,
Ò
My efforts here are not to crossover but to go through boundaries and borders
and be heard by all people who are citizens of the free loving earth, reasons
like the Title, IÕm an unchained spirit, and a free spirit, and my intention to
make one goes out across the world to satisfy the musical and spiritual hunger
of then to bring us closer today than yesterday to our freedom and our need to
come to solidify the human race.Ó
Similar
to his words in the interview, Banton expresses his need to reach across
national and ethnic boundaries with his message. He is eager to deliver peace
and joy to the world, but is kept back by the forces of Babylon, and the
oppression that his people deal with everyday. In Unchained Spirit, he continues his quest for spiritual superiority and
a feeling of righteousness among his people. He incorporates the 23rd
Psalm track, which is a departure from his traditional deep base lyrics and
rhythm. It is a soothing track and really emphasizes to the listener that
Banton is multi-faceted, and has the capabilities to tackle much more than
dancehall reggae. The focus of
Unchained Spirit is that Banton is a growing individual. He has come forward
from a controversial past, and exhibited the need and the drive to succeed at
his art. He does not care what his critics say, but only about those who care
for what he does. He does not try to be controversial, but rather a
spokesperson for the people that the government has forgotten and does not take
care of. As the song WeÕll Be Alright F/Luciano goes:
Been through a fire and didn't get burned
Buju Banton, Luciano
come
fi teach Listen and you will learn
The
price you pay And still at the end of the day
For them it's just a lue la lay
Luciano:
We have done all the good
that we know we should Spread a little
love in the neighborhood
Buju done that I and I
done
that Spread a little love in the whole wide world
And
telling my people better take control
We
have done that I and I done that
Through the lyrics we are witness to the emotion that Banton wants to convey with his music. He is about overcoming obstacles, succeeding and believing in ourselves. He does not care what other people think, it is what we think that is important. His collaboration with artists like LMS, Wayne Wonder, and punk rock band Rancid shows exactly how versatile he is. He does not stop trying to please the listener. His ultimate goal is to spread the love, and possibly the weed, to all those willing to listen. In an interview with Rolling Stone, he says:
"The New album was built under the influence of a whole heap of
herb," says Banton, his voice rising to a Lion's roar. "Herb burn
till kutchie black and bust, chalice shatter, Babylon flatter.
Y'understand?"
Banton smiles at the sight of his father skanking to the dread horn riffs of
"Better Must Come" as a spliff tail dangles from his lips. "I
invite man and man to burn up the herb and know yourself, and listen the
music," the younger Banton says. "As it burn, let the ashes drop on
the ground and see the wicked falls. Soon and very soon, the herb shall be released like an unchained spirit." (www.Rollingstone.com 1/4/2001)
Banton
uses the herb for inspiration, as do most of his fellow musicians, but also to
unwind and settle his soul. The notion of an unchained spirit is one that is
free and open to the world. He is accepting of ideas, and would like to profess
his own views on a world that he feels is corrupt and out of order. His focus
has grown into one of harmony with oneself, and peace with other. Buju wants to
end the violence that has plagued JamaicaÕs youth, as well as the rest of the
worldÕs, for so long, and do so through music. He want us, I-and-I, as we are,
to know ourselves, to burn the herb, and to listen to the music as a spiritual
awakening. His message has gone
from dirty and crude to peaceful and positive. His music has progressed with an
evolution of sorts, where he has matured with his own skills, and grown into
his own mastery of reggae.
On
the album, his style ranges from vintage ska with Rancid, to roots, rock, and
reggae with his other special colloborators like Wayne Wonder and Gramps from
Morgan Heritage, who joins him for the 23rd psalm. The beauty of it
is that through work and perseverance with other artists, he proves to us that
he is here to stay. He can work his grove with a wide range of musicians, some
old, some new, but all with an appreciation for his message of peace and love.
He does not force himself upon us, but rather slowly shouts in our ears why he
is so good, why he is the master of reggae in his generation, and why we should
be listening. He wants to smack us
in the face with his music, in an effort, as it were, to get our attention to
the events and happening around us. Most of us arenÕt aware of the oppression
that others suffer at the hands of Bablyon. We sit back and watch as society
crumbles around us, leaving other helpless while we enjoy our rich, comfortable
lives. This is what bothers Banton, and brings forth his music. He does not
want us to take it easy, he wants us to get up and act, to be responsible for
what we do, and what others do. His message is that this life is ours, and no
one elseÕs. We should do what we want, as long as we make people happy, and
encourage the growth of the community. He wants us to be our own unchained
spirit, and unchain ourselves from the oppression of Babylon. His motivation is
to wake everyone up to what is happening, for us to see the reality, we must
understand what is going on. He is the messenger, and he has the message, and
if we do not here his message, who will?
I
began listening to Buju Banton this summer, while I was working in the library
moving books around. At first, he did not really appeal to me. I heard his
voice, I thought of Shabba Ranks and Bounty Killer, and did not give him a
second thought. But then, I listened to more of his stuff. I read some of his
lyrics, even the controversial ones, to see where he was coming from. He was
not just a reggae artist, I discovered, he was a true rebel, a pioneer in the
industry, and activist for what is right in the world, and a believer in
eliminating the wrongdoings of others. He wants to chant down Babylon, and I
think he does a damn good job of doing so. I believe he has a little Marley in
him, and a little Dancehall, and the beauty of it is that he combines the two
so well. It is as if we are
listening to something completely new and refreshing, and in reality, I think
we are. That is the power of Buju Banton, and that is why his is indeed an Unchained
Spirit and The Voice of Jamaica.
Books:
Jamaica: The Portrait of an
Island
W. Adolphe Roberts
Coward-Mcann, Inc.
New York 1955
pp. 61-67
Historic Jamaica
Frank Cundall, F.S.A.
Secretary and Librarian of
the Institute of Jamaica
Johnson Reprint Corp.
New York
1971
pp. 324-325
The Rastafarians
Leonard E. Barrett, Sr.
Beacon Press, Boston
1997
pp.32-33
Web Sites:
www.diegodj.com/lyrics/buju/banton
Banton uses '90s technology to carry on Marley's positive-song
tradition--there's electronic percussion, but it blends in seamlessly. His
voice is a bit similar to Marley's, but is somewhat raspier, and occasionally
slips into a rap-influenced dancehall style. Banton even incorporates a bit of
dub (echo, reverb and spacy special effects) into his songs, without losing the
melodic flow ("My Woman Now"). INNA HEIGHTS will put some bounce into
your day.
BUJU BANTON
"Destiny"
Verse 1:
The rich man's wealth is in the city
Destruction of the poor is his poverty
Destruction of your soul is vanity
Do you hear
I and I, I wanna rule my destiny
I and I, I wanna rule my destiny
Chorus:
Destiny, mama look from when you call me
Destiny, mama look from when you calling
I wanna rule my destiny
yeah, yeah oh help I please Jah Jah mek mi rule
Verse 2:
I've been blessed I've been touch
I love Jah so much
They keep fighting me I'm not giving up
May the realms of Zion fill my spiritual cup
Wisdom overstanding can never be too much
Give I protection Day and night
Chorus:
Cast away their cords from us
you have them in the region in the valley of decision
Restraining the heathen with a rod of iron
you know not the destiny of a next man
Why hold him set him free too long
Verse 3:
My destination is homeward bound
Though force try to hold I down
Breaking chains has become the norm
I know I must get through no matter what a gwaan
From top
(Source: Jamaica Time by Diego DJ - http://www.diegodj.com)