Buju Banton Albums (14)
What The Critics Say
An instant classic released out of order, Rasta Got Soul could have been Buju Banton's 2004 album if an arrest for ganja possession hadn't sent the singer into exile. While the great "Magic City" single previewed the album during this time, two years later the more contemporary effort, Too Bad, arrived and what was rumored to be an awesome album seemed lost forever. One listen to 2009's final product and it's obvious the rumors were true, but it also suggests that Banton was hedging his bets after some time off and launched Too Bad instead to make sure the fast-living Jamaican youths came back to the Gargamel fold. Rasta Got Soul is mature, almost a throwback effort with plenty of horns, plenty of references to the Rastafarian lifestyle, and songwriting on the level of 'Til Shiloh, his 1995 masterpiece. "Bedtime Story" is a heart-wrenching story of abandoned children that delivers its message perfectly, while "A Little Bit of Sorry" reclaims ska for the Island of Jamaica as the lyrics deceptively persuade the big-headed masses to tone down their egos. Anyone spiritually lost at sea will be done right by the comforting "Optimistic Soul," one of the many numbers here that finds an especially positive Buju being sweet but not sugary. That blunder is saved for the cheeseball instrumentation on "Mary," which starts off with a doo wop intro and then goes downhill with a fake, synthetic string section. If it's Buju being whimsical, he should really give a wink, but it's a small complaint on an album that makes one wonder what other treasures are locked in the Gargamel vault. Beyond recommended, this one is vital. ~ David Jeffries, All Music Guide
What The Critics Say
The artist himself hasn't said it happened this way, but one has to wonder if the strictly dancehall- and strictly Jamaican-Too Bad is a product of the outside world's recent shunning of Buju Banton thanks to the controversy around his old homophobic track "Boom Bye Bye" rearing its head again. It's a problem he's dealt with for years, but the 2005 cancellations of overseas shows seem to have been the final straw, perhaps influencing the multifaceted singer to drop the reggae for a while and return to straight-up dancehall as a "screw you world" move. Other factors could include having his own label, Gargamel, and in turn the freedom to do this, and since Gargamel has released plenty of great roots music, Banton could have decided to save dancehall music instead, since he had recently declared the scene a "common whorehouse." His assessment seems rather harsh, but if dancehall really does need saving, these tracks could do it, although they're thrown together in such a jumble here that the album as whole works better in small bites. What makes Banton's return to Jamaica's most aggressive music so great is that he's created tracks that are equal shares nostalgic -- quoting dancehall vet Yellowman on the title track for example -- and forward-looking, with the thirty-something singer proving he can ride the most up to the time riddims as well as any young upstart. He's one of the few singers who could turn the ridiculous "Wipeout" riddim -- which is based on the surf classic by the Surfaris -- into the vicious rallying cry "Me & Oonu," and while there are more slick party and "for the ladies" tracks than usual, substantial numbers like "Driver A" tip the scales the other way, saving the album as a whole from being too lightweight. So much dancehall will probably alienate the massive fanbase Banton earned with the versatile efforts 'Til Shiloh or Unchained Spirit, but longtime fans who miss the fire of his early work are going to go ape for this one. ~ David Jeffries, All Music Guide
'Toppa di Top and Dirty Rhythms'
Release Date 4/11/2006
Tracks 21
Label Big Cat
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What The Critics Say
The smiley-face tone of this album title is not misleading. Although a couple of cuts tastefully skirt the edge of slackness and one (the very fine "Mr. Nine") is an angry denunciation of Kingston's gun culture, Friends for Life is more accurately represented by song titles like "All Will Be Fine," "Spectacular," "Good Times," and the twin throwaway tracks "Tra La La" and "La Da De Da." Banton remains a better DJ than singer. He acquits himself well in the latter category on the heavily Bob Marley-influenced "Maybe We Are" and on an amazingly powerful anthem of racial uplift entitled "Up Ye Mighty Race," but he shines brightest when delivering his trademark gruff-voiced toasting over hard-edged dancehall rhythms. He spars brilliantly with DJ Bounty Killer on the dark and funky "Teaser," but his combination track with singer Nadine Sutherland is something of a letdown. "Damn" is disposable dancehall loverman bluster, but the ska-inflected "Feeling Groovy" is a pleasant stylistic surprise. This is not his best album by a long shot, but it does demonstrate his clear superiority to most of the dancehall pack. Recommended. ~ Rick Anderson, All Music Guide
'It's All Over'
Release Date 4/16/2002
Tracks 17
Label Japanese Import
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'Dubbing with the Banton'
Release Date 8/15/2000
Tracks 13
Label Germaine
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What The Critics Say
Dubbing with Banton is a dub album almost in name only. Most tracks are barely remixed and add very little to the existing instrumentals. The best tracks from Dubbing with Banton are pulled from Buju Banton's Til Shiloh album. Each dub is sparse at best with tracks from Til Shiloh standing out because of the strength of the originals. Banton doesn't add much ambiance to any of the tracks on the album and stays away from any heavy effecting of the existing music. For much of the album you would think you were listening to purely instrumental versions of the songs. �Untold Stories" has beautiful acoustic guitar at it's core and Banton doesn't do anything with it. The treatment is begging for echo'd vocals and drums. Even reverb would freshen up the versions instead he just let's the instrumentals play out. Banton has a great back catalogue to work with that could have made for some very interesting new school dubs. The treatments sound lazy and nowhere near the high standards set by the traditional Dub masters. Banton should have looked toward the roots of dub and embraced the intensity as well as the insanity. ~ Matt Whalley, All Music Guide
'Rudeboys Inna Ghetto'
Release Date 3/15/2000
Tracks 15
Label Jamaican Vibes
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