Pato Banton Albums (12)
'Pato Banton and Friends'
Release Date 3/11/2008
Tracks 12
Label Cornerstone Ras
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What The Critics Say
Overflowing with guests, Pato Banton and Friends gets right down to business with a catchy reggae-pop opening track, "Bubbling Hot," to start things off. Ranking Roger is the first colleague to blend his talents with Banton and they are a perfect match, the lyrics flow in quick succession but are easily understood, and the zany sound effects add much to the musical concoction. The "Ska Remix" of "Spirits in a Material World," featuring Sting, is a good and abrupt change of pace, and a sign of things to come: that the reinvention of American pop hits will be the highlights on this disc -- not as much because the melodies are familiar but that Banton and crew seem to put more effort into these classics. It certainly shows. They do a fine job on this nugget from the Police, with offbeat sounds swimming inside the vibe the two singers set. Stephen Morrison showing up on a cover of the Rascals' "Groovin' " is perhaps the most effective production here, and evokes an immediate smooth and easy feeling in the listener. The "positive summertime vi-bray-tion" is a super blend of Eddie Brigati and Felix Cavaliere's melody with dancehall. Pulling "Baby Come Back" out of the mothballs, the 1968 classic by Eddy Grant's Equals is also terrific, UB40 adding their talents to another one of the highlights on this CD. Though "Wize Up," with David Hinds of Steel Pulse, has much to offer, the incessant hollow beat on a number of titles gets just a tad bit monotonous. The drum pattern would be fine for one separate piece, but hearing the cardboard sound so many times in succession becomes a little bit much. It's a problem with other Banton recordings and it could be solved easily -- just check out the cool and simple "One People" (with Yasmin Alexander), which is most effective and entertaining. Roy Orbison's "Pretty Woman" opens with piano and a welcome Motown drumbeat, Musical Youth adding to the moment, which is a fun look at the perennial and contributes much to the mood at play. Tippa Irie and Peter Spence on "Good Old Days" also evoke a summertime sensation -- and if anything is a theme here, perhaps that's it. The final cut, "Mad Professor Captures Pato Banton," like the first selection, has better sounds and beats and would have helped had it been sequenced earlier. The album itself is more a collection of expressions than a musical statement as a whole and there's something for everyone, so pick a favorite track and groove on it. ~ Joe Viglione, All Music Guide
What The Critics Say
Go Pato is a live recording of Pato Banton in Brazil. The album is full of tourist Reggae, which has very little to do with the Jamaican Roots Reggae tradition. The songs are sunshine Reggae that you would expect to hear on a resort vacation. Many of the tracks sound like they could be commissioned for use in after-school specials. Positivity has to be handled delicately or the music ceases to be tolerable to English speakers. Pato Banton sings, �We are the Now Generation, It is up to us to change the situation". The positive vibe is grating. Christian missionaries would find these songs over the top. Not all reggae needs to be measured against Bounty Killer's, �Warlord Vex" but this album sounds too much like a suburban father's idea of what reggae is. Pato Banton goes through all the motions that a reggae singer is supposed to. He calls out, �One God for all the people," �Roots, Rock, Reggae!" then later, �And in a Dubwise stylin!" and small dub interlude fills out a song with a few echoed effects. Fittingly, Pato Banton covers Bob Marley's �Jamming", making his style look more and more like an attempt at becoming a cross-over success. The backing music has a distinct late-eighties reggae feel that stays far away from the seventies roots sound. Even the often toasted early-eighties rhythms are absent. Pato Banton's MC'ing style mixes up different rhythms and shines brightest on �Gwarn". He entertains the crowd with a change-up of styles. He sings and rhymes over the tracks with skill that is good but not comparable to legends like Yellowman and Eek-A-Mouse. From the crowd reaction evident on the recording, the Brazilian fans are crazy for Pato Banton's style but as an album Go Pato doesn't have anything more to offer than weak interpretation of Reggae. ~ Matt Whalley, All Music Guide
'Live at Maritime Hall: San Francisco'
Release Date 7/31/2001
Tracks 8
Label Maritime Hall
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What The Critics Say
As the title suggests, this album was recorded live at San Francisco's Maritime Hall during a three-day Bob Marley festival. Appropriately enough and to the audience's obvious delight, Pato Banton kicked off with a medley of "Revelation" and "Exodus"; having grabbed the crowd, the toaster and his band, the Reggae Revolution, never let go. Long ago, Banton took Marley's "One World" theme to heart, and has presented himself as a unifying agent, his live shows a glorious coming together of the entire audience under his aegis. That theme predominated across a set that moved from the optimistic "Stay Positive" to one of reggae's most joyous numbers, "Jamming." "One World (Not Three)" seemed almost tailor-made for this event, although Banton had previously recorded it for a benefit album. Nor should a drug war divide the people, and so the DJ delivered up a witty pro-sinsemilla rap that practically brought the house down, and led beautifully into his own hit "Don't Sniff Coke." A great time was obviously had by all and, as "What the World Needs Now Is Love" faded away, Maritime Hall really was as one. On paper, Banton often comes across as a hopeless romantic, lost in a happy ganja-hazed, rose-colored world. Onstage, his overwhelming belief in the human spirit has a force of faith that cannot be denied. His connection with the audience is equally electric, and people listen spellbound each time he speaks. The simmering band, meanwhile, keeps things cooking, creating evocative moods around the toaster. Live captures much of the magic of Banton's stage show; Marley would be proud of him. ~ Jo-Ann Greene, All Music Guide
'Live in Brazil'
Release Date 3/27/2001
Tracks 13
Label Prestige Recordings
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What The Critics Say
Once again, it's time to party with Pato. "Sweet Reggae Music" is the soundtrack song for his life. Banton says "Life Is a Miracle," fueled by the endangered "Mama Nature" and her beloved herb. "Legalize It!" and "United We Stand!" yells the artist. Banton's heart is in the right place, but we've heard these exact messages over and over since the Wailers brought reggae to the masses outside of Jamaica. The lyrics may inspire you, but creative they're not. If you just want to dance, then Pato has done his job. ~ Mark Morgenstein, All Music Guide
What The Critics Say
A seriously infectious outing from Pato Banton, one of Birmingham, England's crowd of reggae performers. Most of the music here was performed by Banton with very few others involved -- the "friends" part of it comes in the vocal area, which sees him working with David Largie, Ranking Roger, Ray Watts, Macca B and Yasmin Alexander. The album is full of good songs and good rhythms, not to mention a great attitude -- even the obligatory rap track is interesting. Altogether, a very positive and enjoyable release with some excellent songs. ~ Steven McDonald, All Music Guide
'Live & Kickin' All over America'
Release Date 1/1/1991
Tracks 11
Label IRS
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'Wize Up! (No Compromize)'
Release Date 5/29/1990
Tracks 10
Label Capitol Records
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What The Critics Say
It started so well, and then it went so wrong. Pato Banton's debut album, Never Give In, was masterful; a scorching set of cultural cuts mixed with humorous songs, wrapped in simmering roots. Same DJ, same backing band (but now augmented by a club full of guest stars, including Mafia & Fluxy), so what happened? Much of the problem lies in the production, which is glossy to the point of slickness, and seriously detracts from the band's tough rhythms. However, even the best production couldn't hide the fact that Banton's gone off the boil. The sharp wit has been reduced to weak smiles, and the searing cultural commentaries to bland protestations. There is the occasional spark; "Roots, Rock, Reggae" is an anthemic gem, and is the only song from this set that truly survived the test of time. "Ready Me Ready," boasting a solid Mafia & Fluxy rhythm is entertaining, if a bit overwrought. However, tracks like the sugary "Wishing on a Star" and syrupy "Visions of the World" may be heartfelt, but suggest the DJ should leave off the sinsemilla for the rest of the session. Saddest of all is a re-recorded "Never Give In." It's expanded to over seven minutes, and while the rhythms remain rough and tumble and the lyrics are unchanged, the DJ strips them of their bite. The cynical would suggest that Banton has realized there was more money to be made in the world music market than dancehall. ~ Jo-Ann Greene, All Music Guide
