As a youngster, Buju would often watch his favourite artists perform at outdoor shows and local dancehalls. At the tender age of 13 he picked up the microphone for himself and began toasting under the monicker of "Gargamel". His first single, "The Ruler" was released not long afterwards in 1987 under the production of Robert French at Penthouse Studios.
In 1991, Buju joined Donovan Germain's Penthouse Label and began a fruitful partnership with producer Dave Kelly. Buju is one of the most popular musicians in Jamaican history, having burst onto the charts there suddenly in 1992, with "Bogle" and "Love Me Browning/Love Black Woman", both massive hits in Jamaica. Controversy erupted over Love Me Browning which spoke of Banton's preference for light-skinned women: "Mi love mi car mi love mi house mi love mi money and ting, but most of all mi love mi browning." Some accused Banton of promoting a colonialist attitude and denigrating the beauty of black women. In response, he released "Black Woman" which spoke of his love for dark-skinned beauties: "Stop cry, fi all black woman, respect all the gyals with dark complexion." 1992 was an explosive year for Buju as he broke the great Bob Marley's record for the greatest number of number one singles in a year. Beginning with "Man fi Dead", Buju's gruff voice dominated the Jamaican airwaves for the duration of the year. Banton's debut album, Mr. Mention, includes his greatest hits from that year.
1992 was also the year in which the controversy over Buju's homophobic "Boom Bye Bye" exploded. The media in Great Britain picked up on Buju's less than admirable promotion of violence against homosexuals. Myrie, who had recently signed with Mercury records, refused to back down from his stance against homosexuals, claiming his religious beliefs prevented him from accepting homosexuality. Banton downplayed the violent content of his song, claiming that it was metaphorical. Gay Rights groups campaigned against Buju as well as Shabba Ranks who, when asked about the controversy on the British show The Word, stated, "God created Adam and Eve, not Adam and Steve." Shabba later apologized, but Buju refused to back down which drew the ire of various homosexual advocacy groups who continue to campaign against him.
Banton released the hard-hitting Voice of Jamaica in 1993. The album included a number of conscious tracks. These tracks included "Deportees" a song which criticized those Jamaicans who went abroad but never sent money home, a remix of Little Roy's "Tribal War", a sharp condemnation of political violence, and "Willy, Don't Be Silly" which promoted condom use. The conscious spin of this disc did little to stop the attacks of gay rights groups who felt that his continued performance of "Boom Bye Bye" was a slap in their faces. Some dancehall fans felt that Banton could have exploded onto the American scene if his homophobic song hadn't held him back. Nevertheless, Buju was adopted by many new fans who appreciated his gravelly vocals and cared little about his homophobia.
Til Shiloh (1995) was a very influential album, using a studio band instead of synthesized music, and marking a slight shift away from dancehall towards roots reggae for Banton. Buju turned Rasta and his new album reflected his new beliefs. Til Shiloh is one of the greatest dancehall albums of all time and successfully blended conscious lyrics with a hard-hitting dancehall vibe. The album included a single called "Murderer" which condemned the violence in Jamaican dancehall music, inspired by the murders of dancehall musicians Panhead and Dirtsman. The song inspired several clubs to stop playing songs with excessively violent subject matter. This conscious album had a large impact on dancehall music and showed the hunger the dancehall massive had for conscious lyrics. Dancehall music did not move away from slack and violent lyrics, but the album did pave the way for a greater spirituality within the music.
Inna Heights (1997) substantially increased Banton's international audience as Buju explored his singing ability and recorded a number of roots-tinged tracks. Banton covered The Silvertones' "Destiny" and recorded songs with such artists as Beres Hammond and the legendary Toots Hibbert. The album was well-received but had distribution problems. Also, some fans were disappointed, having hoped for another ground-breaking album like "Til Shiloh." Still, Buju's experimentation and soaring vocals impressed many fans and this album remains a highly regarded work.
In 1998, Buju met the punk band Rancid and recorded two tracks with them: "Misty Days" and "Life Won't Wait." The latter became the title track of Rancid's 1999 album, Life Won't Wait. Subsequently, Buju signed with Rancid's eclectic Anti, a subsidiary of Epitaph and released Unchained Spirit in 2000.
In March 2003 he released Friends for Life, which featured more sharply political songs, including "Mr. Nine", an anti-gun song that further verified his status as one of reggae's most anti-confrontational artists.
Banton's 2006 album Too Bad got him nominated for a second Grammy but despite the album's brilliance and artistic excellence "Too Bad" did not garner the award. "Too Bad" brings us back to the Buju of the nineties with his rough phenomenal voice backed by hypnotic beats and conscious lyrics that seem to stay on repeat in your head. "Too Bad" is a complete listen from start to finish and is an extra success because the Gargamel executive produced the album on his own label.
On April 21, 2009, Buju released the often delayed album Rasta Got Soul. This is Banton's ninth album and features the hit single Magic City. This release sees Buju returning to roots and culture reggae. The album received a Grammy nomination in the Best Reggae Album category.
As of December 2009, Buju allegedly attempted to buy cocaine from an undercover officer in Miami and faces up to life in prison if convicted. The trial of Banton began on September 20, 2010 in Tampa, Florida.
400 Years
Buju Banton Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Every one ah we like to reach
Listen while I say
Too long in Babylon
We've been too long in Babylon
We've been too long in Babylon (say what?)
We've been too long in Babylon (how long?)
Over four hundred years, say what? (Four hundred years)
Over four hundred years, I cry (four hundred years)
Over four hundred years in Babylon (how long?)
Over four hundred years, say what? (Four hundred years)
Over four hundred years, I cry (four hundred years)
Over four hundred years in Babylon
And I man never cease a fire 'til
Babylon walls burn down
I man never cease a fire 'til
Babylon walls burn down
I man never cease my fire 'til
Babylon walls burn down
I shall never cease my fire 'til
Babylon walls burn down
Too long in Babylon (say what?)
We've been too long in Babylon (woii)
We've been too long in Babylon (children)
We've been too long in Babylon
How they weep us, they eat us
They put us all to shame
Down there in Babylon
Lord, they ate away the change
But we're still using their brain
Down there in Babylon
How we work without a gain
Seems we labored in vain
Down there in Babylon
Lord, the more they say tings change
Still remain the same
Down there in Babylon
Now, now, now
We've been too long in Babylon (children)
We've been too long in Babylon (say what?)
We've been too long in Babylon (children)
We've been too long in Babylon (how long has it been?)
Over four hundred years, woii (four hundred years)
Over four hundred years, I cry (four hundred years)
Over four hundred years in Babylon (say what?)
Over four hundred years, woii (four hundred years)
Over four hundred years, say what? (Four hundred years)
Over four hundred years in Babylon
And I man never cease a fire 'til
Babylon walls burn down
I man never cease a fire 'til
Babylon walls burn down
I will never cease my fire 'til
Babylon walls burn down
I shall never cease my fire 'til
Babylon walls burn down
I man never cease my fire 'til
Babylon walls burn down
I man never cease my fire 'til
Babylon walls burn down
The song "400 Years" by Buju Banton expresses the frustration and oppression of black people who have been living in Babylon for over 400 years. The term "Babylon" is often used by Rastafarians to describe Western society, which represents corruption, oppression, and greed. The lyrics call for liberation from this system, urging the masses to gather on the beach and listen to the message being delivered. The repetition of "too long in Babylon" highlights the long history of oppression that black people have faced, emphasizing the urgent need to break free.
The lyrics also reflect the struggles of black people in Babylon, who have been subjected to violence, poverty, and discrimination for hundreds of years. The lines "How they weep us, they eat us, They put us all to shame" describe the ways in which black people have been dehumanized, their dignity and humanity stripped away by a system that values profit over people. The repetition of "down there in Babylon" reinforces the sense of being trapped and powerless, unable to escape from a system that exploits and oppresses.
The refrain "I man never cease my fire 'til Babylon walls burn down" is a call to action, urging the masses to resist and fight against Babylon until it is dismantled. The repetition of this line at the end of each verse reinforces the urgency and determination of this message. Ultimately, the song is a powerful anthem of resistance and liberation, expressing the desire for a better world where justice and equality prevail.
Line by Line Meaning
Let the massive gather on the beach
Let's all come together on the beach
Every one ah we like to reach
We all want to be there
Too long in Babylon
We have been in Babylon for too long
We've been too long in Babylon (say what?)
We have been in Babylon for a long time (do you understand?)
We've been too long in Babylon (how long?)
We have been in Babylon for an unknown amount of time (how long has it been?)
Over four hundred years, say what? (Four hundred years)
It has been over four hundred years (can you believe it?)
Over four hundred years, I cry (four hundred years)
I am saddened to say it has been over four hundred years
Over four hundred years in Babylon (how long?)
We have been in Babylon for over four hundred years (just how long has it been?)
And I man never cease a fire 'til
Babylon walls burn down
I will continue to fight until Babylon falls
We've been too long in Babylon (woii)
We have been in Babylon for too long (expressing frustration)
We've been too long in Babylon (children)
We, the people, have been in Babylon for too long
How they weep us, they eat us
They put us all to shame
Down there in Babylon
Lord, they ate away the change
The Babylonians oppress and shame us, eroding the progress we try to make
But we're still using their brain
Down there in Babylon
How we work without a gain
Seems we labored in vain
We are still operating under their oppressive system, working without reward, making our labor seem pointless
Lord, the more they say tings change
Still remain the same
Down there in Babylon
Despite what they say, the Babylonian system remains unchanged
Over four hundred years, woii (four hundred years)
It has been over four hundred years (expressing sadness and frustration)
Over four hundred years, say what? (Four hundred years)
It has been over four hundred years (confirming the length of time)
And I man never cease a fire 'til
Babylon walls burn down
I will never stop fighting until Babylon falls
I man never cease my fire 'til
Babylon walls burn down
I will never lose my passion and determination to end Babylon
I shall never cease my fire 'til
Babylon walls burn down
I will not give up fighting until Babylon is destroyed
Lyrics © Sony/ATV Music Publishing LLC
Written by: Mark Anthony Myrie
Lyrics Licensed & Provided by LyricFind
Reality Strikes
I remember arguing with my cousin when I was a youth about who was better between Bju and Shabba. Buju always been my artist. I remember attending two concerts in the 90s. Buju is one of the greatest of all time
yardyute1
Buju has an edge over shabba, both can rock the dance hall on a heavy base beat and catchy hitting lyrics but Buju is more spiritually incline in my opinion , he can serve you a platter of deep conscious music with a message...his work seems destiny.
annette green
Buju has stood the test of time went away for decade and still back better than ever.....Shabba was good but he finish now..Buju is unmatched
T Cooper
Welcome back it's as if him never miss a beat!... Sumfeast Montero Bay, JA in the 90's best concert of my life. Danced sweated all night. Hung with a guy from Germany named Hoover. Buju performance live is like no other.
Last Days
Buju is the better artist, Shabba is the better stage performer...
Steady Medz
2 great artistes brother but Buju is more than an artiste. Messenger and musical genius. ✊🏾PLEASE Buy the album and share the link to the songs with your friends! Save our music.
Str8888 Yaadie
Now this one gets added to chant list, right along Rastaman Chant and Holy Mount Zion...here comes 400 yrs. Thank you king, thank you. You never disappoint. ❤💚💛👍👑
'Tunde Arekemase
Nyabhingi chant is life.....
Rastaman Chant
Holy Mount Zion
400 Years
Black Woman and Child
Til I'm laid to rest
No Night in Zion
Hurt us No More
T.T.P.N.C
UK UNSIGNED
Best Reggae Album for 2020, no competition. Gwaaan Buju!!!
D D
How can you not like this! Preach and sing Buju! So glad your back and makinf great music. Deep tune. LISTEN TO THE WORDS PEOPLE #FACTS #400YEARS #BUJUBANTON