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.
54-46 That's My Number
Buju Banton Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Can you hear what I'm saying now, yeah
Get your hands in the air, sir
And you will get no hurt, mister, no no no
I said yeah (I said yeah)
Listen what they say (listen what they say)
Can you hear me say, yeah? (yeah yeah)
Do you believe I would take such a thing with me
And give it to a police man?
I wouldn't do that, oh no (ooh, ooh)
I wouldn't do that (ooh, ooh)
And if I do that
I would say sir come on and put the charge on me
I wouldn't do that (ooh, ooh)
I wouldn't do that (ooh, ooh)
I'm not a fool to hurt myself
So I was innocent of what they done to me
They were wrong (ooh, ooh), oh yeah
They were wrong (ooh, ooh)
You give it to me one time (huh)
You give it to me two times (huh-huh)
You give it to me three times (huh-huh-huh)
You give it to me four times (huh-huh-huh-huh)
54-46 was my number, was my number, man
Right now, someone else has that number
54-46 was my number, well
Right now, someone else has that number
And I said yeah (I said yeah)
Listen what they say (listen what they say)
Can you hear me say, yeah? (yeah yeah)
Listen what they say (listen what they say)
Oh, work could not control me now
Oh, no bars could not hold me now
They hold I down and they lock-a you way
They try to keep I for a year and a day
But through the powers of the Most High God
Got to turn me lose, I say
54-46 was my number, was my number, man
Right now, someone else has that number, well
54-46 was my number, was my number, man
Right now, someone else has that numb
Buju Banton's song "54-46 That's My Number" is about a man who has been wrongly imprisoned by the police. The title "54-46" refers to the prison number that the singer was assigned during his time in jail. The song starts with the singer telling the police to put their hands up and not to hurt him. He denies having any illegal items in his possession when he was arrested and states that he would not give up anything to the police even if he had it. Furthermore, he states that he is innocent of whatever crime the police believe he has committed. He then goes on to sing about how he will not let anyone control him, nor will prison bars hold him back. He attributes his freedom to the powers of the Most High.
Line by Line Meaning
Stick it up, mister
Addressing the authority figure, indicating a potential power struggle.
Can you hear what I'm saying now, yeah
Asserting one's voice in the situation, seeking to be heard and understood.
Get your hands in the air, sir
Demanding compliance, potentially indicating an escalated situation.
And you will get no hurt, mister, no no no
Attempting to diffuse the situation, reassuring the authority figure that there will be no violence.
I said yeah (I said yeah)
Reaffirming one's voice and presence in the situation.
Listen what they say (listen what they say)
Acknowledging the perspectives of others, potentially to build empathy or understanding.
Can you hear me say, yeah? (yeah yeah)
Reaffirming one's voice, seeking acknowledgement and understanding.
Do you believe I would take such a thing with me
Insisting on innocence and an absence of guilt in relation to a certain act.
And give it to a police man?
Expressing disbelief at the hypothetical suggestion that one would turn themselves in to the authorities.
I wouldn't do that, oh no (ooh, ooh)
Reaffirming one's innocence and refusal to engage with the authorities.
And if I do that
Hypothetically envisioning a scenario where one would turn themselves in to the authorities.
I would say sir come on and put the charge on me
Asserting that if there was evidence of wrongdoing, one would willingly face the consequences of their actions.
I'm not a fool to hurt myself
Asserting intelligence and awareness of self-preservation in relation to one's actions.
So I was innocent of what they done to me
Reaffirming one's innocence while also acknowledging wrongful treatment in the past.
They were wrong (ooh, ooh), oh yeah
Denouncing the wrongful treatment experienced at the hands of another party.
You give it to me one time (huh)
Potentially alluding to violence or aggression, with the number of repetitions potentially increasing the intensity of the situation.
54-46 was my number, was my number, man
Referencing a specific identifying number, potentially in relation to incarceration or institutionalization.
Right now, someone else has that number
Reflecting on a past identity or experience that is no longer applicable or relevant.
Oh, work could not control me now
Asserting freedom from external control or oppression.
Oh, no bars could not hold me now
Asserting freedom from incarceration or institutionalization.
They hold I down and they lock-a you way
Referencing past experiences of mistreatment or imprisonment on oneself and potentially others.
They try to keep I for a year and a day
Describing a specific, prolonged period of time that one was detained or imprisoned (potentially in reference to a specific legal consequence).
But through the powers of the Most High God
Alluding to divine intervention, potentially expressing gratitude for assistance received.
Got to turn me loose, I say
Rejoicing in newfound freedom or liberation.
Lyrics © Universal Music Publishing Group
Written by: FREDERICK HIBBERT
Lyrics Licensed & Provided by LyricFind
❤TRINIBARBIE🍫
Toots had a voice that was so unique . I specifically remember his voice ringing throughout my house growing up. One of the many legends I will always remember R.I P 🕊
bobbyredd100
Rip Toots Hibbert Legend ! Big combination by two of the best
Marlon EZB Brathwaite
Now this song has more meaning for Buju..even his lyrics sound spot on!
thandux
Ahh yesss
Joy F. Fairclough
I sang backing vocals on this song with Pam Hall and another female Jamaican iconic backing and solo singer. Toots Hibbert was such a great singer and when Buju did this version I thought it was a nice blend.
John R.
First thing my wife said when I played her a Buju Banton song ("Time and Place") was, "Wow, he sounds a lot like Toots." Which is true on some occasions, other times he sounds entirely different. Buju is an artistic chameleon. It's great to hear these two icons together, two of my very favorites.
Til Shilo Promotions
RIP legend! Toots!
CHRIS G. RICH
Very. Well produced
...even though Buju and Toots wasn't in the studio same.
Everald Allen
I begged buju to do a video for this song years ago,
It could add to his legacy although the song is there
Buju Banton
I say yeah!! 🔥🔥