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.
Dickie
Buju Banton Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Fi mek them jump and don't stop chant?
Hear me man, Lord have his mercy.
[Chorus]
Ah just over the dickie the girls a gwaan bad
Any how them noh get it, them will act mad
Ah just over the dickie the girls a gwaan bad
Any how them noh get it, them will act ...
Ah over the dickie dickie Jackie get stab
And get burn up with acid bad, bad, bad
Look sweet, dark, nice, but them ah guineagog
Naah run noh risk when it come to them rag (rod?)
Rule them man like how Moses rule him rod
Ah gal brush them man, she end up in a body bag
[Chorus]
Women them request the dickie, don't want rucumpence
Ah the dickie mek Patsy tear down mi back fence
Mi ah fi run wheh with mi body, like mi noh have no conscience
Gwaan Buju B. teach them like a reverend
[Chorus]
Over the north and south and the east and the west
Gal them confess that dickie dickie is the best
Ann, who's your best friend?
She bawl out dick!
The only best friend who mek she naaw keep malice
Ah mek she jump, dance, hip and skip
Gwaan Buju Banton, yuh well dynamic
[Chorus]
Watch how the NY girls just a grab up wah dem have
English girls dance and galang bad
Jamaican girls grab it up like a flag
If ah unuh number wear it like a tag
Mek them know the dickie dickie, over it you gwaan bad
[Chorus]
The lyrics to Buju Banton's song Dickie seem to be a conversation between the artist and his male friends, discussing what women want and how they act when they do not get it. The chorus is repeated throughout the song, with the phrase "over the dickie" referring to a sexual act that the women desire. Banton warns the men that the women will act crazy if they do not get what they want, and uses extreme examples of violence to emphasize his point. The song also touches on the idea of men being ruled by their partners, with the line "Rule them man like how Moses rule him rod."
In addition to its sexually explicit content, the song also contains references to Jamaican culture and language. Banton uses Jamaican patois throughout the song, and mentions specific regions of Jamaica like "NY" and "English." The song also features a distinct reggae beat, with a catchy melody and rhythm that is typical of the genre.
Line by Line Meaning
What the girls them want?
What do women desire?
Fi mek them jump and don't stop chant?
To make them jump and not stop dancing?
Hear me man, Lord have his mercy.
Listen to me, may the Lord have mercy.
Ah just over the dickie the girls a gwaan bad
It's just because of the penis that the women are acting naughty.
Any how them noh get it, them will act mad
If they don't get it, they will become insane.
Watch this!!!
Pay attention!
Ah over the dickie dickie Jackie get stab
Jackie got stabbed over the penis.
And get burn up with acid bad, bad, bad
And got badly burned with acid.
Look sweet, dark, nice, but them ah guineagog
They may appear attractive, but they are actually deceitful.
Naah run noh risk when it come to them rag (rod?)
They won't take any risks when it comes to their sexual partner.
Rule them man like how Moses rule him rod
They control their man like how Moses controlled his staff.
Ah gal brush them man, she end up in a body bag
If a woman attempts to steal another woman's man, she may end up dead.
Women them request the dickie, don't want rucumpence
Women desire the penis without any consequences.
Ah the dickie mek Patsy tear down mi back fence
The penis caused Patsy to destroy the back fence.
Mi ah fi run wheh with mi body, like mi noh have no conscience
I have to move with my body, as if I have no conscience.
Gwaan Buju B. teach them like a reverend
Go ahead Buju B. and teach them like a minister.
Over the north and south and the east and the west
In every direction.
Gal them confess that dickie dickie is the best
Women confess that the penis is the best.
Ann, who's your best friend?
Ann, who is your closest companion?
She bawl out dick!
She cries out for the penis!
The only best friend who mek she naaw keep malice
The only companion who won't make her hold a grudge.
Ah mek she jump, dance, hip and skip
It makes her jump, dance, and move her hips.
Gwaan Buju Banton, yuh well dynamic
Go ahead Buju Banton, you're very dynamic.
Watch how the NY girls just a grab up wah dem have
Check out how the New York girls just grab what they have.
English girls dance and galang bad
English girls dance and act wild.
Jamaican girls grab it up like a flag
Jamaican girls proudly embrace it like a flag.
If ah unuh number wear it like a tag
If it's yours, wear it like a tag.
Mek them know the dickie dickie, over it you gwaan bad
Let them know about the penis, and how it drives them wild.
Lyrics © Universal Music Publishing Group, THE ROYALTY NETWORK INC., Royalty Network, Warner Chappell Music, Inc.
Written by: PATRICK GEORGE ANTHONY BARRETT, ANTHONY ST. AUBYN KELLY, 0 Tucker, Patrick Barrett, Sly Dunbar, TUCKER
Lyrics Licensed & Provided by LyricFind
@onilaja8
2023 anyone?
@aubreynorton4470
Right here with you listening to this classic 👌 🙌
@Rebelliousjae93
Yupppp 12/06/23
@mrprikilik5002
Jan 2024
@erichill6823
2024❤
@bosskiki171
N in 2024 🎉🎉🎉😂❤❤
@shawnmcanthony5724
2023 any body listening 😎😎😎
@Kree.762
2024 anyone Listining to Buju Banton Caribbean Style Music Songs??
@nadiapeters9255
2019 Anybody Listening ? 😊
@poswaybentley-
nadia peters 💯