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.
Justice
Buju Banton Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Shoot first, then question your enemies
Look how the people been sufferin'
Before now, this a for even more
As they try to mediate between the rich and the poor
Them never used to visit such community
Them never insure them sa-fe-ty
Can you stop the love of the people
Where they all have justice.
Justice
Will the people want an end to brutality
Tell dem all they should respect humanity
When you're out there it's nothing but insanity
You massacre your own and that's the reality
Oh Buju Banton, me don't know partiality...I
Iya Iya Iya, I...
Justice
Now look at the way they treat the people
People of the island can't take this here hassle
Everyday to suffer, is Jah-mon, it is a struggle
Look at how the people them work hard and juggle
Some a dem a hustle, and some a dem a love
Some a dem a brag, and nuff a dem a buss
Listen to the rude boy while I toss
The people they want justice
Justice
Verse one
The first verse of Buju Banton's "Justice" talks about a man who wants to restore peace by any means necessary, even if that means using violence against his enemies. Banton paints a picture of a community that has been suffering for a long time, and this man feels that something needs to be done to end that suffering. This man believes that the authorities have failed to address the problems in the community and that it is up to him to take matters into his own hands. Banton also touches on the issue of social and economic inequality, as he talks about the rich and the poor and the struggle to mediate between the two.
Chorus
The chorus of "Justice" is a call for an end to brutality and a plea for people to respect each other's humanity. Banton highlights the fact that a lot of the violence and suffering in the community is self-inflicted, as people massacre their own. He is impartial in his message, calling for justice for all, regardless of their status or background.
Verse Two
The second verse of "Justice" continues to describe the struggles faced by the people of the island, who are tired of the constant suffering and hardship. Banton talks about the different ways that people try to cope with these challenges, from hard work to hustling and even criminal behavior. He ends the verse by emphasizing once again the need for justice and the desire of the people to see it happen.
Overall, the lyrics to "Justice" are a powerful commentary on the state of society and the need for change. Banton highlights the issues of inequality, violence, and suffering that exist in many communities, and he calls for an end to the brutality and a start to a more just and equitable future.
Line by Line Meaning
One man say, restore the peace by any means
A person believes that peace should be achieved by any method necessary.
Shoot first, then question your enemies
The person suggests that violence should be the first response to those perceived as enemies, before attempting to understand their motives or reasons.
Look how the people been sufferin'
The singer acknowledges the long-standing struggle and hardship faced by the people of the community.
Before now, this a for even more
The situation the people are facing is only going to get worse, as it hasn't been addressed properly before.
As they try to mediate between the rich and the poor
Efforts are being made to resolve the conflict between those who are wealthy and those who are not.
Them never used to visit such community
Authorities or those in power have not traditionally made an effort to understand or visit the community in question.
Them never insure them sa-fe-ty
Those in power have not made sure that the safety of the community is guaranteed.
Can you stop the love of the people
The artist suggests that the collective love and desire for justice of the people cannot be stopped.
Where you know their every cry
The people's grievances and cries for help are well-known and understood.
Where they all have justice.
The community wants to achieve justice for all its members.
Will the people want an end to brutality
The people want to put an end to violent and oppressive behavior.
Tell dem all they should respect humanity
The artist urges everyone to show respect and care for each other as fellow human beings.
When you're out there it's nothing but insanity
The singer implies that the situation outside can be chaotic and insane.
You massacre your own and that's the reality
The reality is that members of the same community can often be responsible for the violence and oppression experienced by their own people.
Oh Buju Banton, me don't know partiality...I
The singer does not show any bias or favoritism towards anyone, and is just trying to speak the truth.
Iya Iya Iya, I...
This could be an expression of agreement or support for the artist's message.
Justice
The song's title and a recurring theme, highlighting the community's desire for justice.
Now look at the way they treat the people
The singer is referring to how those in power treat the community.
People of the island can't take this here hassle
The people of the area are struggling to deal with the hardships and difficulties they are facing.
Everyday to suffer, is Jah-mon, it is a struggle
The daily struggle and suffering experienced by the people is a constant reality they have to face.
Look at how the people them work hard and juggle
The people have to work hard and struggle to make ends meet.
Some a dem a hustle, and some a dem a love
Some people are just trying to survive, while others have love and care for their community and its well-being.
Some a dem a brag, and nuff a dem a buss
Some people are boastful and full of themselves, while many others are struggling to succeed.
Listen to the rude boy while I toss
The artist is urging the audience to listen to him as he speaks truth to power.
The people they want justice
The community wants justice and fairness for all its members.
Lyrics © Universal Music Publishing Group
Written by: JONATHAN JOSEPH HIGGS, JEREMY JOSEPH PRITCHARD, ALEXANDER KAINES ROBERTSHAW, MICHAEL DAVID SPEARMAN
Lyrics Licensed & Provided by LyricFind
NXZW
This sounds so freakin tight right here man I love it. Big up.🇯🇲💚💛❤️🦁👊
Kaladdo Wutang
justice