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.
Love How the Gal Flex
Buju Banton Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
without gal pickney
what kinda fun we woulda have
when me see them me glad
miles upon miles me ready fi trod, can't tired
I don't know what them have
like magnet to steel
so them have man a drag
that's why a nuff we have mi friend
so much girl ina fi we catalog
oh yes I see
girls a ruin me
in abundance
what we a go do
ugly and pretty
what an audicity
one fi RedRat and one fi Buju
every where I swear
man a draw down
all who begs nah get none
from quarter mile I see them a run come
all girls know ist time to have fun
me no matter the amount
give them space, no man alone
pure woman face, love us all princess
goodness grace
well every woman want a man
who possess taste
see the gal thema slide and wine
down the line
oh yes indeed it remind
of the role all females play
it's a force to observe
whether night or day
modelling watch steam out face fay
manicure that must be done every day
palaving spree want to go everywhere
she no nuff a just so the princess stay
nuh make clothes dry rotten ina house
socializing is what it's all about
no care who a chat and run up dem mouth
girl friend them can't get you out
The lyrics of Buju Banton's song Love How the Gal Flex depict the artist's admiration for women and their ability to attract men towards them. The song is primarily about the charm and magnetism that women possess, and how they entice men to fall for them. Buju Banton and Red Rat are impressed by the confident and alluring demeanor of women, and that's why they love them so much.
The lyrics convey the message that women are the center of attention and attraction, and their presence can transform any mundane situation into a lively and exciting one. The chorus of the song "Love How the Gal Flex" underscores this sentiment as Buju Banton sings "I love the way the girl moves" over and over again.
The song also portrays the fun and enjoyment that Buju Banton and Red Rat have when they are in the company of women. The lyrics "Without gal pickney, what kinda fun we woulda have" highlight the artist's opinion that women are essential for creating an environment of joy and happiness.
Overall, the song "Love How the Gal Flex" celebrates the charm and sexuality of women and acknowledges their importance in the lives of men.
Line by Line Meaning
Buju B and Red Rat love dem bad
Buju Banton and Red Rat enjoy spending time with attractive women
without gal pickney
what kinda fun we woulda have
If there were no women around, Buju Banton and Red Rat would not have as much fun
when me see them me glad
Buju Banton is happy when he sees attractive women
miles upon miles me ready fi trod, can't tired
Buju Banton is willing to travel great distances to meet women and is not easily fatigued
I don't know what them have
Buju Banton is not sure what qualities women possess that make them attractive to men
like magnet to steel
so them have man a drag
Women have a strong attraction that draws men towards them
that's why a nuff we have mi friend
so much girl ina fi we catalog
Buju Banton and his friend have many women in their lives and consider them like items in a catalog
oh yes I see
girls a ruin me
in abundance
Buju Banton is overwhelmed by the number of attractive women in his life
what we a go do
ugly and pretty
what an audicity
one fi RedRat and one fi Buju
Buju Banton and Red Rat will each choose an attractive woman for themselves, regardless of their appearance
every where I swear
man a draw down
all who begs nah get none
from quarter mile I see them a run come
all girls know ist time to have fun
Men flock to attractive women everywhere, and those who beg will not succeed. Women know it's time to have fun when the men arrive.
me no matter the amount
give them space, no man alone
pure woman face, love us all princess
goodness grace
Buju Banton will continue to pursue women without discrimination, but will also respect their personal space
well every woman want a man
who possess taste
Women desire men who have good taste in various aspects of life
see the gal thema slide and wine
down the line
oh yes indeed it remind
of the role all females play
it's a force to observe
whether night or day
Buju Banton observes women dancing and socializing, recognizing their important role in society and the power they hold
modelling watch steam out face fay
manicure that must be done every day
palaving spree want to go everywhere
she no nuff a just so the princess stay
nuh make clothes dry rotten ina house
socializing is what it's all about
no care who a chat and run up dem mouth
girl friend them can't get you out
Women put a lot of effort into their looks, attend social events and do not care what others think, and do not let their girlfriends control their actions
Contributed by Christopher G. Suggest a correction in the comments below.
Yuran Ricardo
on Fake Smile
with your cynical green
you leave no action
If thereโs a choking problem she a reach with everyone
why acting dumb. second verse:
with your cynical green
you leave no action
If you have a choking problems she a reach with everyone
why acting dumb
Kern Rodney
on Fake Smile
If there's ah joke in progress share it with everyone, why acting dumb?