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.
Rastafari
Buju Banton Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
ini a rastafari, dreadlock and dread
nyabinghi congo bongo, redder than red
ini a rastafari, dreadlock and dread
nyabinghi bongo congo, rape and rape
jah know heathen blood that will spill
some hungry fi kill, man a better you kill (chill)
not a nah go no funeral, I am nyabinghi
heed, yet ini try, no invite me
let the dead praise the dead, I wanna be lively
remembering how folks used to be
this life means so much more to me
take a vow of separation, put no razor upon thy head
seize not lamentation, let the dead bury them dead
sail from creation, ancient bongo man (bob)
take that fire light, logwood was burning through the night
this starts "man a rastafari"
so let them say what them wanna say
and let them do what them wanna do
they cannot stop I from loving you
I must be true to myself, the almighty, and you
they cant stop I from holding true
no matter what they do im gonna be true
verse 4 is verse 1 but he says "buju nah go no funeral"
BLESS UP AND SHARE THE MUSIC
The lyrics to Buju Banton's song Rastafari express the artist's deep connection to the Rastafarian philosophy and culture. He identifies himself as a Rastafari with "dreadlocks and dreads" who follows the Nyabinghi drumming tradition. The repetition of "redder than red" and "rape and rape" in the chorus emphasizes the intensity of his devotion to the Rastafarian way of life.
The lyrics also touch on the theme of violence and senseless killing, which Banton condemns as ungodly. He declares that he would rather be a Nyabinghi drummer than attend a funeral, reflecting the Rastafarian belief in the power of music and spiritual righteousness over death.
In the second verse, Banton references the Rastafarian practice of abstaining from grooming and mourning the dead. He aligns himself with the ancient bongo men and the use of logwood fire, suggesting a connection to the roots of Rastafarianism and its African origins.
Through this song, Buju Banton celebrates the Rastafarian culture and philosophy, while also denouncing violence and death as antithetical to the Rastafarian way of life.
Line by Line Meaning
ini a rastafari, dreadlock and dread
I am a follower of Rastafari, with long dreadlocks
nyabinghi congo bongo, redder than red
I follow the Nyabinghi sect and their drumming, which brings me great zeal and passion
nyabinghi bongo congo, rape and rape
The Nyabinghi drumming represents the struggle against oppression and injustice, which we will fight and overcome
jah know heathen blood that will spill
God knows that there will be bloodshed caused by the wicked and unrighteous
jah jah movie I away, no man can catch me
I trust in God to guide and protect me, and I will not submit to any oppressors or captors
some hungry fi kill, man a better you kill (chill)
Some people are driven to violence and killing by hunger and desperation, but we should never justify taking another life
not a nah go no funeral, I am nyabinghi
I refuse to attend any funerals, as I am dedicated to following the Nyabinghi sect and their beliefs
heed, yet ini try, no invite me
Despite my efforts to spread the message of Rastafari, I am often excluded and overlooked
let the dead praise the dead, I wanna be lively
I reject the societal norms of mourning and grieving, and instead choose to celebrate life and positivity
remembering how folks used to be
Reflecting on the past and how people used to live, before greed and corruption took over
this life means so much more to me
I value life and the power of living it with purpose and meaning
take a vow of separation, put no razor upon thy head
As a follower of Rastafari, I commit to separating myself from certain societal norms, such as not cutting my hair
seize not lamentation, let the dead bury them dead
I do not believe in mourning the dead, as I believe in focusing on the living and the present moment
sail from creation, ancient bongo man (bob)
I embrace the teachings of Bob Marley and other reggae artists, who promote love, unity, and spiritual freedom
take that fire light, logwood was burning through the night
I embrace the fire and passion of Rastafari, symbolized by the logwood burning brightly
so let them say what them wanna say
I will not be influenced by the opinions of others
and let them do what them wanna do
I will not be intimidated by the actions of others
they cannot stop I from loving you
I will not allow others to interfere with my love and devotion to God and His teachings
I must be true to myself, the almighty, and you
I am committed to being authentic to myself, God, and my loved ones
they cant stop I from holding true
I will not compromise my values and beliefs, no matter what others say or do
no matter what they do im gonna be true
My commitment to Rastafari and its beliefs will never waver
buju nah go no funeral
As Buju Banton, I also refuse to attend any funerals
Contributed by Mia T. Suggest a correction in the comments below.
Charles Asinor
ROOTSWOMAN:
Greetings to Rastafari Collective,
As there seems to be on going European MISconceptions in regards to Rasta and Kemet (Ancient Egypt), I would like to take the opportunity to share some Ancient records which show that RASTA was known and revered in Kemet, thousands of years before the physical manifestation of RasTafari Haile Selassie I. We shall see that when InI say that Rasta has been here from the dawn of Creation, it isnt just lyricks. Please read the following and note not only where RASTA is mentioned, but the HONORABLE context in which it is spoken of.
Let us also remember that the word RA originally comes from Ethiopia:
by: Tsegaye Gabre-Medhin:
The names of Africa and Ethiopia are both Mother-symbols or Matriarchal names. Derived from the ancient Egyptian Kushitic word Afa-Ra-Ka, the original name of Afrika is an Ethiopic noun, as in the name of the pre-Axumite civilization of Yeka (YeHa/ 2600 B.C.), or the modern name of Yeka Mikael meaning God’s Angel Michael. Also the depiction of the Afrika name, as in the Amharic word Afer means Earth and soil, or as in the Oromifa word Afa, means Earth and all the plants that grow on it, and as in the Afar name in the Afar language means Sun King of Earth. Fa-Ra-An (Pharoan, Fereon) means I am the Sun King of Earth. Fa-Ra-Ka-An (Farakan) means, I am the Sun King and God of Earth, etc. In the original black Egyptian Kushitic term, Afa is the Planet Earth. Ra is the Sun King, and Ka is the name of God; therefore Afa-Ra-Ka means the Earth of Sun King and God. Ra is depicted as the male figure: Afa is depicted as the female figure, the Mother Earth. Thus in anthropological terms, both Africa and Ethiopia are very ancient, Matriarchal and Fertility Earth Mothers.
http://www.seleda.com/dec01/aidsenaw.shtml
Ras is the highest noble rank, sometimes borne by minor princes of the Solomonic blood. One had to be elevated to the the rank of negus by Imperial decree, but ras was usually hereditary. (The word's origin is Indo European, hence the Indians' raj, the Egyptians' ra, the Romans' rex.)
ANCIENT SACRED TEXTS (this is where Moses got his "Ten Commandments" from the Original Declarations of Innocence). Please note the FIFTH declaration/commandment:
Phillip McNaughton
I just came across this song 🎵. Words for words this an extremely powerful song 🎵...❤.
André Monteiro Matos
Pedrada! Foda!
Jeannine Quarles
One of my favorite songs from Buju
Hassan Ahmed
Love you BUJU!
Nd this is me
Peace, love & light- thanks for that 🇲🇱
J Bermingham
Sinéad O’Connor wanted this played at her funeral
marynadononeill
Just saw that. Wonder if they will?
julie thorpe
Hopefully she will be at peace
Robin
Many years ago.
InfernallyDivine
This is the song Sinead O'Conner wanted played at her funeral on repeat. No other songs.