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Buju Banton

Well supported

Mark Anthony Myrie, born 15 July 1973, took the stage name Buju from a childhood nickname and Banton from the deejay tradition of the title. Accounts place his birth in the Salt Lane area of Kingston, the youngest of a large family, and his schooling at Denham Town High — the two are frequently conflated into a single claim about where he is from, and are kept separate here. He released his first single, "The Rule", in 1987 at fourteen, and by the early 1990s was among the most commercially dominant deejays in Jamaica. The turn came with 'Til Shiloh in 1995, his fourth album, which set aside the slack and gun material for songs shaped by his adoption of Rastafari and is generally treated as one of reggae's defining albums. He records for his own Gargamel Music. Rasta Got Soul brought a Grammy nomination in 2009 and Before the Dawn won Best Reggae Album in 2011, awarded while he was in United States custody; that case, and his release in December 2018, are catalogued separately in this archive as public record.

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Exodus Nuclear, 1991 — dubplate session with Buju Banton, Junior Reid, Capleton, Shamba, Ian Sweetness and Apache

YOUTUBE · rights discovery only · performs

A 1991 Exodus Nuclear tape of specials voiced for the sound, with the artists named in the upload. Note that the "Apache" credited here is almost certainly a Jamaican deejay of that era and not Apache Indian, the Birmingham artist catalogued separately in this archive; the two are easily confused and no link is asserted. Identified via web search; not verified from the seeding environment. Discovery-only external reference pending editorial rights review.

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Buju Banton — Untold Stories (official video)

YOUTUBE · rights discovery only · official video

From 'Til Shiloh (1995), the album on which he turned from slackness to Rastafari-shaped writing. Published by the Island Def Jam group. Official/label upload; discovery-only embed pending editorial rights review.

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In stories

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commentary

The mid-1990s cultural turn: redemption or repositioning?

A neutral account of how the 1990s conscious wave was received: some saw a genuine spiritual redemption of the music, while others saw a market-driven image shift as artists read the mood of the moment. Contested interpretation, no verdict. Sources: Beth Lesser, Dancehall; Rough Guide to Reggae; Jamaica Gleaner archive.

Stance: genuine spiritual redemption vs market-driven image shift