T A B L E__T A L K

Are you a fan of movie soundtracks? Discuss your favorites in the Music area of Table Talk

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R E C E N T L Y

James Iha
Let it Come Down
Virgin
(03/11/98)

The Bobby Fuller Four
Never to Be Forgotten
Del-Fi
(03/10/98)

Cheri Knight
The Northeast Kingdom
E-squared
(03/09/98)

Madonna
Ray of Light
Maverick/Warner Bros.
(03/06/98)

Various Artists
Soundtrack from "The Big Lebowski"
Mercury
(03/05/98)

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BROWSE THE
MUSIC ARCHIVES

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V O W E L L

Sound Salvation
By Sarah Vowell
Marilyn Hanson
When the antichrist arrives, he won't be a goth rocker -- he'll be a three-headed blond
(03/06/98)

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I N T E R V I E W

Strange angel
By David Bowman
An interview with Kristin Hersch
(03/02/98)

BUJU BANTON
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Although he wasn't the first to fuse rough dancehall rhythms with the gentler sensibilities and harmonies of roots reggae -- Tony Rebel, Cocoa Tea and, most sweetly, the late Garnett Silk have all carved out careers with this technique -- no one has come close to Banton's star power or record sales. Earning more No. 1 singles than any other reggae artist in Jamaica (including Bob Marley), Banton has amassed a following in much the same way that the reggae legend did -- by drawing on his background as a poor street youth and turning it into a voice for the oppressed all over the world. Establishing himself as an international star, Banton has guided the whole reggae genre toward a more uplifting direction.

Banton's newest release, "Inna Heights," reinforces his rare ability to showcase many of reggae's variations -- dancehall, roots and vintage ska -- on one cohesive album. With his trademark sandpaper-coarse voice, Banton offers his thoughts on fame and fortune, interspersing them between nuanced, soulful singing.

It has always been dancehall riddims that couch Banton's rough-hewn bass the best, whether it's the spiraling beat of "African Pride," where Banton teaches and moves hips, or the wicked dancehall cut "Love Dem Bad," where he pours his scratchy rhymes all over the grinding beat as guest DJ Red Rat provides contrast with high, urgent vocals.

The swaying lovers' rock of "Cry No More" breaks new ground as Banton's gruff vocal details a remorseful husband apologizing for his womanizing : "Ego got the best of me/chasing every beautiful woman I see/in the end what's my reward/I brought unhappiness in a mi yard." Such a confession is unheard of for a Rasta man, but Banton manages it with sincerity and style.

It's fitting that "Inna Heights" opens and ends with chanted, a cappella tunes that capture the essence of Banton's music. The first track, "Our Father in Zion," while little more than a few verses taken from "The Lord's Prayer," is pure and haunting, as Banton's voice bellows with intense spiritual feeling. The last, "Circumstances," is equally compelling, but with a rawness that echoes its topic of urban violence: "Circumstances made me what I am/was I born a violent man/circumstances made me what I am/everyone should understand."
SALON | March 12, 1998