Inna Heights 10th Anniversary Edition

Performer: Buju Banton
Artist: Beres Hammond; Red Rat; Toots Hibbert; Sly Dunbar; Dean Fraser; King Stitch; Ras Shiloh; Jahmali; Jah-Mali; Morgan Heritage
Distributor: Fontana Distribution

Notes: Personnel includes: Buju Banton, Beres Hammond (vocals); Michelle Jackson (spoken vocals); Steven Stanley (keyboards); Twiggy, Dorette Wisdom, Danny Browne, Pam Hall, Juliet Nelson, Jamali (background vocals); Frank Burt, Keith Green, C. Sharp, Steven Marsden, Sly Dunbar, Donald Dennis, O.D., Andrew Thomas, Dean Fraser, Mafia, Fluxy, Wycliffe Johnson, David Cole, Egbert, Robert Browne, Toots Hibbert, Red Rat. Producers: Mark "Buju Banton" Myrie, Donovan German, Danny Browne. Engineers include: Michael Cooper, Steven Stanley, Andre Tyrell. INNA HEIGHTS was nominated for a 1999 Grammy for Best Reggae Album. Off-island fans of Buju Banton could only listen in amazement at the transformation the artist underwent during the mid-'90s. Debuting internationally in 1993 with the highly diversified Voice of Jamaica album, two years later Banton offered up the gorgeous, introspective 'Til Shiloh, and by 1997 he had grown into a mature superstar with Inna Heights. "My favorite thing about being able to bring across reggae music as a part of my culture...is sharing the excitement of it, the joy of it, the pleasure and splendor it bring." So Banton explains on one of the "Inter Lingua"s on this set, wherein he briefly meditates on his music and personal philosophy. And with Inna Heights he succeeds beyond most people's greatest expectations, capturing the glory of Jamaican music in virtually all its forms, imbuing it with the excitement of the dancehalls, yet ensuring that its cultural underpinnings shine forth. As with Shiloh, Heights opens with an a cappella prayer, but closes with the striking "Circumstances," another virtually a cappella piece that is an emotive cry against violence and the circumstances that breed it. The 19 tracks in between (including the four "Lingua"s) sweep across the spectrum, both musically and thematically. Reaching back in time, Banton and DJ vet Jah Stitch deliver up the jubilant skafest "Small Axe" (no relation to the Wailers classic), while Banton revisits the reggae age with a soulful Toots Hibbert for a phenomenal version of the Maytals' classic "54-46 Was My Number" and moves into roots territory with the Marley-esque "Hills and Valleys"; all three are standouts amidst a myriad of fabulous tracks. The bouncy "Redder Than Red" has a calypso lilt, while the anthemic "African Pride" and sufferer's "Mother's Cry" both boast Afro-beats. Lush romantic numbers, upbeat, contagious pieces, among them the sparkling hit "Love Sponge," and onto the superb dancehall of "Love Dem Bad," a combination number with Red Rat -- Heights has it all, musically and thematically. The cultural numbers resonate with wisdom and faith, and all are absolutely mesmerizing. The thoughtful "Hills," the lovely, introspective "Destiny," the optimism and strength of "Close One Yesterday," the infectious prayer "Give I Strength," its glowing ambience heightened by Ras Shiloh's emotive vocals, and the heartfelt appreciation of the "Single Parent" -- every one is a classic. In fact, virtually every song on this album is phenomenal; some are deftly self-produced, the bulk expertly overseen as always by Donovan Germain. Banton attained brave new heights, and in the process recorded a masterpiece. ~ Jo-Ann Greene Those who despair that reggae hasn't been the same since the passing of Bob Marley will rejoice when they listen to Buju Banton. Without sounding like an imitation, Banton seems to have derived the most of his stylistic inspiration from Marley. This is melodic reggae with an irresistible beat that's easily accessible to those who might not be hard-core reggae fans, without appearing watered-down or "commercialized." Banton uses '90s technology to carry on Marley's positive-song tradition--there's electronic percussion, but it blends in seamlessly. His voice is a bit similar to Marley's, but is somewhat raspier, and occasionally slips into a rap-influenced dancehall style. Banton even incorporates a bit of dub (echo, reverb and spacy special effects) into his songs, without losing the melodic flow ("My Woman Now"). INNA HEIGHTS will put some bounce into your day.

Rolling Stone (3/5/98, p.68) - 3.5 Stars (out of 5) - "...The gruff-voiced Banton blazes a wider--and far more colorful--social and stylistic path on INNA HEIGHTS....goes a long way toward further establishing Banton as a ghetto messenger of peace and social justice..." Blender (Magazine) (p.87) - 4 stars out of 5 -- "[H]e doesn't so much vocalize as emote, radiating intensity with every syllable."

One of the most acclaimed Jamaican DJs of the '90s, Buju Banton was among those in the thriving ragga dancehall scene who turned their backs on the "slackness" to focus once again on "cultural" statements and "conscious" lyrics. He was huge in Jamaica, but when he was the voice of the moment in '92, he recorded the anti-gay "Boom Bye Bye," which sparked much controversy and momentarily stalled his career. He returned in '93 with "Murderer," a song instrumental in changing the focus of DJ lyrics away from celebrations of the gun.

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