Rasta Got Soul [PA] [Slipcase]

Performer: Buju Banton
Engineer: Jermaine Reid; Austin Green; Michael Ibo Cooper; Jermaine Reid
Producer: Donovan Germain; Mark Myrie; Wyclef Jean; Mark Myrie; Tracii McGregor
Distributor: Alternative Dis. Alliance

Notes: Personnel: Buju Banton (vocals); Heather Cummings (vocals); Dalton Browne, Stephen Coore, Earl "Chinna" Smith, Mitchum Chin (guitar); Glen DaCosta (flute, saxophone); Dean Fraser (saxophone); Nambo Robinson (trombone); Dwight Richards, David Madden (horns); Earl Fitzsimmonds, Lloyd Denton, Mallory Williams, Steven "Lenky" Marsden, Michael "Ibo" Cooper (keyboards); Donald Dennis (bass guitar); Kirk Bennet, Willie Stewart, Derrick Stuart, Mickey Richards, Glen Brownie, Kirk Bennett (drums); Sydney Billy Watson, Sydney Watson, Alvin Haughton (percussion); Rochell Bradshaw, Althea Layne Hamilton, Angel Shalome, Angel Shalome, Nicky Burt, Tyrone Downie (background vocals). Audio Mixers: Jermaine Reid; Austin Green; Linford Marshall; Shane Brown; Steven Stanley. Photographer: Jonathan Mannion. With Buju Banton's grand return to the dancehall on his 2006 release, TOO BAD, fans clamoring for the strictly-ragga flow of his early hits could rest easy that the gravelly-voiced master had not lost his touch. But as anyone who has tracked Banton's often tumultuous career would know, it's been the singer's 1995 conversion to the Rastafarian faith that has defined the arch of his career into the 2000s. RASTA GOT SOUL (2009) represents the completion of a long-anticipated album, first begun in 2005 and continuing in the modern roots style pioneered by Banton on releases such as TIL SHILOH (1995) and INNA HEIGHTS (1997). While heartfelt ballads like "Magic City" or energetic ska-styled throwbacks such as "A Little Bit of Sorry" may not appeal to hardcore dancehall heads, fans of authentic roots-flavored riddims will find lots to love here.

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.

Click Here for Shipping Options and Policies

Shipping or Dimension weight in pounds: 0.5