'Til Shiloh [Expanded] [Remaster]

Performer: Buju Banton
Artist: Garnett Silk; Wayne Wonder; Dean Fraser; Sly Dunbar; Marcia Griffiths
Engineer: Dave Kelly; Mikey Williamson; Gary Sutherland; Andrew Thomas; Sylvester Gordon; Andre Tyrell; Bobby Digital
Distributor: Universal Distribution

Notes: Personnel includes: Buju Banton, Wayne Wonder, Garnett Silk (vocals); Danny Browne, Firehouse Crew, Mafia, Fluxy (various instruments); Glen Browne (acoustic guitar); Lloyd Willis (guitar, keyboards); Dalton Browne (guitar); Dean Fraser (saxophone); Junior Chin (trumpet); Handel Tucker (keyboards, drums); Junior "Left Toe" Don (bass); Sly Dunbar (drums); Two Friends Crew, Marcia Griffiths, Twiggy (background vocals). Producers include: Bobby Digital, Buju Banton, Cell Block Crew, Donovan Germain, Steely. Reissue producer: Dana G. Smart. Recorded at Studio 2000, Digital, Penthouse, Cell Block Studios, Kingston, Jamaica in 1995. All tracks have been digitally remastered. This is part of Island Records "Reggae Classics" series. Personnel: Dalton Browne (guitar); Glen Browne (acoustic guitar); Dean Fraser (saxophone); Junior Chin (trumpet); Handel Tucker (keyboards, drums); Leroy Mafia, Lloyd "Gitsy" Willis, Robert Lyn, Steely (keyboards); Dave Kelly, Clevie, Dave Fluxy, Andre "Dreddy Ranks" Tyrell, Sly Dunbar (drums); 2 Friends Crew, Marcia Griffiths (background vocals). Audio Remixers: Charles "Prince Charles" Alexander ; Rob "Fonksta" Bacon. Recording information: Cell Block Recording Studio, Kingston, Jamaica; Digital Recording Studio, Kingston, Jamaica; Penthouse Recording Studio, Kingston, Jamaica; Studio 2000, Kingston, Jamaica. Editors: Drew Lavyne; Lisa Cortes. Photographer: Geoffroy de Boismenu. It was not pure ego that led Buju Banton to title his 1993 album VOICE OF JAMAICA; his unique voice is a gruff, melodic instrument, and his lyrics are precise. He built his career on controversial hits and slacker anthems, but has since helped spearhead a movement to swing reggae's pendulum away from sex and violence, back towards conscious lyrics and Rastafarian themes. On `TIL SHILOH, the voice of Jamaica has visibly evolved. Still, don't let all this consciousness talk scare you; Buju's strength is his ability to create hooks that buoy the weight of his words. The choruses of singles like "Murderer," "I Wanna Be Loved" and "Champion" drill themselves into your head and nest there for days. 'TIL SHILOH is also one of the most experimental dancehall releases ever, utilizing an a capella intro, a track built out of African chanting and percussion ("'Til I'm Laid To Rest"), and a song featuring an acoustic guitar ("Untold Stories"). A duet with the late Garnett Silk ("Complaint") provides a nice respite from Banton's trademark growl. For the most part, Buju and executive producer Donovan Germain steer clear of pandering to cross-over audiences, choosing instead to rely on innovative rhythms and Banton's natural pop sensibilities to win over listeners. While Buju may not yet be ready to inherit Silk's "Next Marley" tag, 'TIL SHILOH is without a doubt the most roots-oriented dancehall release of 1995. And if Banton continues to revitalize reggae's sound and vision, it will not seem strange to mention him one day with the same reverence reserved for Bob Marley, Peter Tosh and Burning Spear. 1993's Voice of Jamaica was a stellar set, an aural collage of the island, with its swirl of diverse styles, sounds and themes. Bringing dancehall to the wider world, that album was a revelation, and to attempt to better it would have been futile. And so, Buju Banton didn't try, instead he moved in a new direction. After the completion of Voice of Jamaica, two of the Banton's friends were killed; their murders prompting him to re-evaluate his own life, leading to his conversion to Rastafarianism, and bringing to an end his glorification of the gun. These life-changing events are reflected throughout much of 'Til Shiloh, which proves a much more introspective set than anything heard from Banton before. This is most evident on the haunting sufferer's song "Untold Stories," as Banton reflects on the world around him, beautifully accompanied by a gentle rhythm and Glen Browne's evocative acoustic guitar. But Jah now sustains him, prompting the artist to open the album with the brief a cappella psalm, "Shiloh," then launching into "Til I'm Laid to Rest," which revisits the sufferer's theme, but intertwines it with an homage to Africa and his faith in the promised land. Still, Banton has not yet found peace, and his inner turmoil is at its rawest on "Murderer." Written in the aftermath of the aforementioned killings, the Banton struggles with his grief and fierce desire for vengeance; all else pales before this most emotionally powerful of songs. It's "Not an Easy Road," as Banton vividly relates on that song, and he has been left vulnerable. Still, he opens his soul on "Wanna Be Loved," and exposes his loneliness on "What Ya Gonna Do" joined by Wayne Wonder. "Complaint" has Banton toasting over this fabulous Garnett Silk number, praising Jah and scattering the heathens before him. "Chuck It So" takes a similar stance, as Banton takes on a Big Man, with the 2 Friends Crew sweetening his ferocious assault. It's a heavy-hitting album, with only "Hush Baby Hush," a jubilant version of the 1960 classic "Stay," but adding a lighter note to the proceedings. Musically, however, this is a gentler album than its predecessor, although still very much in a dancehall style. Another masterpiece. ~ Jo-Ann Greene

Rolling Stone (5/13/99, p.74) - Included in Rolling Stone's "Essential Recordings of the 90's." Spin (p.128) - "Banton chatted and sang over live instrumentation, proving dancehall could be conscious, spiritual, and hard-core as ever." Spin (12/95, p.63) - Ranked #12 on Spin's list of the `20 Best Albums Of '95.' Q (9/02, p.122) - 4 stars out of 5 - "...Pithy and heartfelt..." Vibe (8/95, p.134) - "...social commentary reigns supreme on these 15 tracks, but themes of love and violence are also incorporated....combines Buju's rough, gritty vocal style...and slammin' sound system quality, and shows that the longevity of reggae music is directly related to its ever-changing rhythm." Musician (11/95, pp.93-94) - "...the deejay with the jagged-saw voice brings us a few surprises....Banton...has become a Rasta, and is attempting to introduce more consciousness and positivity into the dancehall....it's his turn to shine..." Village Voice (2/20/96) - Ranked #27 in Village Voice's 1995 Pazz & Jop Critics' Poll. Mojo (Publisher) (8/02, p.78) - Included in Mojo's 50 Greatest Reggae Albums. NME (Magazine) (8/26/95, p.43) - 6 (out of 10) - "...peaceful, positive and spiritual....The shock part of 'TIL SHILOH is that it doesn't shock. Buju's made a good album, pure and simple..."

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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