Unchained Spirit [Bonus Tracks]

Performer: Buju Banton
Artist: Morgan Heritage; Beres Hammond; Rancid; Luciano; Gramps Of Morgan Heritage; LMS; Stephen Marley; Wayne Wonder
Distributor: Alternative Dis. Alliance

Notes: Personnel includes: Buju Banton, Gramps, LMS, Beres Hammond, Luciano, Stephen Marley, Rancid, Wayne Wonder. Producers include: Donovan Germain, Mark Myrie, Tyrone Downie, Stephen Marsden, Tony Kelly. The once controversial Buju Banton, vilified for his anti-homosexual sentiments on his early single "Boom Bye Bye" and for his typically violent and slack dancehall, artistically turned the corner in 1995 with the release of the conscious and wistful Til Shiloh. The follow-up in 1998, Inna Heights, was equally spiritual and devoid of negativity. The third installment in this awakening is Unchained Spirit, released in September of 2000: a vital and rhythmic mix of homegrown Jamaican philosophy, biblical harmonizing, and just plain eerie dancehall. Banton sets the album off with a slow chant of "Psalm 23," giving the album a spiritual center with which the rest radiates. The stunning duet with the silk-throated Luciano, "We'll Be Alright," is simply a beautiful song as is "Pull It Up," Banton's duet with elder dancehall crooner Beres Hammond. Political and social themes abound in tracks like "Sudan," "Law & Order," and "Guns & Bombs," but, to round things off a bit, Banton returns to his roots with an ode to the females, "Women Dem Phat." There is even an ambitious experimental collaboration with ska-punk band Rancid on "No More Misty Days." While not without its dull moments, this album favors heavy rotation. Banton's vocal ability is filled with depth and soulful texture that invite the listener to accompany him on his spiritual journey. His music speaks to enlightenment and wisdom and appeals to peace and positivity. Banton is the rare contemporary artist who uses his medium to uplift with messages of love, peace, and justice. The chorus from "Pull It Up" encapsulates this listening experience: "Pull up da vibes that you're playing/Can you play some more?" Yes Banton, please play some more. ~ M.F. DiBella

Rolling Stone (8/17/00, p.113) - 3.5 stars out of 5 - "...Combines growly, spitfire-patois dance hall...acoustic guitars and sighing choruses...straight old-school ska...and anthemic folk rock....an album full of political and philisophical searching..." Spin (9/00, p.189) - 7 out of 10 - "...Further broadens his domain - from the levitical ska and the compu-pumped 'unda-wata' riddims...to a cotton-mouthed redemption song with Rancid..." Q (9/00, p.96) - 4 stars out of 5 - "...Represents a textbook lesson on how life can be breathed into a seemingly moribund genre [reggae]....Banton repositions reggae while using his rumbling, 40-spliffs-a-day vocals to project a message of peace and love to all..." CMJ (8/21/00, p.22) - "...proves his dominance, extending his trademark toasting skills into the realms of rock steady, ska, gospel, African high life and American soul..." NME (Magazine) (9/4/00, p.34) - 6 out of 10 - "...Banton has gone from chatting to singing with results which are surprisingly effective....it seems he really means well."

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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