Rasta Got Soul, the new set from Buju Banton is a return to the roots of reggae, to a time when artists built messages, stating their case song by song. And rhythms helped to reveal the artist’s revolutionary broadcast, the baring of a soul in the album form, an effort to bring the purity back to the music.
Recorded at his Kingston, Jamaica Gargamel studio, the artist takes a hands on approach, releasing an album which reveals itself as a concept versus a bunch of songs put together by different studios as singles.The interview centered in the meaning of the wealth of the thoughtful lyrics on this release, a set of songs that coax the listener to question our world and to better ourselves. Check out the rich texture of music that floats under these lyrics released on Gargamel, Buju’s own independent label. Find your own source of soul searching and in-spirieation!
Recorded at his Kingston, Jamaica Gargamel studio, the artist takes a hands on approach, releasing an album which reveals itself as a concept versus a bunch of songs put together by different studios as singles.The interview centered in the meaning of the wealth of the thoughtful lyrics on this release, a set of songs that coax the listener to question our world and to better ourselves. Check out the rich texture of music that floats under these lyrics released on Gargamel, Buju’s own independent label. Find your own source of soul searching and in-spirieation!
Justine Ketola: You have gone back to the roots to form a concept album.
Buju Banton:It is my endeavor, I am trying.
Justine Ketola: You have recorded this album at your studio allowing for the time and space to bring in the session players.
Buju Banton: Its a multiplicity of musicians, not one set of guys, the best of what Jamaica has to offer.
Justine Ketola:It feels like there is so much more life to it, not the recycled riddim format. This is a concept album, and it is really refreshing to hear.
As the conversation turns to the songs on the album, the single from 2005, Magic City is brought up as an example of the inspirational feel of this return to roots music and as Buju notes, “This is the first time I have ever done a completely roots album.”
Justine Ketola: Where is the Magic City, is it Kingston?
Buju Banton: Magic City is written so you can listen to the music and visualize, it stimulates the person to think. Kingston is quite magical but, I would say wherever you are, you should make that your magical point. It’s very important, you cant be running from here to there to find your magic city, there must be something around your surroundings that makes it special.
Buju Banton:It is my endeavor, I am trying.
Justine Ketola: You have recorded this album at your studio allowing for the time and space to bring in the session players.
Buju Banton: Its a multiplicity of musicians, not one set of guys, the best of what Jamaica has to offer.
Justine Ketola:It feels like there is so much more life to it, not the recycled riddim format. This is a concept album, and it is really refreshing to hear.
As the conversation turns to the songs on the album, the single from 2005, Magic City is brought up as an example of the inspirational feel of this return to roots music and as Buju notes, “This is the first time I have ever done a completely roots album.”
Justine Ketola: Where is the Magic City, is it Kingston?
Buju Banton: Magic City is written so you can listen to the music and visualize, it stimulates the person to think. Kingston is quite magical but, I would say wherever you are, you should make that your magical point. It’s very important, you cant be running from here to there to find your magic city, there must be something around your surroundings that makes it special.
Justine Ketola: Giving thanks for the gifts that you have, wherever you are….and your newest single on the album A Little Bit of Sorry which is really a ska tune, what was it like growing up with ska, was it considered older people’s music?
Buju Banton: I wouldn’t say that ska was an older people thing but reggae and ska were born around the same time period. What I find is how diverse and rich my musical culture is, here in Jamaica, ya naw mean? We see other countries that are gravitating towards it and you would think that they originated the sound. I just want people to know that this sound came from Jamaica and we can still make it and produce it. Even in this time, because it is our culture we are bringing forward and introducing to the peoples of the world. And it promotes dance it gives one a good riddim to move to.
Justine Ketola: The song I Rise, how did the concept for the lyrics come about? With lyrics that reflect the feelings of rising from the concrete, reaching higher heights is it about someone in particular?
Buju Banton: This is not a fictitious character, it is from the very foundation, the ground thereof, the song can allow you to understand from this person and the struggles that I have gone through in life.
Justine Ketola: And moving into more upliftment, the song Optimistic Soul addresses the issues of the world with lyrics that find a soul who “mends the torn fragments”, singing, “I wish I could sew them back together, but I am an optimist, can they be sewn, can they be mend?” What is this saying?
Buju Banton: It is not up to one man’s dreams or his vision, it is up to the global population because we each have to play a part.
Justine Ketola: The song also says this soul feels trapped. Do you feel trapped, what makes you feel trapped?
Buju Banton: Are you free? Cause when you look at the word free, I don’t see the meaning behind it, If you are free then you would be able to speak your mind and express yourself. What is freedom? I want to break free but I feel trapped.
Justine Ketola: Bedtime Stories is a song with Wyclef and it sounds like a tribute to fathers, and those that are off fighting battles, what is its message?
Buju Banton: Well initially the song started talking about Kandahar and Mosul and these places, that is where the whole idea came from – some little boys in a state of fright but then the music transformed…. to what became later on, but the initial piece of writing of this song was based upon a child in that scenario in that part of the world that would be able to enjoy the fast food and things that people enjoy here.
Justine Ketola: Do you consider yourself a mentor to fathers?
Buju Banton: I have not time to consider myself, it is for the world to consider I, as it concerns me being a mentor, I live my life without a rule book someone hears what I am doing and I can inspire them, I am greatly honored. That is what we want to do, because we didn’t have a rule book to tell us how to operate, we want to live life in the old fashioned way before there was any great great faculty of learning there was a way with which to communicate which was innate and that is what we are still carrying forward to this day.
Justine Ketola: Rastafari is such a communal song, a nyabinghi, a great tribute to the family of Rasta, not that many songs like it in reggae.
Buju Banton: I and I have been a Rastafari because Rastafari open my eye to many things and directly change I and I life, and I way of living, dread I a dread mon.
Justine Ketola: Lend A Hand, presents the allure of ‘ Til Shiloh and the the qualities of righteousness as you ask “I wonder will tings ever change” and remind us to be conscious of our brothers and sisters at home and abroad. Is this song about Africa, or a message to Obama?
Buju Banton: Africa, Obama, Jamaica, the Caribbean, Europe, the World, China, Afghanistan, Iraq, Iran, no doubt that people are suffering in all these places and all they want, all they earnestly want is security, peace, and a chance to live.
Justine Ketola: Which parts of Africa have you visited? Where have you performed?
Buju Banton: We have performed in the South, we have performed in Gambia, Uganda, Zimbabwe, Ghana.
Justine Ketola: This song Mary, who is it about?
Buju Banton: This song is about a nice little lady I know, Mary who is always so concerned about the world, and want to do everything she can but that person can be anyone that considers themself a mother because all mothers are Mary, all mothers have a Mary spirit, relax your mind, one day at a time, your gonna need it when you’re older or die from a heart attack.
Justine Ketola: Is the song Hurt Us No More showing strength, progress, telling us we can’t be afraid any longer?
Buju Banton: No you can’t, of nothing, the only thing to be afraid of is fear itself.
Justine Ketola: You have a love song on this record, Make You Mine, which so often when you put out such songs, feels very reality-based.
Buju Banton: “I must get you and make you mine, go tell your friends and make them know that I told you I would,” I like to make my love songs real, I can’t sing the ‘baby baby I love you’ and you are not really saying anything. Its like when you are driving you see a woman look real sexy, beautiful…..
Justine Ketola: Are you teaching people to be mindful of their actions on the song Be On Your Way, teaching them how to talk to God?
Buju Banton: Teaching people to talk to god, also talking to my people, those who cannot listen, they got to go, those who chose not to listen, they have chose, we cannot choose for them, they have already chose the things that they want to follow but they are going to learn the lesson the hard way, if they drop into a deep hole, it is no fault of mine.
Justine Ketola: The set closes with this cool cover and combination with Third World of Sense of Purpose which seems to breathe new life into the song and will help to turn on a new set of people to this super group in reggae.
Buju Banton: From helping my brothers, I shall be given a hand also.
Justine Ketola: What is your greatest wish for reggae music?
Buju Banton: I want the people to know that this reggae music is not dead, we are just emerging, this is actually my first authentic roots, real roots reggae album, ya understand and I want them to gravitate towards it, learn the songs so that when we come together we can sing them like a family should be singing and let us build back reggae music to its former majesty and glory.
Buju Banton: I wouldn’t say that ska was an older people thing but reggae and ska were born around the same time period. What I find is how diverse and rich my musical culture is, here in Jamaica, ya naw mean? We see other countries that are gravitating towards it and you would think that they originated the sound. I just want people to know that this sound came from Jamaica and we can still make it and produce it. Even in this time, because it is our culture we are bringing forward and introducing to the peoples of the world. And it promotes dance it gives one a good riddim to move to.
Justine Ketola: The song I Rise, how did the concept for the lyrics come about? With lyrics that reflect the feelings of rising from the concrete, reaching higher heights is it about someone in particular?
Buju Banton: This is not a fictitious character, it is from the very foundation, the ground thereof, the song can allow you to understand from this person and the struggles that I have gone through in life.
Justine Ketola: And moving into more upliftment, the song Optimistic Soul addresses the issues of the world with lyrics that find a soul who “mends the torn fragments”, singing, “I wish I could sew them back together, but I am an optimist, can they be sewn, can they be mend?” What is this saying?
Buju Banton: It is not up to one man’s dreams or his vision, it is up to the global population because we each have to play a part.
Justine Ketola: The song also says this soul feels trapped. Do you feel trapped, what makes you feel trapped?
Buju Banton: Are you free? Cause when you look at the word free, I don’t see the meaning behind it, If you are free then you would be able to speak your mind and express yourself. What is freedom? I want to break free but I feel trapped.
Justine Ketola: Bedtime Stories is a song with Wyclef and it sounds like a tribute to fathers, and those that are off fighting battles, what is its message?
Buju Banton: Well initially the song started talking about Kandahar and Mosul and these places, that is where the whole idea came from – some little boys in a state of fright but then the music transformed…. to what became later on, but the initial piece of writing of this song was based upon a child in that scenario in that part of the world that would be able to enjoy the fast food and things that people enjoy here.
Justine Ketola: Do you consider yourself a mentor to fathers?
Buju Banton: I have not time to consider myself, it is for the world to consider I, as it concerns me being a mentor, I live my life without a rule book someone hears what I am doing and I can inspire them, I am greatly honored. That is what we want to do, because we didn’t have a rule book to tell us how to operate, we want to live life in the old fashioned way before there was any great great faculty of learning there was a way with which to communicate which was innate and that is what we are still carrying forward to this day.
Justine Ketola: Rastafari is such a communal song, a nyabinghi, a great tribute to the family of Rasta, not that many songs like it in reggae.
Buju Banton: I and I have been a Rastafari because Rastafari open my eye to many things and directly change I and I life, and I way of living, dread I a dread mon.
Justine Ketola: Lend A Hand, presents the allure of ‘ Til Shiloh and the the qualities of righteousness as you ask “I wonder will tings ever change” and remind us to be conscious of our brothers and sisters at home and abroad. Is this song about Africa, or a message to Obama?
Buju Banton: Africa, Obama, Jamaica, the Caribbean, Europe, the World, China, Afghanistan, Iraq, Iran, no doubt that people are suffering in all these places and all they want, all they earnestly want is security, peace, and a chance to live.
Justine Ketola: Which parts of Africa have you visited? Where have you performed?
Buju Banton: We have performed in the South, we have performed in Gambia, Uganda, Zimbabwe, Ghana.
Justine Ketola: This song Mary, who is it about?
Buju Banton: This song is about a nice little lady I know, Mary who is always so concerned about the world, and want to do everything she can but that person can be anyone that considers themself a mother because all mothers are Mary, all mothers have a Mary spirit, relax your mind, one day at a time, your gonna need it when you’re older or die from a heart attack.
Justine Ketola: Is the song Hurt Us No More showing strength, progress, telling us we can’t be afraid any longer?
Buju Banton: No you can’t, of nothing, the only thing to be afraid of is fear itself.
Justine Ketola: You have a love song on this record, Make You Mine, which so often when you put out such songs, feels very reality-based.
Buju Banton: “I must get you and make you mine, go tell your friends and make them know that I told you I would,” I like to make my love songs real, I can’t sing the ‘baby baby I love you’ and you are not really saying anything. Its like when you are driving you see a woman look real sexy, beautiful…..
Justine Ketola: Are you teaching people to be mindful of their actions on the song Be On Your Way, teaching them how to talk to God?
Buju Banton: Teaching people to talk to god, also talking to my people, those who cannot listen, they got to go, those who chose not to listen, they have chose, we cannot choose for them, they have already chose the things that they want to follow but they are going to learn the lesson the hard way, if they drop into a deep hole, it is no fault of mine.
Justine Ketola: The set closes with this cool cover and combination with Third World of Sense of Purpose which seems to breathe new life into the song and will help to turn on a new set of people to this super group in reggae.
Buju Banton: From helping my brothers, I shall be given a hand also.
Justine Ketola: What is your greatest wish for reggae music?
Buju Banton: I want the people to know that this reggae music is not dead, we are just emerging, this is actually my first authentic roots, real roots reggae album, ya understand and I want them to gravitate towards it, learn the songs so that when we come together we can sing them like a family should be singing and let us build back reggae music to its former majesty and glory.
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