(Reggae) Buju Banton - 'Til Shiloh - 2002, (image+.cue), lossless

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 28. May 2012, 21:51
Buju Banton / 'Til Shiloh
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Utilize accurate stream : Yes
Defeat audio cache      : Yes
Make use of C2 pointers : No
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Overread into Lead-In and Lead-Out          : Yes
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks   : No
Null samples used in CRC calculations       : Yes
Used interface                              : Installed external ASPI interface
Used output format              : User Defined Encoder
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     Filename D:\jonas\muzika\savi\Buju Banton - 'Til Shiloh\Buju Banton - 'Til Shiloh.wav
     Peak level 98.8 %
     Extraction speed 3.0 X
     Range quality 100.0 %
     Test CRC 4B8D09A7
     Copy CRC 4B8D09A7
     Copy OK
No errors occurred
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==== Log checksum 3D3CF5B3B1051A4C59D6553A95C0C2DB128CAB0CD3F1F41C975067BCF42C2CCA ====

REM GENRE Reggae
REM DATE 2002
REM DISCID E40F1A11
REM COMMENT "ExactAudioCopy v1.0b3"
CATALOG 0731458685425
PERFORMER "Buju Banton"
TITLE "'Til Shiloh"
FILE "Buju Banton - 'Til Shiloh.flac" WAVE
  TRACK 01 AUDIO
    TITLE "Shiloh"
    PERFORMER "Buju Banton"
    ISRC USPR39505261
    INDEX 01 00:00:00
  TRACK 02 AUDIO
    TITLE "'Til I'm Laid To Rest"
    PERFORMER "Buju Banton"
    ISRC USPR39505262
    INDEX 01 00:19:15
  TRACK 03 AUDIO
    TITLE "Murderer"
    PERFORMER "Buju Banton"
    ISRC USPR39505263
    INDEX 01 04:42:57
  TRACK 04 AUDIO
    TITLE "Champion"
    PERFORMER "Buju Banton"
    ISRC USPR39505264
    INDEX 01 08:39:30
  TRACK 05 AUDIO
    TITLE "Untold Stories"
    PERFORMER "Buju Banton"
    ISRC USPR39505265
    INDEX 01 12:36:70
  TRACK 06 AUDIO
    TITLE "Not an Easy Road"
    PERFORMER "Buju Banton"
    ISRC USPR39505266
    INDEX 00 17:10:27
    INDEX 01 17:11:37
  TRACK 07 AUDIO
    TITLE "Only Man"
    PERFORMER "Buju Banton"
    ISRC USPR39505267
    INDEX 01 21:11:27
  TRACK 08 AUDIO
    TITLE "Complaint (feat Garnet Silk)"
    PERFORMER "Buju Banton"
    ISRC USPR39505268
    INDEX 01 24:02:42
  TRACK 09 AUDIO
    TITLE "Chuck It So"
    PERFORMER "Buju Banton"
    ISRC USPR39505269
    INDEX 01 28:02:45
  TRACK 10 AUDIO
    TITLE "How Could You"
    PERFORMER "Buju Banton"
    ISRC USPR39505270
    INDEX 01 32:00:15
  TRACK 11 AUDIO
    TITLE "Wanna Be Loved"
    PERFORMER "Buju Banton"
    ISRC USPR39505271
    INDEX 01 35:55:37
  TRACK 12 AUDIO
    TITLE "It's All Over"
    PERFORMER "Buju Banton"
    ISRC USPR39505272
    INDEX 00 39:59:27
    INDEX 01 40:00:34
  TRACK 13 AUDIO
    TITLE "Hush Baby Hush"
    PERFORMER "Buju Banton"
    ISRC USPR39505273
    INDEX 00 44:03:67
    INDEX 01 44:05:25
  TRACK 14 AUDIO
    TITLE "What Ya Gonna Do (feat wayne Wonder)"
    PERFORMER "Buju Banton"
    ISRC USPR39505274
    INDEX 01 48:26:17
  TRACK 15 AUDIO
    TITLE "Rampage"
    PERFORMER "Buju Banton"
    ISRC USPR39506033
    INDEX 00 52:06:60
    INDEX 01 52:07:67
  TRACK 16 AUDIO
    TITLE "Sensemilia Persecution"
    PERFORMER "Buju Banton"
    ISRC USPR39505279
    INDEX 00 55:51:42
    INDEX 01 55:52:47
  TRACK 17 AUDIO
    TITLE "Champion (remix)"
    PERFORMER "Buju Banton"
    ISRC USPR39505275
    INDEX 01 59:55:30

Biographyby Steve Huey
Buju Banton was one of the most popular dancehall reggae artists of the '90s. Debuting with a series of popular "slack" singles, which drew criticism for their graphic sexuality and homophobia, Banton converted to Rastafarianism and revolutionized dancehall by employing the live instrumentation and social consciousness of classic roots reggae. He first adopted the approach on his 1995 classic 'Til Shiloh, which raised hopes among his fans that he would become dancehall's great international ambassador, as Bob Marley had been for roots reggae. While that never quite materialized, Banton remained a high-profile star into the new millennium.
Buju Banton was born Mark Anthony Myrie on July 15, 1973, in the Kingston slum of Salt Lane. Buju was his childhood nickname, a word for breadfruit that was often applied to chubby children; he would later adopt Banton in tribute to one of his earliest musical influences, Burro Banton. He was one of 15 children; his mother was a street vendor, and he was directly descended from the colonial-era freedom fighters known as the Maroons. Banton first tried his hand at DJing and toasting at age 13, performing with local sound systems. He made his first recording not long after, with the 1986 Robert Ffrench-produced single "The Ruler." He continued to record through 1987, then took some time off to allow his voice to mature. He returned in the early '90s with a rough growl comparable to that of Shabba Ranks.
In 1991, Banton began recording for Donovan Germain's Penthouse label, often teaming with engineer/producer/songwriter Dave "Rude Boy" Kelly. Debuting for the label with "Man Fi Dead," his first major hit was "Love Mi Browning," an ode to light-skinned women that drew the ire of Jamaica's sizable darker-skinned population. As penance, he released a follow-up single called "Love Black Woman," but courted even more controversy with "Boom Bye Bye," a notoriously homophobic track that seemingly advocated violence against gays. Other hits of the period included "Batty Rider," "Bogle," and "Women Nuh Fret," among many others; in fact, 1992 saw Banton break Marley's record for the most number one singles in one year. His debut album, Mr. Mention, was a smash hit that year as well, and he signed an international major-label deal with Mercury.
The Voice of Jamaica album, released in 1993, introduced Banton to the world outside Jamaica, and gave him a huge hit in the celebratory safe-sex anthem "Willy (Don't Be Silly)." Other singles from the album included "Operation Ardent," a critique of police corruption, and "Deportees (Things Change)," which castigated emigrants who refused to share their overseas earnings with the family back in Jamaica. In early 1994, Banton released the monumental single "Murderer," an impassioned indictment of dancehall culture and gun violence recorded after the shooting deaths of fellow dancehall DJs Panhead and Dirtsman.
As well-received as Voice of Jamaica was, it was the 1995 follow-up, 'Til Shiloh, that would rank as Banton's masterpiece. A fusion of dancehall with live instrumentation and classic roots reggae, 'Til Shiloh consolidated Banton's move into social awareness and adopted a more mature, reflective tone that signaled Banton's arrival as an artist able to make major creative statements. His follow-up, 1997's Inna Heights, continued in a similarly rootsy vein and won only slightly less acclaim than its much-heralded predecessor. In 1999, Banton recorded with the punk band Rancid and subsequently signed with the punk label Epitaph's eclectic Anti subsidiary. In 2000, he delivered his Unchained Spirit, which found him growing more eclectic in a quest to cross over to the international market; it also featured a successful duet with Beres Hammond on "Pull It Up." After a three-year break from album releases, Banton returned on Atlantic in 2003 with Friends for Life, a crossover-friendly record with elements of hip-hop, R&B, and pop (and very little of the roots-dancehall hybrid that had catapulted him to stardom). Unhappy with the support he was given at the major labels, Banton started his own label, Gargamel Music, and released the single "Magic City" in 2004. The single was a preview of his next album, Rasta Got Soul, but an arrest on ganja cultivation charges sent him into legal battle for the next two years. When it all ended in a fine, he unleashed his strictly dancehall album Too Bad featuring the huge Jamaican hit "Driver A." The much more traditional Rasta Got Soul finally appeared in 2009.

Reviewby Jo-Ann Greene
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.

Charles "Prince Charles" Alexander Remixing
Clive Allen Cover Photo, Photography
Rob "Fonksta" Bacon Remixing
Buju Banton Producer
Carlton Batts Mastering
Cleveland "Clevie" Browne Drums, Producer
Dalton Browne Guitar, Guitar (Acoustic)
Danny Browne Multi Instruments
Glen Browne Guitar (Acoustic)
Junior Chin Trumpet
Clevie Drums, Producer
Michael "Ibo" Cooper Assistant Engineer, Mixing Assistant
Lisa Cortes Editing, Executive Producer
Geoffroy de Boismenu Back Cover, Photography
Bobby Digital Engineer, Producer
Junior "Left Toe" Don Bass
Sly Dunbar Drums
Dave Fluxy Drums
Dean Fraser Saxophone
Donovan Germain Executive Producer, Producer
Sylvester Gordon Engineer, Mixing, Producer
Marcia Griffiths Vocals (Background)
Gary Jackson Assistant Engineer, Mixing
Dave Kelly Drums, Engineer, Mixing, Producer
Tony Kelly Mixing, Mixing Engineer
Drew Lavyne Editing
Gavin Lurssen Mastering
Robert Lyn Keyboards
Leroy Mafia Keyboards, Multi Instruments
Lily Salinas Tape Research
Robin Schwartz Licensing
Garnett Silk Performer
Sleely Bass, Keyboards, Producer
Dana Smart Reissue Coordination
Steely Bass, Keyboards, Mixing Engineer, Producer
Gary Sutherland Engineer
Andrew Thomas Assistant Engineer, Engineer
Handel Tucker Drums, Keyboards
Twiggy Vocals (Background)
2 Friends Crew Group, Vocals (Background)
Andre "Dreddy Ranks" Tyrell Engineer, Mixing Engineer, Producer
Vartan Art Direction
Mikey Williamson Engineer
Lloyd "Gitsy" Willis Guitar, Keyboards
Wayne Wonder Mixing Assistant, Mixing Engineer, Performer