The 19 tracks in between (including the four "Lingua"s) sweep across the spectrum, both musically and thematically. As with Shiloh, Heights opens with an a cappella prayer, but closes with the striking "Circumstances," another virtually a cappella piece that is an emotive cry against violence and the circumstances that breed it. And with Inna Heights he succeeds beyond most people's greatest expectations, capturing the glory of Jamaican music in virtually all its forms, imbuing it with the excitement of the dancehalls, yet ensuring that its cultural underpinnings shine forth. "My favorite thing about being able to bring across reggae music as a part of my culture.is sharing the excitement of it, the joy of it, the pleasure and splendor it bring." So Banton explains on one of the "Inter Lingua"s on this set, wherein he briefly meditates on his music and personal philosophy. Debuting internationally in 1993 with the highly diversified Voice of Jamaica album, two years later Banton offered up the gorgeous, introspective 'Til Shiloh, and by 1997 he had grown into a mature superstar with Inna Heights. Off-island fans of Buju Banton could only listen in amazement at the transformation the artist underwent during the mid-'90s.
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