It was the album that proved roots-reggae still had a place in Jamaican music. ‘Til Shiloh, released 30 years ago this week, was the transformation of Buju Banton from rude boy toaster to spiritual artiste.

Widely lauded by critics, ‘Til Shiloh ranks among the great reggae albums. Distributed by Loose Cannon Records, a subsidiary of Island Records, it was certified gold five years ago for over 500,000 in sales by the Recording Industry Association of America.

One of the individuals who received a commemorative plaque was Syl Gordon, who worked on the album as an engineer/producer.

In an interview with the Jamaica Observer, he said he was part of the project in its embryonic stage. Gordon, who first met the gangly Buju in the early 1990s, recalls scepticism about his new direction.

“Being in the business since 1988, I have worked with many production labels and each reggae album had its own merit. However, ‘Til Shiloh is close to me and is deeper than anyone can imagine,” he said. “We were laughed at and made fun of. We were asked, ‘Where wi going with this?’ Only Mark Myrie [Buju Banton’s given name] and myself know, but we beat all odds with this one.”

‘Til Shiloh contains songs like Untold Stories, Champion, Murderer, Til I’m Laid to Rest, Not An Easy Road, Wanna be Loved, Rampage, and Complaint. All enjoyed heavy rotation on Jamaican radio and in the dancehall.

Its rootsy flavour was different from the dancehall jams that endeared Buju Banton to hard-core fans in the early 1990s including
Love Mi Browning, Deportee, Batty Rider, and Bogle. The album was widely hailed by critics in the United States.

An A-list cast of musicians worked on ‘Til Shiloh, which was his fourth album. They include drummers Sly Dunbar, Cleveland “Clevie” Browne, guitarists Glen Browne and Dalton Browne, keyboardists Robbie Lyn, Handel Tucker and Wycliffe “Steely” Johnson.

Donovan Germain, Buju’s mentor, Steely and Clevie, Bobby Digital, are also credited as producers.

Mainstream publications like Spin Magazine called it a landmark album, while The Village Voice, described it as a masterpiece.

‘Til Shiloh took shape at Cell Block Recording Studio in Kingston, which Gordon started in 1993. He and Buju Banton became business partners in that company and established the CB321 label for which their first production was Rampage.

In 1994 Gordon noticed a change in his friend’s personality and songwriting.

“I wasn’t surprised when Buju embraced the Rastafarian faith, because I was there on tour with him. Cell Block was where he felt comfortable and was in a controlled environment where he could wake me up at 3:00 am to go in the studio to record the ideas he was feeling. I understand what Buju was going through,” he disclosed.

From the Molynes Road area, Gordon got into the music business in the late 1980s fresh out of Meadowbrook High School. He learned the ropes of studio engineering at Music Works and Penthouse Records, which were located at the same compound on Slipe Road.

This is where he first met Buju Banton.

“I worked between both studios as a recording and mixing engineer. Buju would be in the yard with Anthony Red Rose, Wayne Wonder, and other artistes holding a vibe,” Gordon remembered.

It was around that time singer Twiggi also met Buju. She was part of the Penthouse Records set-up and sang harmony on Complaint and Hush Baby Hush, another song from ‘Til Shiloh.

Unlike Gordon, she was surprised at the deejay’s spiritual change.

“Quite frankly, yes! I think it was a surprise for everyone. It was a major transition from dancehall to message music, but Buju was clearly determined and focused on his mission, so all we had to do was trust his judgement… and it worked,” she told the
Observer.

‘Til Shiloh opened new markets for Buju Banton, especially in the United States West Coast and influential college circuit. But he was hounded by gay rights groups for his 1993 song Boom Bye Bye that supported violence against homosexuals.

Those organisations continued to dog Buju Banton’s subsequent US tours, including 2009, when he was arrested on drug-related charges in Florida. He served eight years in federal prison and was released in December 2018.

Syl Gordon — who was engineer for songs such as Beres Hammond’s Full Attention, Capleton’s Almshouse, and Cocoa Tea’s She Loves Me Now/Good Life — remains close friends with Buju Banton, who started his Gargamel Records in 1996.

Twiggi, who had hit songs like Too Late and Where Did The Love Go, also toured with acts such as Toots And The Maytals. She gives
‘Til Shiloh high marks after 30 years.

“My thoughts on the album now is that it is still as fresh and relevant as before, the compositions and lyrical content have a massive effect on society just like in the 90s. I personally think this album will continue to live on for generations… it’s a true classic,” said Twiggi.

Buju Banton (left) and Syl Gordon during recording sessions for Til Shiloh in 1995.