With this 1992 album, Buju Banton rose to become a controversial, chart-topping force of nature in dancehall. The skipping beat and gruff delivery of “Love Me Browning” praised chemically lightened women (which caused some grumbling among audiences), though Banton counterbalanced this with the barking, stuttering “Love Black Woman.” Skin color aside, some rude-boy romanticism peeks through on the blippy “Love How the Gal Flex” and the steel drum-tinged “Woman No Fret.”