The Vault Reviews: Human Rights & Justice by Daweh Congo

Rolling. If you're at all like me, you probably have a core group of favourite artists who rarely ever change. These're, for whatever reason, your 'go-tos'. They serve a very important purpose and occupy a special place in your listening habits; and probably even your entire life. Because of the work they've done in the past, you probably never actually remove them from that lot COMPLETELY and adding to that group is probably just as rare of an occurence. Were I to ask what, exactly, you love about their music, I would be almost certainly inviting a fairly long and detailed response and, if you have any, they form the group of musicians who your children will say that they grew up listening to when they become adults. For me, this group is Sizzla Kalonji. It's Vaughn Benjamin. It's Beenie Man. It's Lutan Fyah. It's Destra Garcia. It's Queen Omega. It's Bunji Garlin. It's Capleton and a few others (my most recent additions would probably be the likes of Skinny Fabulous and Sara Lugo). Another group would be certain individuals whom you greatly appreciate and have spent a conisderable amount of time churning out material of an extremely high quality, so you have a combination of both current form and historical achievements which would probably put them in prime position to be the answer to questions such as 'who're you listening to these days'. My answer to THAT question would be Chezidek. It's be Norris Man, Mark Wonder, General Degree, Pressure Busspipe and a VERY long list of their peers (Mark Wonder might even be in that first lot, actually). If you do this in your head (you'll see just how much fun this is for me), you'd ultmately probably arrive at people who have big current songs that you enjoy or a big album that you've stumbled upon lately (biggup Jah Garvey) but somewhere in between might be a random lot of artists who maybe you don't find yourself listening to quite often but whenever you do manage to tune in, you generally come away fairly impressed. Personally, in terms of reviewing and writing about, by and large, these people can provide DAMN interesting experiences and may lead to situations (like I'm doing right now) where you hear something that catches your ear and it leads you down a path of examining another portion of their catalogue with, perhaps, a newfound level of full appreciation for their work that you did not have previously. In my case, these are Rob Symeonn, Jah Marnyah... Daddy Rings... Ossie Dellimore (what!)... the late Peter Broggs would be in there as well, probably, so would the GREAT Yami Bolo. As I'm naming them, I'm noticing that maybe something they have in common is that they aren't terribly active but you put up a new album/collection/single from any of them and not only am I interested in it but listening to it, alone, will probably draw me in the direction of taking another listen to something that they've done in the past as well (and I can't say that for anyone else here to such confidence. Even if I hear some old tune from Kalonji that I missed or Midnite (and it does happen), I feel the sudden urge to immediately followup on that by looking for some more. I'm pretty happy for that moment).

CLEARLY, I need to think about adding a new name to that last bunch that I just mentioned because I am finding myself listening to tons and tons of old (and new) music by Daweh Congo these days and I'd be damned shocked if the end was anywhere in site. A few weeks ago, I wrote a review for his debut album, "Militancy" and I had so much fun with that set that I quickly set my intentions on tackling another one and I'll say something right now to stress just how strong my interest was: What I eventually settled on (which is the one you're reading now) was, FAR AND AWAY, the best from the time that I listened to. Not that any of them were bad, necessarily; but I really don't like "Guidance" (which is consistently less than stellar in my opinion and I'm being nice), "Jah Children" or "Health & Strength" (as interesting as it is with an album and then a dub album accompanying it). As unimpressed by any of them as I most certainly was as complete sets, I was still wanting to hear and talk about more. Thankfully, hidden amongst those rocks was a near total GEM. 

1997

Daweh Congo's debut, as I said, was "Militancy", which reached in 1997. In the year 2000, he would release a pair of albums; one being the aforementioned "Guidance" for Jet Star, the other being the much stronger "Human Rights & Justice" for Roots & Culture Records from out of France (they also did a bit of work with Eric Donaldson, Max Romeo and a few others) and was produced by a Gayland Bravo & RG Bed, both of whom unknown to me. Like "Militancy", I can vaguely recall "Human Rights & Justice" receiving a nice amount of publicity in its day for what it is. That bright yellow cover is ultra-familiar to my eyes and while I have definitely listened to bites and morsels of it throughout the years, I'd never had any idea to put a reviewer's ear to it until now and, unsurprisingly, I am glad that I did. "Human Rights & Justice" is even better than "Militancy" at its best; and while it does fall below that level once (more on that in just a moment) the rest of its eleven tracks register AT LEAST in the range of above average. If you are unfamiliar with Daweh Congo's music he is most often compared to the legendary Burning Spear and, to no surprise, he does the best of his work when gifted with heavy modern and old school Roots music (which you'll find in abundance here). Another idea that I'm thinking about now, having heard more and more of his early work (and in just listening to him more regularly these days that I ever have) is that Daweh Congo has a very unique PRESENCE to his music. That is due to his unusual voice and patterns but he tends to.... he has a way of saying things that may or may not be relatively innocuous with almost GRAND IMPORTANCE. I'm not saying that he's overstating anything (he is not) but You, as a listener, are given a level of resonance with SO many of his words. It does take a minute to get used to (and I may very well be the only person on the planet of this opinion but who cares) but it is more than worth the effort in adjusting because what results is a BEAUTIFUL presentation of music such as a what is to be found on "Human Rights & Justice". Don't have anything going on at the moment? No. You don't. Let's get into it. 

Let's get the mess out of the way quickly: There's a song on this album called 'Come On Over'... AT ABSOLUTE BEST, it is awkward but it is not awkward. It is HORRIBLE. It's a love/romantic song and it has a constant sound effect of a woman moaning. I have heard worse (biggup Chronixx) but it's written pretty badly as well and it just has not a single redeemable or enduring quality in my eyes and ears AT ALL. Now, with that covered, Daweh Congo begins shining on his big second-ish album, "Human Rights & Justice" with its outstanding opener and title track. 

"Give me human rights and justice

I want it"

The punchline of this song is very simple and brutal but you listen to how Congo says it. It's downright HALTING (if you should have some human rights and justice like laying around somewhere, when he says it, you want to go and look for it and give it to him) and he goes on to weave a message around it which caught me particularly in one aspect. Daweh Congo, specifically, wants what he's due ["Give me human rights and justice. I want it. I coulda never do without. I must have it. OUR CHILDREN NEED TO BENEFIT, WE WORKED FOR IT"]. He does not want to go to the head of the line until his turn has come, so long as when it is his turn, you put on his plate ALL of his food. Next in is the arguably even stronger 'Jah Is My Shepherd'. 

"Now the Holy Abuna is standing at the altar

Gibraltar

Offering out the sacrifices of thanks giving

My heart is willing

In the house of My Father, to be a doorkeeper

King of Fire

Ital greens is what I eat!

JAH IS MY SHEPHERD, I AM THE SHEEP"

'Jah Is My Shepherd' is what I'd call an interactive praising tune. It does what it's 'supposed' to do and gives honours to His Imperial Majesty but it's an ACTIVITY that Daweh Congo is happily engaging in and WORKING on. He's doing this work atop this gorgeous old riddim (which turns into this delightful *squeak* during the verses) which really adds to the vibes and makes such a nice impact on the listener. The somewhat jovial (but not REALLY) 'Another Day' is, legitimately, a little awkward but it does end up working to some degree by its end. 'Another Day' is messy and there sounds like there is some real disconnect between vocals and riddim (and that riddim isn't a favourite of mine at all) but its strength comes in what is SAID by Daweh Congo. Lyrically (as hard as it may be to appreciate and I will definitely agree that it is difficult to sift through everything) (including the even-for-him odd vocal patterns), 'Another Day' is nearly mighty as the songer (the what???) delivers a message that a brighter and BETTER day is on its way. It does work for me but if it does not for you, I completely understand. Check the entirely less polarizing 'Wilderness', another praiser but one anchored in seeking a more natural refuge in order to give thanks. He also, wonderfully, incorporates more tangible elements into things as he talks about using nature as a source of refreshment which a nice and OPENING aspect to the song. 'Wilderness' is kinda excellent and though I'll hesitate to place it with the finest songs on "Human Rights & Justice", the fact that it is SO good but NOT amongst the class of the album definitely speaks to the album's quality. 'Drums', on the other hand, which sends out the first half of the album, most certainly does rank amongst its definitive highlights. This is a song, simply, about pride but there is nothing simple about the route Daweh Congo takes in order to get us there. Coyly, 'Drums' is a very INTELLIGENT song and it's also a little complex. Here, the "drum" appears to serve multiple purposes, the largest of which is as an integral part of a chant and a certain level of awareness; so he'll say "I hear drums. Sistren hear drums", and he's saying 'I FEEL IT!'. I'm proud to be an African and so is SHE and so are they... It is a GORGEOUS offering and as someone who shares the lineage, I HEAR DRUMS TOO! BOOM!

The obligatory ganja tune on "Human Rights & Justice", 'Herb Tree', begins its second half on a very strong note. Utilizing a cut of the Mad Mad Riddim, Congo finds himself in all sorts of trouble during this record. He's in court and standing trial... over a plant. He also has "no money fi pay lawyer fee" and his safety is at risk as well; so he's in tough times. Fortunately, he had the time to scribble out a song marking the occasion and it is a big winner. There's something so EASY about this tune. There're backing singers but they aren't really singing, they're just sort of talking but IT WORKS and works well. You have your herb song and, of course, you have to have one for mama and on "Human Rights & Justice", that is the delightful 'Mother Arose'. 

"Born from a woman, I'm so lucky

Look at what the youths have turned out to be

Dear to my heart, I love her truly!

Way I feel towards her is affectionately

Oh there she goes, Ms. Rose

Mama is a rose

Oh seh she bless her role

Only Jah Jah knows

A river side winds ah blow

So she wash my clothes

I'm gonna comfort her soul, when she grows old

Soft as a flower, mind made up like steel

MOTHERLY LOVE: I KNOW IT CAN HEAL

If you forget, you couldn't be real

Brothers and sisters, careful how you make her feel"

The song title is probably spelled wrong (it's more like 'Mama A Rose') but you can call it whatever you like; it's nice! Super simple though full of character and charm, hopefully Congo's mother got a chance to hear it and I'm sure she appreciated it (and biggup my own Mom. Seventy years young) (and biggup yours too!). Immediately preceding 'Mama Arose' is another big highlight from "Human Rights & Justice" and one I was actually familiar with prior to hearing it here, the HEAVY 'Earth Running'. 'Earth Running' isn't even a social commentary as much as it is a social OBSERVATION. Daweh Congo marks the largely negative state of the times but does so with an idea that the 'sun' is either rising or available... it isn't entirely bleak is my point ["The devil is on the loose. Mankind pray for the goose. Yes, I tell you the truth: THAT SAME ONE WILL HAVE TO COOK FOR TOMORROW'S SOUP"]. I mentioned earlier about the way Congo has this way of saying really basic stuff with a much larger impact and pretty much 'Earth Running', in its entirety, is an example of that. The ideas, as a whole, are definitely impacting but virtually every word out of his mouth, in and of themselves, make it as well. This is a very interesting song and I'm still enjoying the journey through it. For as unique as 'Earth Running' may be, 'One World' is actually somewhat similar. It's just Daweh Congo noting what he sees going on in the world around him. Songs like this make me think that they were VIBES, meaning that he just sort of came up with them after hearing the riddim and I don't really have a problem with that. 'One World' isn't quite the song that 'Earth Running' is but it does have its charm and does stand out for them. In terms of direction -- and only direction (its sound is completely in bounds with the rest of it), 'Big Bad Sound' is the definite changeup for "Human Rights & Justice". You know exactly what's going on with this one. It's a really fun time and I've also seen Congo singing this one as a dubplate as recently as last year so it's done well for him and clearly has shown some legs! Finally, the album ends on its absolute highest note as its closer, the FLOORING 'Jah Mercy Seat' is the single best selection on the album.

The earlier and similarly vibed 'Jah Is My Shepherd' stands well, by comparison (and by anything else, REALLY)  but what sets 'Jah Mercy Seat' apart, at least for me, is what comes from Congo, himself. At times this doesn't even sound like he's making a song. It often comes across like he just woke up in a really good mood one morning, opened his window, started singing and 'Jah Mercy Seat' is what came out of it. It doesn't sound very planned out or directly focused. It just sounds like Daweh Congo doing exactly what he felt like doing in the studio, across what is a subtle but GORGEOUS backing track.

Overall, yep, I'm hooked! Daweh Congo's was never a name that I would have called under-known to me. I've well respected his music and abilities for a long time but, as of late, it's been illuminated... for some reason. His most recent release, 'Amharic Verse' on the African Movement Riddim, is probably my new song of the year so far and, again, I'm hearing things within his back catalogue that just never sounded like that to me, previously, for some reason. I do have experience which such things. I was late to the proverbial party in the cases of the aforementioned Vaughn Benjamin and it also took people such as Mark Wonder and Yami Bolo a bit to really grow on me (and now, at least in the case of Wonder, the man can literally do no musical wrong in my opinion) and now I'm able to appreciate their work, present and past, in a new light. Daweh Congo slots right in there and it's growing. "Human Rights & Justice" just might be his best complete body of work to date; from someone who is well along in the process of making a giant fan out of me. Well done.  

Rated: 4.55/5

Roots & Culture Records

2000

The Vault Reviews: Brand New Day by Jah Garvey

David. In sports, the term "upset" is used in reference to when some team or someone unexpectedly does much better than expected and, most often, beats a favourite of some type. They can range from some extremely random regular season game to Mike Tyson getting starched by Buster Douglas in Tokyo, a hundred years ago. For a neutral and a bettor, they can be amongst the most interesting and thrilling aspects of the entire medium, while they can provide the invested fan with a moment which, literally, will stary with you for a lifetime, for better or for worse. Because there's nothing in the way of 'direct' competition in music, we don't actually have 'upsets' in the same sense but I think that anyone who counts thsemselves as more of a dedicated fan of music has experienced something of a surprise over the years. Be it a case where you heard someone early on and wasn't terribly impressed; only to return to them later and come across something that they've done that did REALLY catch you or maybe someone came from completely off of your radar and did something spectacular. It's a surprise, sure, but you can consider it something of a musical upset. I've been writing these things long enough to have experienced, tangibly, enough of these situations and a couple of HUGE standouts definitely come to mind. The first came a shocking sixteen years ago when an unknown artist from out of Clarendon dropped an album by the name of "Long Journey", which would reign supreme for me in 2010 as Naptali would place himself on a pedestal making him virtually impossible to ignore. All of these years later, ANYTIME I happen to see ANYTHING he does, I get excited because, now, there's a history there and I'm fully aware that, should the stars align just right, he is capable of being special. Coincidentally, immediately preceding "Long Journey" as album of the year was "The Burning Melody" in 2009 from an Italian artist, Lion D. They almost exist together in my memory, Naptali & Lion D because my earliest of interactions with them were on the grandest scales. Same thing: going on twenty years later now and my interests in a project instantly pique if ever the name Lion D is attached to it. There are examples on smaller scales with albums and artists, such as an old Turbulence album, "Join Us", which I, for some reason, absolutely LOVE to a ridiculous degree. There was late Nereus Joseph who left us with "Real Rebels Can't Die", which was also one of the best from 2009. Of course, we've LOVED the unlikely emergence of one Sara Lugo. There was Toussaint from back in da day and a number of inspiring, FUN others, throughout the years. 

We've been fortunate. We've had a lot of Davids and Davinas to play with and, of course, we're always on the lookout for more. 2025 brought us the likes of Jah Myhrakle and Yeza and 2026 will surely bring us a few more but maybe we can mix in someone that may've slipped between the proverbial cracks in the past or at least an album that my have. Jah Garvey is a name that I am familiar with and isn't totally new to my eyes but I don't think that I've ever gotten particularly far at all into listening  to his music. When I saw his name, i started singing a chunk of a song in my head, "A di loving weh she gimme and di pickney dem she bringing...", which turned out to be a random old song, 'Damn Right', from a random old album of his by the name of "One Love" so, again, he wasn't entirely new to me but I could not really tell you a thing about the man or what he's done and where he's been. However, perhaps I now have a good reason to become more acquainted with Mr. Garvey from St. Catherine as another "random old album of his" has "DAVID" written all over it. 

In the year 2020, while we were on hiatus, Jah Garvey served up an album by the name of "Brand New Day" for Dadaras Records. The bio I could find for the label says, essentially, that it is Garvey's own and is based in Bristol, in the UK. I can't find much outside of the release of this album which is attribute to Dadaras and much of Garvey's later work comes through on an imprint by the name of Yam & Banana, which is a cool name for a label, where he may be plying his trade these days. Regardless of its fate, Dadaras certainly managed to make its impact by virtue of getting "Brand New Day" out to the masses... even if it took us a little while to get a hold of it. Typically, I go through various channels in attempting to put together a relatively reliable release schedule and do so, maybe, a couple of times a month. In doing so, I do occasionally stumble upon a record or two that I may've missed and that I can't find anyone talking about and that's exactly what happened here. Maybe I had known of this album previously but just had never gave it much of a listen but, going from its cover and what I heard, I did not recall having spent a second dealing with anything from "Brand New Day" and I know I'm getting OLD AS HELL but I'd like to think that I'd remember such a thing. WHY?? Because "Brand New Day" is awesome! It is a FANTASTIC album and I did not get very far into it at all before this became crystal clear, though I definitely did enjoy confirming my initial thoughts by going through the rest of it. What I heard was just extremely SOLID and DURABLE and ENDURING, HIGH CLASS Roots Reggae music. It wasn't overflowing with special effects or things that would immediately jump out at you as being SPECTACULAR but it was just... excellent music and it really caught me by surprise. I've gotten to the point where I can listen to something from the 'Dancehall' in 2025-6 and listen to a couple of seconds it, if that, before turning it off; knowing that it isn't for me and, every so often, I can do that with Roots as well. I could not turn this album away while going through the clips and when I got around to delving into "Brand New Day" fully, I was even more hooked. I heard, at times, outstanding writing and someone who I was almost embarrassed for having taken so long to really come in contact with. Let's take care of that now though and get into this album! 

You know what else I heard from Jah Garvey?? I heard a little bit of Chuck Fenda. He has this voice which is equal parts loud and charmingly weary: Chuck Fenda usually sounds like he's in the middle of a very hard day to me, which adds to the charm and effect of his music, given the things he sings about. Ultimately, I'd probably call Garvey's style Chuck Fenda-esque with just a dash of DYCR added in as there's an occasional... looseness that he adds that you won't hear from Fenda. Call him what you want but his BEAUTIFUL album, "Brand New Day" from 2020, gets up and going with a chanting and substantial Intro to give thanks before setting into the first tune, the crucial 'Life Is Worth Living'. Checking in at just south of five minutes, the hearty opener is the album's longest offering by fifteen seconds and while I'm not going to call it the best, it's up there and it definitely does enough to draw you in and at least start the feeling that maybe you're listening to something that is about to be quite strong. It covers everything that subsequently proves to be true about "Brand New Day". It sounds very nice, lyrically it's strong, especially so later on, and again, it makes you want to continue on.

"Nuff people nah know love

Cause if dem know love, dem woulda uphold love

Dem waan fi reap and dem neva yet sew love

LIE WID DEM AND AH RISE UP WID GRUDGE"

In continuing on, next you'll arrive at, coincidentally, a tune called 'Uphold Love' that carries a SWEET old school riddim with subtle modern nuances. This one is just delightful. Even with that voice, Jah Garvey finds a vibe and settles in, making for a very pleasing tune. The song charts a few different directions but the lasting one, at least for me, is the idea that not EVERYTHING has to bother you. Sure there're somethings that are very important and require your fullest attention but not everything is there... most things aren't, actually. 'Pressure' is a track that sounds directly out of Chuck Fenda's catalogue. The social commentary is something Fenda would do, in general, but it also sounds like something, in melody, that would be of his type. It sounds like 'Ruff Out Deh'! While focusing, primarily, on the squeeze faced by the world's impoverished population, Garvey puts forth a fine tune and one that is also catchy and entertaining, with a FULL type of feeling. It even ends with a 'BAND' sound to it, as if, CLEARLY, recognizing that the moment called for such a wrap up. 'Help Us' is exactly what it sounds like, as the chanter calls upon The Highest of all powers in a plea for a helping hand. The riddim on 'Help Us' just may be THE finest on the whole of "Brand New Day" and whoever plays drums on that song deserves a bonus! Garvey makes the most of it as well and turns in what is easily one of the album's finest pieces altogether.

"I see Mama ah bawl and Papa ah cry

She seh that it hard and him ah seh things dry

Whoi, Jah how longer will they deny

Poor people of them rights

Help us, His Imperial Majesty

Help us, King Selassie I!

Guide us inna this ya perilous time

Never lead us to die!"

A very brief Midtro, where Jah Garvey, essentially, says that he is inspired by the music he hears to do his part and we continue on to the next batch of songs beginning with the title track. I don't LOOOOOVE 'Brand New Day': It's vibes are just a bit too.... happy, for my tastes but it is a solid track and serves up a few clever shots from Garvey like, "No put ya shoulda to di wheel when di wheel caan turn. Nuff no waan work but dem waan earn", as Garvey sets out with an anti-laziness anthem for the masses. It does work, ultimately, I just wish it were slightly HEAVIER but that's just me. I had no such concerns with 'Heavenly Father' which is good enough to at least enter the conversation regarding the album's best. Fittingly, 'Heavenly Father' is a HUGE praising piece which comes with a very nice feature. A great deal of this song exists in the tangible world. It is a spiritual record but I'd argue that most of its ideology is of the social-commentary variety; as if Garvey is saying that the further we go from the teachings of His Majesty, the more trouble we encounter. To that point, the song is also EXQUISITELY written. Jah Garvey says somethings on this tune that made me rewind it several times and made me smile. It is the type of thing you LOVE to see on songs such as this, which can often be overlooked given their preponderance in Roots music. 

"Buss open di vault, reveal dem dark deeds, yes

For what dem do to wi Almighty nuh pleased, yes

Think a now dem ah try cut wi speed, yes

ASK MI IF DEM A DEVIL, I'LL ANSWER 'INDEED, YES' "

That is how a song goes from being compulsory and obligatory and becomes CRUCIAL and MANDATORY. Following 'Heavenly Father' is a pair of offerings which don't particularly sound much alike at all but I've come to link them and for more reasons than because their right next to each other. The first few times I heard both 'Welcome To Spanish Town' and the familiar sounding 'Fi Wi Bizniz'... I wasn't huge on either one but after a few spins on... I'm... well, I'm huge on both of them. The former doesn't have the greatest of melody and is a little messy to be honest but the heart behind 'Welcome To Spanish Town' is what pushes to a higher level of quality, in my opinion. That isn't a trait that IMMEDIATELY jumps out at a listener -- unlike a great melody -- and it does take some time to build but if you do venture to give him the time, Jah Garvey will reward you for your time and curiosity.... riddim isn't great but it isn't bad either. Former single, 'Fi Wi Business', on the other hand most certainly DOES have a great riddim but it can get a little difficult to listen to. He's rather fond of the song's title and probably says it a hundred times or so during it and you can find yourself getting full-on DISTRACTED by hearing "wi no bizniz" over and over again. However, in between ALL of the biznezzes, Garvey dazzles. Insofar as the song will allow it, with all that damn bizniz flying around, he manages to make a serious impression, lyrically and, perhaps, that was the point all along?? Write a good song around this unusual, heavily used, punchline.

We move on and, following the "Ontro", we arrive at a very impressive batch of tunes on "Brand New Day", beginning with 'Frontline'. You get a very nice almost dubbish backing here which Jah Garvey uses to support his message of progression and overcoming obstacles of all sizes. He does better lyrically than he does with 'Frontline' on the album but from the standpoint of a more grizzled Reggae head, like Yourself, you will REALLY enjoy the sonics of 'Frontline' and it isn't poorly written at all, actually. Next some serious fun comes in on THE song that I was most happy to hear on an album such as "Brand New Day", 'Sound Killa'. You know what goes on with this one but I was so thrilled by its presence because it represents a SENSIBLE CHANGEUP for an album like this one. It's not Jah Garvey... making a gal tune about some type of foolishness or some sappy ass love song either. It's a piece which snuggly fits into the culture of the album and you can really tell that he had a great deal of fun in making it and singing it. "Brand New Day" would lose something if 'Sound Killa' were NOT here. Something else that wraps up nicely here and is, in fact, my absolute favourite tune on the album is 'Chalice Load'. 

"A chalice load a day!

It keep di doctor away

That's why mi blaze it!

Keep di kutchie a fyah blazing

Yeah from all dem pharmaceutical

All drugs weh a chemical 

Herbsman stay original

it open third-visual and gi yuh powers weh celestial 

So no class herbsman as no criminal 

Yes, si dem crack and dem cocaine

Dem ting deh wi no want inna wi vein

Wi no waan feel no brain strain

WI NO WAAN GET NO MIGRAINE

NUTTIN FI MEK WI INSANE"

Hustling ability - really necessary 

Herbalist lifestyle require nuff money fi di simplest thing like some wild bees honey

Genetically modified, new genetically-

A di energizer, spiritually and physically

Mek wi cultivate and keep wise

Tour 'round di world right in fronta wi eyes

Di healing plant weh dem criticize a di biggest investment inna nuff enterprise

Mi realize

Mi soak and dem surprised

All di ganja from di ship, to di plane

Coulda di sun or coulda di rain

Highest set of grain, standard haffi maintain

New generation, edify yuh brain

New world order mek it hard fi attain

Di global legalisation, wi nah stop campaign"

BOOM! 'Chalice Load' accomplishes BUCKETS in its time going and it does so effortlessly! The vibes are so nice and easy and malleable. It seems like Garvey could just keep on going on and on without missing a beat and he does not on this mighty ganja tune. Remember when I said that Jah Garvey's style contained just a hint of passionate Dub-poet DYCR? If you're looking for it on this album and have yet to hear it, I would suggest you turn your ears in the direction of 'Rise'. While he does actually give a damn about things such as melody, for the most part -- and that isn't something you can say about DYCR for obvious reasons ­­-- Garvey has glimpses, especially early and later on, where he almost appears to be zoned in and just speaking his mind without any filter at all. Actually, there're segments near the middle portions of 'Chalice Load' where he demonstrates a similar approach. To my opinion, these're some of the most stirring on the album and bona fide highlights. Yes, you could very well make the case that 'Rise' is a little... unkempt, but for all of its disheveled-ness, what lies beneath is a very power piece. The final three songs on "Brand New Day" feature both of its two combinations, with 'Long Time' & 'What I Dreamed' featuring Quality Diamond and Uri Green, respectively. I've ran into a bit of Quality Diamond's music through the years and he has this captivatingly RIGID delivery; and I mean that in a good way. It well sounds like something born out of an older generation and, when he's on his game, it works for him. Both QD and Garvey are in fine form on the social commentary 'Long Time' and were I not tired of writing lyrics, I'd have a lot of fun with this one as they both leave us with GEMS such as, "...while in every major city there is a whorehouse. System designed fi wi end up in poorhouse". The riddim on 'Long Time' is sublime as well. Though not quite as strong, 'What I Dreamed' is a solid selection. I can't recall hearing from singer Uri Green prior to this track and he definitely has what I would call an unusual voice. It's almost robotic sounding, which doesn't sound very flattering and, perhaps, if I listened to more of him, I'd have something 'better' to say about it but I'm not unhappy with how he sounds on 'What I Dreamed' but it well has an awkward vibes to it which isn't totally wasted on me but still has some growing to do as well. Sandwiched in between the combinations is the fiery 'Knowledge' which also had some gestation to do for my tastes and it did begin to rise, eventually. Like several songs on this album, the winner of 'Knowledge' is Garvey's lyrical prowess. Another torrent of words, the song thrives, despite a rather odd pacing with an aggressive delivery over a more laidback riddim. Listen to it the first time and you'll come away thinking it pretty strange but go back for seconds and thirds, if necessary, focusing on what the man is telling you and you gain a new perspective on what is, actually, a pretty big record. An, of course, following an Intro, Midtro and Ontro, "Brand New Day" ends with an Outro where Garvey thanks us all for listening. THANK YOU FOR SINGING! 

Overall, "a pretty big record" is not only fitting for 'Knowledge' but it also applies to the entire album. It is such a refreshing way to be introduced to someone while they're both in a fine form but CONSISTENTLY so, over the course of an entire album. I've since listened to some of his other releases and I can say with supreme confidence that "Brand New Day" is his best body of work by some distance and I'm not going to say that I'm now going to be "waiting with bated breath" for the next time he releases anything but for one single moment here, HE GOT ME. I will say, however, that even in listening to some lesser work from Jah Garvey, the man just has a way with words. He's had one album since this one, 2021's "Girls Dem", and it isn't very good. It just isn't and I'd even go as far as to say it's pretty BAD, actually. Lyrically, though, it still has its charms and you hear in flashes what comprised the real showcase of "Brand New Day". So, maybe the next time you find yourself going through releases and you hear a clip of something that sounds like it might be the start of something powerful, definitely feel free to do a little digging as, if you do, you might uncover someone like Jah Garvey and who doesn't love a good underdog story! Excellent. 

Rated: 4.5/5

Dadaras Records

2020

{Note: Intentionally tried to write this review without the usage of any () and I think I made it!}

A Machel's Dozen

Okay so, 2026 has now seen Soca supernova, Machel Montano, overtake the legendary Lord Kitchener (and everyone else) in securing his record twelfth Trinidad Road March title. It's taken him not even thirty years to accomplish (which is very low if you think about it: It averages greater than a staggering two wins every five years) and that definitely deserves an 'Encore'! It also deserves quite a bit of recognition and observation and today we're doing our part! Let's take a look back at the road to #12: A Machel's Dozen. 

1997 - 'Big Truck'

Nearly three decades on now and although it has aged, you can still CLEARLY see the attraction to Machel's first Road March winning effort, 'Big Truck', as still a member of the Xtatik Band. As most certainly basic as it was (and still is), 'Big Truck' was also damn infectious (....and it still is) and, in retrospect, absolutely perfect for the road. The music has definitely changed over the past thirty years but its core appears to remain intact and 'Big Truck' was your locked and stocked Soca tune that checked all the boxes and.... it still does.

2006 - 'Band Of De Year[BODY]' featuring Patrice Roberts

It would be nearly a decade before Machel would take the road again and when he did.... I'm fairly confident in saying that 'Band Of De Year' is my single favourite song that Montano has ever done that has actually won Road March (I may favour others (like 'Rollin', for example) that didn't take home hardware but 'BODY' is at the top of this particular mountain). Why, exactly? First of all I absolutely love the fact that it not only finds a melody in the madness but its melody almost threatens to overwhelm the chaotic nature of the song at times and, at its end, that's what happens. You walk away from this one lost in some non-rage inspired fit of euphoria and it is GORGEOUS! Machel's music typically does that when he's in-form but this is even higher than 'usual'. Furthermore, the song brings back a time when Machel Montano routinely paired with someone whom I think he did some of the finest work of his entire career with, the PERFECT sidekick, Patrice Roberts. Someday, HOPEFULLY, we'll get it back but what they left us with was top notch and few were better than 'Band Of De Year'. 

2007 - 'Jumbie'

I just told you about a song that I thought may be my favourite on this entire run and while I'm standing by that (at least for the moment), if something were to push it or come in as a '1B' it would likely be the song which would net Montano his third Road March title, the very next year following his second, the ghostly 'Jumbie'. Again: Maybe you aren't the biggest fan of Soca and Power Soca, in particular, but listen to this song. Isn't it catchy and just nice to listen to?? Maybe it is a bit too much for you and that would be what would separate you from Soca head but somewhere in there is just A VIBE! What came with that vibe was ridiculous. It was heinous and it was disgusting and I loved every second of it. 

2011 - 'Advantage'

Ridiculous to think that it's now fifteen years old, 'Advantage' is another of the best of the bests for me on this list and it's very simple; I won't overstate it AT ALL. 'Advantage'. 'Advantage' was a BEAUTIFUL MADNESS. It was insanity "of a certain kind" (biggup Gentleman) and the absolute highest level possible. It did not sacrifice a melody -- it's in there -- but this was a refined chaos the likes of which you very rarely encounter.... and an acrobatic Soca Monarch winning performance of this one did not hurt either.

2012 - 'Pump Yuh Flag [PYF]'

In its day and probably to this day I may not have given 'Pump Yuh Flag' its due credit. I'm going to owe that fact to a tune by Fay-Ann Lyons by the name of 'Miss Behave' which likely garnered the vast majority of my attention that same year though I will (begrudgingly) admit that 'PYF' was a better choice for Road March (though 'Miss Behave' was a better song!) given what it does. You take a seemingly customary Power Soca tune that very coyly injects a bit of PRIDE on the road and you end up with this one. Lift up your flag, whichever it may be, and be proud of it! DONE!

2014 - 'Ministry Of Road [MOR]'

Sometimes you just run out of space and you need MORE. Machel Montano and co. set out to give you just that with his stellar 'Ministry Of Road' from a dozen years ago now. If such a thing is even possible on a list of songs that are only on the list because of what they've achieved - I think 'MOR' has been a little underrated to a point. It is better than certain tunes here that are more popular and even better regarded by the masses. This song, from purely how it SOUNDS, is top notch and pinnacles with, undeniably, one of the greatest choruses here... and that is definitely something big. 

2015 - 'Like Ah Boss'

"Everyday it's fete

I come out to fete

I bet I feting MORE THAN YOU

It's sweat

I come out to sweat

I wet

I sweating MORE THAN YOU

I come to whine & jam and I sure to catch it MORE THAN YOU!

Cause when I feting off-course

I just do it like a boss

I feting morning and evening!

This is my home, I'm not leaving!

I can't over this feeling!

THIS FEELING! 

I Just want to play mehself

Leave me, let meh play a mas

I just want to whine on something

I CAN'T LET NO BUMPA PASS

Mi pride in the lost and found

Watch me, how I whining down

I all on the dutty ground

And nothing can stop me now!

This whole year, I live for the Carnival

And I know, that it will be magical 

Misbehaving, and I doh care at all

SO DONT TRY STOP MI, I'S A PROFESSIONAL!"

You'll think of LYRICS and Soca and Trinidad and, of course, Bunji Garlin comes most immediately to mind and with good reason but do not sleep on, for what it was, the borderline genius that was ultra-popular 'Like Ah Boss'. 

2016 - 'Waiting On The Stage'

Maybe it was just me or maybe it wasn't but... wasn't there something kinda EVIL about 'Waiting On The Stage'??? The Badjohn Republic produced track had this wickedly intoxicating and pulsing intensity behind it that makes it a standout even amongst one or two songs that I may hold in ever so slightly higher regard. With that being said, however, make no mistake about it: Whatever 'Waiting On The Stage' had going for was well powerful enough to see it sitting at least in range of the very best material that Montano has ever done in my opinion. 

2018 - 'Soca Kingdom' featuring Super Blue

Here's a really interesting one. On paper, 'Soca Kingdom' lights up. It links Machel Montano with the legendary Super Blue who is, himself, one of the most decorated Soca stars in history; with TEN Road March titles of his own and a record SEVEN Soca Monarch crowns (including the first one ever) (and he's also, biologically responsible for even more hardware as the father of both multi-time Road March champion and former Soca Monarch, Fay-Ann Lyons and Terri Lyons (who just won her second Calypso Monarch crown this year). So you bring THAT type of talent to one song and it's no surprise the attention that it would receive. As for the actual song, while I can't call it a favourite of mine anymore, I have to confess that that, SOMETHING happens to me when I hear the beginning of 'Soca Kingdom'. Possibly because I haven't heard it much in recent years (but whatever it is), when this tune jumps on I get the feeling that something IMPORTANT is about to happen. That intro before what ultimately becomes the chorus is.... royal and wholly befitting of a kingdom with two kings. 

"FORWARD IS NOT ENOUGH

I WANT YOU TO JUMP UP" 

2019 - 'Famalay' featuring Bunji Garlin & Skinny Fabulous

There was just all kinds of magical goodness behind 'Famalay'. RIDICULOUSLY, the song would mark the very first Road March win by the great Bunji Garlin as former rivals, Montano & Garlin, would unite to produce, arguably, one of the most memorable Soca songs.... like ever. Furthermore, not to be forgotten is the presence of the always flaming Skinny Fabulous who would become the first non Trini to win Trinidad's Road March. What the trio would come up with was absolutely fantastic and it was also heavy, Power Soca music with a message. 

"We don't see race, one or the other

ONCE HE IS BREATHING ON THIS EARTH, HIS IS MY BROTHER"

The fitting unity anthem checked lyrical boxes. It was infectiously chaotic and one of THE best songs either of the three have ever done. Perfect for the road. 

2025 - 'Pardy'

TRINIDAD most certainly didn't need a reminder but maybe you did: Sometimes you just need to reward yourself for all of that hard work you do. Sometimes you have earned the right to misbehave in a major way. That was the sentiment behind Montano's hit, 'Pardy', which took top honours just last year. Produced by both XplicitMevon and BadJohn Republic, 'Pardy', in retrospect, was an affirmation of something that I've known for a very long time. Soca IS the musical reward of your hard efforts. It just is. It is the musical shot of dopamine that we all require once in awhile (or like all the time) and such a thing definitely deserves celebrating. Enter 'Pardy'. 

2026 - 'Encore'

And for #12, unsurprisingly Montano captured attentions and affections with the GOLDEN 'Encore'. Where 'Pardy' was a celebration of some very particular aspect of things, 'Encore ' was a FULLER experience. It was a total ceremony of a damn song and, following all that preceded it, it was completely appropriate. Get into the body of 'Encore' and attempt to detach it from any type of greater significance and you arrive at such a BEAUTIFUL level of delirium ["SHOW THEM THE TIME OF THEIR LIFE!"], showing a master still well within the peak of his abilities. That's it for now but Machel Montano certainly figures to add at least one more jewel to his gaudy catalogue which is already unmatched in the genre. 

Chezidek Caah Believe!

Beautiful new single off the forthcoming "Marijuana Prayer" album for Tad's Records.

BOOM! 

What I'm Listening To: See Ya January!.... and half of February

"Path To Success" by Torch [Bad-Hasai Muzyk - 2026]

First up is an impressive EP from an impressive artist; both, currently, receiving an impressive amount of attention as Torch touches with "Path To Success". Torch always seems like he has something going on. It may not be "front page news" but he's always got his hands into something and I was so happy to see the early response to "Path To Success" because it appears that he may've leveled up to some degree with this one. Actually listening to it, I can see what the hype has been about. The first thing that likely jumps out at you is the artillery, in terms of guests, that Torch brings in. In just seven tunes here, Torch works alongside Junior Kelly, Gentleman and Turbulence; so, OBVIOUSLY, someone thought a lot of this project and put a great deal of effort (and money) into making it happen. All three guests turn in fine performances but, to my opinion, Junior Kelly (more on him in a second) stands the tallest as he joins on 'Perseverance', which is the single best thing that I hear on all of "Path To Success". Also check fine solo efforts, 'Don't Give Up' and 'Same Energy' (which is simply outstanding). There's some VERY impressive material on this one and I'm glad that the masses appear to agree. 

 

The Resilience Riddim [Reggae Unite Records - 2025]

Biggup Reggae Unite Records who're back with their ambitious latest project, the Resilience Riddim. Two things about this one caught my attention even before I'd even heard anything from it: The first was the fact that included amongst the five vocal selections was one called 'Ask For' by none other than the ALWAYS welcomed (but damn near reclusive) Montserratian chanter Jah Marnyah. Anytime you attach Marnyah's name to a release, you got me! The other thing that was noteworthy was the fact that, accompanying the Resilience Riddim, was a simultaneously released dub version of the project, courtesy of Sound Guyz & Selekta Zalem. There is some BEAUTIFUL music on this combined set which is well worth a look and listen. Joining Jah Marnyah in handling the vocals are the likes of WELL ESTEEMED veteran, Prezident Brown, Teflon Young King (who is probably almost forty by now), the very young Jah Frozen and others. The Resilience Riddim is a very nice one that reached in late 2025 and figures to be on my players for a bit and should be the same for you as well. 

"Rasta Should Be Deeper" by Junior Kelly [Cleopatra Records - 2025]

Kind of an odd one here but I remember seeing that Junior Kelly has a forthcoming remake of a big older tune of his by the name of 'Rasta Should Be Deeper' and I had no idea why and I also had no idea that it would be, essentially, the first single and title track off of a forthcoming album by the same name featuring several of Kelly's biggest tunes remade for someone named Cleopatra Records (had no idea who they were but they've apparently released this album on a BEAUTIFULLY packaged CD as well if you're still interested in physical media) (and you are). The remake/cover circuit in Reggae has never sat well with me. A few years ago, Luciano release such a set that turned out pretty bad. Back in da day, Bushman sang an album full of old Peter Tosh tunes and I was never a fan of Sanchez' CONSTANT singing of other people's songs with a Reggae washing. HOWEVER, perhaps (probably) due to the fact that I had no expectations AT ALL... "Rasta Should Be Deeper" was better than I was expecting... at least on the Reggae side. Along with redoing some of his own material such as the title track, 'Baby Can We Meet' and, of course 'Love So Nice'. Kelly also does some covers from other artists such as Bob's 'Could You Be Loved', 'Red Red Wine' from UB40 and Eddy Grant's 'Electric Avenue'. Now those??? They're pretty awkward at times but I'm still relatively happy with the Reggae side of "Rasta Should Be Deeper" (and biggup Eddy Grant). 

"Tippy I Meets Nonpalidece: Hecho En Jamaica DuB" by Nonpalidece [Impronta Music - 2026]

Nonpalidece from out of Argentina teams up with the brilliant Tippy I of I Grade Records and the Zion I Kings to make one GORGEOUS piece of music (actually seven pieces) on "Hecho En Jamaica DuB". I won't make this too complicated: If you're looking for some really nice background (and I'm someone who plays music in my house when no one [HUMAN] is here because I think that the plants enjoy it) music, here's your perfect choice. If you want something just to relax to, here's your perfect choice. You want just some NICE sound?? HERE YOU GO! "Hecho En Jamaica DuB" is ABSOLUTELY LOVELY! Along with the instrumentals and production, you'll also recognize some of the vocalists as the likes of Lutan Fyah, Micah Shemaiah, Mykal Rose, Alborosie and others are featured as are the great Bongo Herman & the immortal Sly Dunbar. 

"Better Days" by Chuck Fenda [5th Element Records - 2004]

I'll spare you the details (at least for now) but Chuck Fenda has been back on my radars as of late courtesy of one Jah Garvey (something coming soon) and, STILL, in my opinion Fenda's finest piece of work and the one I most often go back to is his BEAUTIFUL 5th Element produced set, "Better Days" (I hesitate to call it his debut album but I actually think it is). "Better Days" was absolutely loaded and it represented a version of Chuck Fenda who was well within his ascendancy so it was STACKED with big tunes. The biggest draw would have been 'I Swear' ["GIVE I STRENGTH, OH JAH, SO I CAN GO THROUGH! NEVER PRAISED NO ONE LIKE I PRAISED YOU!"] but there was the title track, there was 'The Prayer', 'Jah Sight', 'Mama', 'Serious Times' (which also had a nice run, if I recall correctly), 'Haffi Win' and the MAMMOTH 'Better Days'. Some of this album, I'll admit, hasn't aged necessarily the best (there's a song, 'Show Love' with Luciano, which isn't very good at all, listening to it now) but its heavy class remains just that. CLASS.