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. 

As Expected: A review of Encore by Machel Montano

High. I want to go back to a discussion I was having recently in regards to an album we looked at late last year that was, easily, one of the most interesting and popular releases of 2025; "Exile" by Chronixx. One of the bases (basises???) that I used for the review of that album was to talk about there exists a certain class of artist that we look upon and full-on expect to do special things. That isn't to say that others CANNOT but with this specific group, it can be to the point where listeners will almost assume that special is in the offering and when too long of a period of time has passed without it, CLEARLY something is wrong... amongst ridiculously demanding listeners such as You and I. This time around, however, we're going to have a far more positive and even magnified discussion because I think that the actual PLATFORM calls for it. Reggae/Dancehall is one thing. There isn't a schedule really and if there is one it's set by people who have the ability to set it and delay it as much as they want (you can delay the release of anything and you can cancel a performance - happens allllll the time and it isn't the biggest deal). In Soca though, ass insane as it is to say, things're a bit more rigid. Carnival comes when Carnival comes and, again, the biggest of names are presumed to arrive with the biggest of hits and IF THEY DON'T... it's kind of a wasted season which is awful as the wait shifts to next year. Sure, they'll have other songs that year but it won't be the same as it was for their own Carnival season and that'll be that. Furthermore, isn't there just SOMETHING about Soca (of course there is)??? The music is inherently BIG and DRAMATIC and it often has a competitive intent behind it. So, each and every year, as the tunes begin to roll out, you'll INSTANTLY see calls for 'Roadmarch winner' as soon as ArtistX releases what we assume is their big hope for that season; and sometimes those calls are correct! When they are correct -- at least in my opinion -- given that schedule that they're on and how incredibly easy it can be to trace it back many years later, Soca's stars have the ability to impact their listeners with as much DELICIOUS NOSTALGIA as any participants of any artform on the planet. When they do GREAT, you'll likely NEVER forget it. 

Let's take a look at someone who has been "doing great" for decades now, Machel Montano. While people like me are probably guilty of throwing around the word "LEGEND" far too casually, it fits super snug in Montano's case. He is a legitimate, undeniable legend of Soca and Caribbean music, in general. Still, though now slightly north of half a century of age, Montano is looked upon as being capable of delivering brilliance every season (even when he takes the season off, essentially, from making Soca and focuses on Calypso as he did a couple of years ago and managing to take home Calypso Monarch) and when he doesn't, he isn't seen as having passed his best or any such thing - he is not afforded that excuse (though I did try to place him in that category once upon a time.... never more). 

2025

...and it is apparent that he does not need it. Just last year, Montano would take home his ELEVENTH Road March title, tying him with the legendary Lord Kitchener for the most all time wins (he'll take the crown, alone, at some point) and that's not all of it. Because of the nature of Soca music -- being on that schedule -- albums can be quite simple (and well planned if done correctly). They can either be total compilations of multiple seasons or, as is the case here, they'll end up as a collection of the work a particular artist did for one season (with maybe a roadmix or an unreleased tune thrown in the flesh it out).Going back through his catalogue, Montano has charted several big projects to his name to say the least. On this blog, we have a long running series called 'Modern Classics', were we observe what I feel are truly spectacular albums that have released from the modern era and we reached installment #43 last year. The only Soca album that we've ever covered there was #29, "Flame On". There were also BEAUTIES such as "The Book Of Angels", "Machelements",  "Happiest Man Alive" and several others. Machel Montano belongs to a very select group of individuals in Soca music who actually release albums on an at least semi-consistent basis. Just last year he set out with "One Degree Hotter" which was well received (I didn't particularly like it but a lot of people enjoyed it a lot more than I did) and if you go back to 2016's "Monk Evolution", Montano has now had five albums - averaging an album every other year. Said fifth album, "Encore", now arrives and does so at yet another really BIG time for its creator. Virtually simultaneously, he's also set to release a documentary of his life (which I thought that I remembered from years ago but is, apparently, being billed as new) so, along with the typically atypical madness that a Carnival season presents, 2026 brings with a bit of an added light to, arguably, its brightest star. Fortunately he appears up for the challenge. Along with slimming down a bit, Montano has been in a FINE form, musically, from what I've heard and, because of that, when the news reached that he was releasing an album this year, I got really excited. At least so far (as is normally the case) album shelves have been quite thin coming from Soca. I'm expecting Destra to have something to say about that (maybe more like HOPING, given what she's been up to) but there hasn't been much movement at all so, once again, Montano is helping to carry at least a certain mantle for the genre... 

...and he is doing so damn near FLAWLESSLY. Soca music, in general, has been strong this year in my opinion. The aforementioned Destra has been burning it up as has the always dependable Bunji Garlin; as have the 'usual suspects' in Voice, Patrice Roberts, Michael Teja and a few others. Still, at least for me, it has been Montano and Destra leading the way. That is a fact that is crystal clear throughout the former's big new album, "Encore", which gets up and going with the GORGEOUS and smooth 'Compromise'. Produced by the increasingly crucial Tano, this tune has a couple of things going for it in regards to the album. First of all, like I said, it's outstanding. It's a beautiful and laidback type of vibes but it's also quite catchy and infectious on its own. Furthermore, if you set it as it is here, at the head of the album, it's very inviting and what I'm picturing is maybe someone who stumbles upon this album on some digital site and decides to listen to some clips; the first one they hear will be 'Compromise'. IT WILL MAKE YOU WANT TO HEAR MORE! It is a FINE choice for an album opener and one of the best tunes that "Encore" has to offer, altogether. Next in is a very cool reimagining of an old favourite from the great Travis World, 'Tempa Wine'. The all-conquering original reached over a decade and a half ago and featured Patrice Roberts and I was actually surprised to see it back this year but THANKFULLY the song pays homage to its brilliant predecessor. This time Montano fittingly taps the burgeoning Tempa (Tempa should be on 'Tempa Wine') to handle the accompanying vocals. Tempa's interesting for a variety of reasons (one of which being something unrelated to music that Google can tell you about if you're curious), not the least of which is her style which is more on the Dancehall side than Soca. While I do prefer the original (and always will), this remake definitely works and has a flame of its own and biggup Tempa for adding all kinds of different colours to the tune. Travis World also supplies the foundation for the downright glittering 'Dey-O'. Although entirely too short, what 'Dey-O' manages to do in its all too brief time with us is to GLUE itself to taste. It's a very hard sound to shake and it is IMMACULATE! You want to talk about Groovy Soca (with just a bite of Power) at its absolute finest in terms of how it is presented and you're talking about a track like 'Dey-O', without question. It's one of the best and probably THE most overlooked that Montano has pushed this season. Where the piece before it served up a "bite" of Power Soca, you get the full hundred on the song rounding out the first third of "Encore", the MAMMOTH 'Pull D Pin'. Coming through across the Monkey Business Riddim courtesy of the reigning King Bubba FM, 'Pull D Pin' provides enough carnage for the whole album but particularly near its head. Featuring big talents in Skinny Fabulous with Spice duo Lil Natty & Thunda, this one is CARNAGE. It's messy and sloppy but it's also kind of clever! I remember hearing its direction and being surprised that I couldn't recall someone using a kind of 'natural' grenading metaphor for Soca music. It works and it works PERFECTLY on a song like this which, despite its chaos, brings together big talents and puts them at their best alongside one another. 'Pull D Pin' is one of the best selections from anyone that I've heard this season and I think it speaks to the quality of "Encore" that there is AT LEAST one song carried here that I find better... maybe even two of them.

I mentioned Voice a little while back and he also joins in on the festivities of "Encore" along with Litleboy, from out of Dominica (who also features in production here, with Precision Productions and Montano, himself) who both help to beautify the in flight 'Bam Bam'. 'Bam Bam' is a song that really helps you figure out what's going on with this album if you're still trying to pinpoint exactly where it stands. 'Bam Bam' is FANTASTIC. It's also grimy and disheveled. It may've showered this morning but it most certainly DID NOT brush it's teeth and it didn't have dinner last night either. It's a used gift in a shiny package is what 'Bam Bam' is and you won't mind at all (after you're done with it, put it back in the package and send it to someone else)! Though it is clearly a modern vibed track, my ears something delightfully old school coming from 'Dancing In The Streets' which features Montano alongside the well talented (and GORGEOUS) Mela Caribe. I hear a few different styles in this one and maybe Calypso is one of them (AND THOSE DRUMS!). Regardless, there is something in this song that is so damn comfortable and familiar that it is difficult to ignore. Apart from that (along with that), it's just an excellent song as well. Caribe's vocals are top notch, especially for this type of sound and, again, the mix is so right. You hear so many different influences put into that pot, by chef/DJ Private Ryan, making for one VIBRANT piece of music.

"Feels like freedom

Sweet love

When we hear THE DRUM"

"Encore" also features the star power of one Nailah Blackman (who seems to becoming a bigger and bigger deal every time she makes a song) (and with good reason) who helps Machel Montano to 'Elevate' on a tune helmed by Private Ryan & Badjohn Republic. 'Elevate' is CANDY. It will make your ears feel good and it will also bring a smile to your face (I've tested it. I'm listening to it RIGHT NOW and I'm smiling). The peak of this one is as gorgeous as anything else that you'll find on the album and I want to use it to make a point about Blackman's style, in general. She has way, VERY SIMILAR to Montano's himself, of making these big, POWERFUL, pieces which are chaotic and frenetic but completely CLASSY (Destra does that as well). That doesn't work for everyone and "for everyone" CLASS isn't necessarily a good thing; but you have these songs and they're filling you with such a great emotion and an intensity - sometimes it's pretty difficult to stop and appreciate the musical ability that they require to be made. It isn't all 'jump and wave and misbehave' (not that there's anything wrong with that) or 'break something', there's a beauty in that madness and Nailah Blackman has it nailed! She's a damn specialist and it vibes so well alongside someone like Montano.... and pretty much anyone else. She's awesome. Of course, that isn't to say that there's anything wrong with BREAKING STUFF as evidenced by the next and BEST song on "Encore", the truly ridiculous 'Move Out D Way'.

"THE WHOLE WORLD MASH UP"

Travis World returns to production for the tune and he brings with him the up and coming Paris Coutain. Coutain (who ever-so-slightly resembles a young Nasio Fontaine) (biggup Nasio) is someone to keep an eye on (and biggup Machel for bringing in people like Paris Coutain, Tempa and Litleboy, shining, probably, the genre's biggest light on their considerable talents) (you might even be able to include Lil Natty & Thunda in that and, once upon a time, he did the same for Skinny as well) and if you are unfamiliar with his work, here is a fine time to become acquainted. 'Move Out D Way' is fucking nuts! It's dangerous. It's harmful. It does not promote safety or good behaviour and it is my kind of Soca music: That SWEET shot of adrenaline which the genre alone can deliver in such a way!

Trailing not very behind, AT ALL, is the actual song, 'Encore'. I hear this song what has begun to stick with me about it is the level of reverence Machel Montano has for Soca music and Carnival; as if he hadn't demonstrated that endlessly throughout the years. Helmed by ace producer XplicitMevon (filthy run that man has been on), 'Encore' is a living, breathing tribute to Carnival and Soca music and it is OUTSTANDING. Clearly thought to be his signature tune of the year, it does not disappoint and it COMPLETELY embodies what I mean when I say that we expect special things from special talents. On 'Encore', Machel dazzles from the preparation ["Frontpage is where legends belong but BACKSTAGE IS WHERE LEGENDS ARE BORN"] that goes into it (that he's been doing for years, straight through the final product that we get to see. 'Encore' IMMEDIATELY goes down as one of his finest efforts in recent years and I wouldn't be surprised if it nets him a consecutive Road March crown in a few days. "Encore", the album, also gives us a "Stage Mix" of 'Encore', done by Madness MUV, D Ninja and the very popular DJ Marcus Williams (whose work I routinely workout to). It's, essentially, a roadmix (I actually think it is the song's official roadmix) and the typical things that go into such mixes are present here as well, though it doesn't detour too much from the original during its initial stage before... becoming entirely more interesting during its second half. It is refashioning of a fantastic song and it's more than three minutes longer so there isn't a damn thing to complain about here. You also won't get much (or any at all, actually) fight out of me against 'Carnival Birthday', which taps frequent Montano collaborator, the legendary Super Blue. 'Carnival Birthday' is kind of cursory and very straightforward but I will give it its due credit: It is VERY FUN. I know what you're thinking.... they're all fun; and you're right. They are. But what this one, specifically, has going for it is that "cursoriness" that I mentioned. 'Carnival Birthday', literally, just sounds like Montano called up Super Blue to make a song for 2026 and... that's what they did. They weren't trying to win anything or change lives anywhere. They set out to make a very light, fun and intoxicating Soca song and that is exactly what they did. Finally is the albums definite changeup, 'No Wayyy' (because one Y simply could not do it justice). If you listen really closely (or even if you don't), you'll hear the Sleng Teng Riddim (of all things) playing in the midst of... a lot of other things. It's a SWEET tune, sopping with nostalgia (and a dash of oddness) and just an interesting track. It would have been even better had Montano employed more of an old school delivery but he does give it to us at the chorus and creativity, when done this well, is only to be rewarded. 

Overall... special things. Machel Montano does not walk to the head of the class on name value alone. It surely will help him to a degree (a degree that he has earned) but when he does get there, he has to deliver. "Encore" is a HUGE example of him delivering. The Soca head is beyond my recommendation, he/she already knows what's going on here but I will recommend the album as well to someone maybe thinking about getting into the genre. It is such a WELL DONE, complete piece of work that if you do have ears for the sound, I don't think you get very far into this one without getting hooked by something. We look to people such a Machel Montano to lead the way in defining the sound of a generation and maybe even a few generations following his because they show themselves capable of doing things EXACTLY like what is found on "Encore": The best Soca album I've heard in a long time. 

Rated: 4.85/5

Monk Music

2026