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.
"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.
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