Jovexx

Can a mere singer/songwriter draw in and concentrate the kind of emotional power that without warning stop a community, in the midst of whatever it is doing and stop old women on the way to church, stop a hairdresser in her shop, stop the young crocs and the killy in their tracks, turn young potential gun men into drummers, let a con man for a day become his better self, stop the prostitute about her business, make other singers and deejays afraid  -- with powerful vocals, soul and genuine lyrics from the heart? Believe you me, I know one such artist and as the title suggests… his name is Jovexx or as his mother knows him Jovian Jackson. You may have already started hearing some of his songs on the radio, maybe you are an early adopter from facebook or instagram, one thing however is certain, you will know Jovexx, he will be a household name in Jamaica, and amongst the pantheon of Montego Bay’s major icons, Queen Ifrica, Tommy Lee Sparta and Jah Cure.

Do pop music lyrics matter? Do reggae and dancehall lyrics matter? Should culture-watchers and pop vulture be giving them the kind of rigorous, deconstructive attention now reserved for the high arts, great literature and an occasional movie? Most of the activists in the street I know believe that these songs and the words in them matter immensely. Cultural analysts should not be left behind. If movies are now our novels, then reggae and dancehall music lyrics may be the closest thing we have nowadays to a mass-marketed poetry, shaping attitudes and emotions for an audience that is, to say the least, extensive.

So when you hear lyrics like “mi agree seh life too hard but mi nah sell mi soul fi nuh round of applause, many live them life in the fast lane, but mama seh it never too late fi Jah Jah fall rain, so mi jus agwaan wait mi turn, time is the key the more you live the more you learn, a just the life weh we live, thanks we a give” or this verse from another song… “we keep holding on, all when the storm and the pressure is on, mi draw fi mi Bible and chant a Psalm,  and when one door close mi carry on, oil and powder them set fi man, the most always kept mi strong, them seh mi nah go mek it but them is wrong, a just my time me waiting pon”

His songs are melodic and filled with bluesy voice and his carefully wrought tales of characters in contemporary Jamaica, that the average person who seeks meaning in the face of society’s evils and havoc can readily identify with. When Jovexx belts a line like “mi nuh sorry mi live a garrison, mi never sorry the way mi born poor, so tell them we proud a weh we come from, ghetto yute haffi make it I sure, is like dem nuh see it seh we a human being, nuffa we pain dem ignore…” I have seen men and women eyes well up with tears.

The way I view this Artiste, it is as though he is a bridge between the Seventies folk and cultural movement and the more socially conscious folk and arts musical revival of the today which Chronixx and Protoje are hailed for. Jovexx's strong convictions, which are relayed in the lyrics to every song in catalogue paint a vivid picture of the struggles that young people, particularly those in Montego Bay, are experiencing now. His message resonated so strongly that he has already amassed a wide following. Jovexx’s stunningly captivating voice is front and center. Whether his lyrics are hopeful or chilling (often both within a single song), this material has a depth and substance well beyond his years. I know this for a fact not hype or fluff talk.

I have known Jovexx since 2014, I met him while assisting another artiste with his career. On our way from a video shoot in Lucea I got into his vehicle. On the way back to MoBay, someone played a riddim in the car, but he started Singjaying a song that sounded beautiful, so I asked him to sing it again, but he said “Rasta, if you never ketch it pon you phone it lost in the wind, caah mi just a mek up supm and gallang pon the riddim and right now mi a drive and mi frass so them lyrics nah come back again!” And I have watched enough Documentaries on true genius and been blessed to have rolled with a few, to know when I am in the presence of it. Plus I’d like to believe the genius in myself recognizes it in another. But as fate would have it, being the way I am, I never wanted to run in on someone else bandwagon. Plus rolling with artistes was proving a little unrewarding since the artiste was rolling with at the time would rather by gunmen 20,000 hennessy at the parties than pay for his bio or help getting a known director from Kingston to shoot his video, nagging industry friends in high places to get him on Morning Time etc etc etc.

But as fate would have it. One Friday morning March 2016, I come down the road in Paradise just in time to see Jovexx stepping out of his car as Stumpy urged him forward, “come in mi artiste, buy wi a liquor and sing song fi mi caah yuh haffi buss, a you alone mek me eye full a water and goosebump tek mi… come in come in” That morning when I asked about the music he was lukewarm as in unsure of where it was going for him. Anyway under the influence of Stumpy he belted out quite a few songs, there was a magic in that moment and I was glad I remember to take out my phone and press the red dot on the video camera… I left the road roughly 12 midday, posted the video of the four songs… when returned in the evening there was more than a million views on Facebook, women and men messaging me from California, New Orleans,England, Italy, producers from Kingston, Twins of Twins, my inbox was more than I could navigate.

Now this is not a promo piece, nobody asked me to write this, I am writing this because too many time great artistes come from Montego Bay and maybe the local papers missed them early or they waited for media in Kingston to validate them as artistes of substance, no not this time… The Mirror and Montego Bay needs to validate our own first, so before you read about him in The Gleaner or the Star or Rolling Stones Magazine, remember, you saw it first in your town, your newspaper, your own legend in the making… Jovexx, go check him on Youtube… from singing on the streets in Paradise to global studios, don’t be the last to know.

Western Jamaica's Burgeoning Conscious Community

When one thinks of poetry, dub, culture, history and the arts in Jamaica, most people think Kingston, Edna Manley, Red Bones Cafe, The Ranny Williams Centre, Reggae revival, Jah 9, Protege, Jesse Royal, Kabaka Pyramid, Chronixx, Damian Marley...

Stretch your brain now and see if you can think of any Western Jamaican musicians in that vain... I am willing to bet you couldn't think of any or know any. You do know they exist though right? It is time you know artistes like... new western Jamaican artistes Mentor, Lij Tafari, Lusion, Jovexx, Antwain, Marley Fire, I-Mara, Raydaar, Teacher Dee, Naphtali/Omar, Okonko, Kempo and The Young Jamaica Ensemble these are names represent a western Jamaican authentic arts and reggae musical experiences to be had, if one is going to say they are an adept aficionado of western Jamaican music. Other names like Kolumbo, Mycus Chip and Fury echo of the quasi-street conscious ethos of Jah Vinci's calibre, with shades of both dancehall and reggae in their game. This generation of artists is worthy successors to Montegonian reggae and culture legends like White Mice, Jah Cure and Queen Ifrica. With regard to dub poetry, names bubbling in the local market are Blabber, Kofi Kulcha, Skripcha, Marley Fire, Venise Samuels amongst many others.

This crop of artistes offers cultural enrichment and entertainment that isn't available elsewhere in Jamaica. The hub and foundation of much of the stunningly beautiful music being made in Montego Bay, with amazing insights and great beats, is created in The People's Arcade and Coomb's Lane. Upcoming studios like Skull Yard and foundation studios like Victory One, Vidal and Half-a-Dread are helping to propel both new artists while keeping grounded with foundation artistes. Out here, being produced in the west are songs to dance and vibe to as well as deep cerebral lyrics to creep inside of and crawl through your psyche. This music takes you outside your conventional conceptualization of Jamaican music as most popular Jamaican music is Kingston based, biased and centred. These western Jamaicans give you a different perspective. A true reggae aficionado can no longer ignore the energies being emitted from Western Jamaica.

Although the mainstream often associates contemporary Jamaican music with the harder dancehall of artists like Beenie Man and Vybz Kartel, the Jamaican listenership has an under-reported love for melodic pop and smooth flows. Downtown dances play Celine Dion, Kenny Rogers remains popular and local supergroup L.U.S.T. – Lukie D, Trilla U, Singing Melody and Tony Curtis – scored a hit with a cover of Air Supply's "Just As I Am." Today the airwaves being taken over by local music station Fyah 105, has re-proven that Jamaican ears hunger and are eager to hear global rhythms, and join the procession of new music and musical global consciousness that is flowering all over the planet.

I say to you now, go research these names, these artists... listen to my sampling of videos... witness the blossoming of Mobay Music... the western consciousness revival!