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Global Reggae Charts - Issue #11 / March 2018

Inside you can find the latest reggae album, single, and riddim charts based on votes by radio DJs and music directors from around the world.

Inside you can find the latest reggae album, single, and riddim charts based on votes by radio DJs and music directors from around the world.

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issue # 11 | march <strong>2018</strong><br />

feature<br />

<strong>Reggae</strong> Careers<br />

in the Internet Age<br />

Part II<br />

artist of the month<br />

Micah Shemaiah<br />

Philipp Kause-<br />

Germany<br />

global reggae charts | issue 11 / march <strong>2018</strong>


global reggae charts | issue 4 / august 2017<br />

<strong>#11</strong>


editorial<br />

Welcome to a new edition of the <strong>Global</strong> <strong>Reggae</strong> <strong>Charts</strong>!<br />

The hardest winter days are (hopefully!) behind us and spring is slowly but surely approaching.<br />

With the sun returning, the appetite for good vibes and positive music grows, too. Which is why<br />

the behind-the-scenes preparations for the reggae season are in full effect around the globe. The<br />

same is true for the <strong>Global</strong> <strong>Reggae</strong> <strong>Charts</strong>. This is issue <strong>#11</strong>, which means our first anniversary edition<br />

is coming closer. We want to get some major updates done by then.<br />

We will unveil more about the changes in the upcoming weeks. Some of them will be related to<br />

our website, some to the content, and others to… well, you’ll find out. One update, though, requires<br />

your participation and some more preparation. So let’s talk about it for a second.<br />

One of our goals is to increase the interaction with you, the readers and followers of the <strong>Global</strong><br />

<strong>Reggae</strong> <strong>Charts</strong>. A format which I’ve liked for a long time is the mailbag: readers send their questions<br />

and receive thoughtful answers (I think Bill Simmons is the master of the format). Since, at<br />

least to our knowledge, there is no reggae mailbag, we want to launch it. And that’s where you<br />

come in:<br />

We need your questions and observations about everything that’s new and interesting in reggae.<br />

Whether you want to know more about your favorite artist, want to discuss a new video or an<br />

artist’s marketing strategy - we are interested in hearing from you!<br />

By establishing this format, we want to tackle more of the topics that you care about - and at the<br />

same time get to know our readers better. Thus, we want to turn the reggae mailbag into a regular<br />

feature going forward. We have created a dedicated email address at mailbag@globalreggaecharts.com.<br />

It would be much appreciated if we could get the Qs coming and a cool reggae<br />

mailbag going!<br />

And now, enjoy the new edition of the <strong>Global</strong> <strong>Reggae</strong> <strong>Charts</strong>. As always, they are packed with a lot<br />

of reggae goodness!<br />

Cheers<br />

Thomas<br />

Thomas Euler is founder of the German reggae & dancehall blogazine whagwaan-magazine.de<br />

1<br />

global reggae charts | issue 11 / march <strong>2018</strong>


Album single <strong>Charts</strong> | top 20<br />

Period<br />

Ending 28/02/<strong>2018</strong><br />

Contributing voters: 58<br />

europe<br />

# LM 2M PK Mo Artist Single Label<br />

+ 1 - - 1 1 Capleton & Chronixx Help the Weak ZincFence<br />

↑ 2 10 - 2 2 Koffee Raggamuffin Frankie Music<br />

3 3 10 3 3 Koffee Burning Upsetta<br />

+ 4 - - 4 1 Kabaka Pyramid Borders feat. Stonebwoy Ghetto Youths International<br />

5 1 1 1 7 Alborosie Living Dread Baco<br />

6 2 8 2 6 Black Uhuru Jah Guide feat. Bugle Ajang Music<br />

↑ 7 9 2 2 4 Jah9 Feel Good VP<br />

↑ 8 15 - 8 2 Joe Pilgrim & The Ligerians Migrants Soul Nurse<br />

+ 9 - - 9 1 Micah Shemaiah Roots I Vision Evidence<br />

+ 10 - - 10 1 Protoje Bout Noon Mr Bongo<br />

+ 11 - - 11 1 Joe Pilgrim & The Ligerians Use Your Time Soul Nurse<br />

+ 12 - - 12 1 Dre Island Yaad N Abraad Digi Killaz<br />

+ 13 - - 13 1 King Kong Old School feat. Burro Banton & Pinchers Irie Ites Records<br />

+ 14 - - 14 1 Shaggy & Sting Don‘t Make Me Wait A&M<br />

15 6 - 6 3 Lila Iké Gotti Gotti In.Digg.Nation<br />

16 7 3 2 6 Protoje Truths & Rights feat. Mortimer Mr Bongo<br />

17 11 20 11 5 New Kingston Come from Far Easy Star<br />

↑18 19 - 18 2 Stick Figure Easy Runaway Ruffwood<br />

+ 19 - - 19 1 Katchafire Love Today Lion House<br />

+ 20 - - 20 1 Tarrus Riley Haunted Diwali<br />

Capleton & Chronixx<br />

Kabaka Pyramid<br />

Joe Pilgrim & The Ligerians<br />

Micah Shemaiah<br />

Katchafire<br />

# = this month’s position on the chart LM = last month’s position on the chart 2M = position two months ago<br />

PK = peak position MO = months on the chart ↑= signifies upward movement + = new entry<br />

global reggae charts | issue 11 / march <strong>2018</strong> 2


Album <strong>Charts</strong> | top 20<br />

Period<br />

Ending 28/02/<strong>2018</strong><br />

Contributing voters: 53<br />

europe<br />

# LM 2M PK Mo Artist Album Label<br />

↑ 1 7 - 1 2 Sly & Robbie and Dubmatix Overdubbed Echo Beach<br />

+ 2 - - 2 1 Micah Shemaiah Roots I Vision Evidence<br />

3 2 1 1 5 Jesse Royal Lily of da Valley Easy Star<br />

4 4 3 2 8 Damian Marley Stony Hill Republic<br />

5 1 4 1 4 Randy Valentine New Narrative Royal Order<br />

↑ 6 18 - 6 2 Hollie Cook Vessel of Love Merge<br />

↑ 7 8 6 1 8 Samory I Black Gold Rorystonelove / Black Dub<br />

8 6 2 2 4 Mista Savona Havana meets Kingston Baco<br />

9 5 8 1 7 Chronixx Chronology Chronixx Music<br />

↑10 14 - 10 2 Mo‘Kalamity with Sly & Robbie One Love Vibration Sofia-Thea<br />

↑ 11 20 - 11 2 Iba Mahr Get Up and Show Oneness<br />

+ 12 - - 12 1 King Kong Repatriation Irie Ites Records<br />

13 3 5 3 3 Exco Levi Narrative Silly Walks<br />

14 11 9 9 5 New Kingston A Kingston Story: Come from Far Easy Star<br />

15 12 11 4 6<br />

Lee ”Scratch“ Perry with<br />

Subatomic Sound System<br />

Super Ape Returns to Conquer<br />

Echo Beach<br />

16 9 7 6 5 Macka B Health Is Wealth Greensleeves<br />

17 10 10 9 4 Ken Boothe Inna de Yard Wagram / Chapter Two<br />

18 15 12 12 3 Alborosie Soul Pirate - Acoustic Geejam<br />

+ 19 - - 19 1 The Dubbeez Peace, Love & Dub V2 Records<br />

20 16 17 11 4 Chezidek Irie Day Chezi Berry<br />

Randy Valentine The Dubbeez Alborosie King Kong Exco Levi<br />

# = this month’s position on the chart LM = last month’s position on the chart 2M = position two months ago<br />

PK = peak position MO = months on the chart ↑= signifies upward movement + = new entry<br />

3<br />

global reggae charts | issue 11 / march <strong>2018</strong>


<strong>Reggae</strong> Careers<br />

in the Internet Age<br />

Part II: Four Archetypes<br />

of Internet Careers Text: Thomas Euler // whagwaan-magazine.de<br />

If you follow the music industry, you certainly<br />

heard the stories of artists who managed to succeed<br />

thanks to the internet: Justin Bieber who was discovered<br />

thanks to homemade YouTube videos and<br />

then quickly signed by Island Def Jam Recordings.<br />

The mighty Adele, too, was signed after a video that<br />

showed her singing made the rounds on the web<br />

(MySpace, to be precise). Ed Sheeran, The Weeknd,<br />

and Tori Kelly are other notable artists that were first<br />

discovered online.<br />

But for every success story, there is a myriad of<br />

others from people who uploaded their work to the<br />

internet without turning ever into a global superstar<br />

- or even receiving any recognition at all. Sadly, there<br />

are no blueprints or magic formulas that guarantee<br />

success in music. There are only many different<br />

paths and trajectories which a career can follow.<br />

But it’s possible to recognize some patterns. As this<br />

series focuses on reggae careers in the internet age,<br />

it makes sense to begin by looking at the different<br />

career paths and typologies that we encounter today<br />

in order to more clearly map out the realm of possibilities.<br />

The One-Viral Wonder: A song goes viral - for no<br />

predictable reasons, so best to be thought-of as a<br />

random event - and becomes the talk of the internet<br />

for a brief time. In accordance with the web’s general<br />

catalyzed and amped-up nature, it’s basically the<br />

ADD version of what was formerly known as the onehit<br />

wonder. It reaches an insane amount of people in<br />

an incredibly short amount of time. For the artist, the<br />

hard part is to convert that sudden boost of attention<br />

- which usually comes totally unexpected - and<br />

convert it into something that lasts.<br />

About a year ago, Hamburg-based singer Ace Tee<br />

released the video to one of her first songs, Bist du<br />

down?, on YouTube. Thanks to its very cool, laid-back<br />

90’s look - and the strange ways of the web - it became<br />

super popular among urban US media and was<br />

viewed millions of times. Certainly a nice, but also<br />

completely random, start to a career. At that point<br />

it’s critical to not get carried away by the hype but to<br />

leverage it to quick-start more projects, especially if<br />

you don’t really have a catalog yet. After all, people<br />

who stumbled upon the viral song may want to explore<br />

what else you do. If you don’t manage to leverage<br />

the hype in a very short time, the internet’s short<br />

attention span will quickly turn you into a footnote. In<br />

which case you classify as a One-Viral Wonder.<br />

The Blue Collar Artist: The Blue Collar Artist is pretty<br />

much the polar opposite of the One-Viral Wonder.<br />

The BCA’s defining characteristic is constant output<br />

over an endured stretch of time. It’s the slow grind of<br />

building a fanbase from the ground up, without ever<br />

(necessarily) being subject to any extreme event of<br />

sudden internet hype. It’s usually not a career path<br />

that leads to superstardom, but it can lead to notoriety<br />

and recognition within a specific scene. Constant<br />

hustle, when the talent level is at least average, will<br />

often get rewarded and can even lead to the occasional<br />

hit song.<br />

The BCA type has a long history in reggae and particularly<br />

dancehall. The internet popularized the model<br />

- as it gave hard workers the tools to make and distribute<br />

music without having to rely on labels or other<br />

gatekeepers - and enabled a solid business model<br />

for output-oriented artists. In the riddim and single-focused<br />

dancehall game of old, however, it has an<br />

global reggae charts | issue 11 / march <strong>2018</strong> 4


global reggae charts<br />

feature<br />

analogue predecessor. Few dancehall artists became<br />

stars outside the scene, but many managed to make<br />

a living by creating a steady supply of music. Just<br />

look at Sizzla’s catalog. The BCA of the internet age<br />

usually has a small and effective support structure<br />

but nothing like a major label. Instead, revenue is generated<br />

from streaming on digital platforms, self-distributed<br />

records (e.g. via Bandcamp), merchandise<br />

sales, and live shows.<br />

The Sustained Internet Sensation: This is the career<br />

path of the lucky artist who had a breakthrough song<br />

on the web and turned it into a sustained career. I<br />

was surprised to find that PSY - the Korean producer<br />

whose Gangnam Style became a global internet<br />

phenomenon can be regarded as a prototypical viral<br />

hit - has several songs in the hundred million views<br />

region, some of them not even a year old. Apparently<br />

he managed to build a career upon his internet hit.<br />

Congratulations!<br />

But we don’t have to go to K-Pop to find examples<br />

for that career arc. We can stay much closer to home<br />

and look at Major Lazer. The Diplo-founded project is<br />

arguably a dancehall ting but its popularity reached<br />

far beyond typical genre limits. From early on, the<br />

project made excellent use of viral phenomena, for<br />

instance when, in 2011, they shot the Original Don<br />

video as a tribute to the Jian Sword Dancing viral<br />

video. Two years later, Bubble Butt turned into a viral<br />

hit in its own right and another two years later we of<br />

course all witnessed the Lean On craze.<br />

There are several models that can lead to sustained<br />

internet sensation status. The most obvious one is<br />

to leverage the initial attention boost into a contract<br />

with a label. While that’s far from a guarantee for<br />

future success, it at least presents a well-understood<br />

framework for future projects. The other option is to<br />

look at the Blue Collar artist’s toolbox in an attempt<br />

to develop into a DIY Star.<br />

The DIY Star: The DIY star trajectory is still a relatively<br />

recent development. Its prototypical protagonist<br />

is Chance the Rapper, who built his entire career<br />

- which so far culminated in his Grammy-winning<br />

2016 album Coloring Book - without relying on<br />

traditional industry structures. He self-released all of<br />

his work thus far, built his career on platforms like<br />

SoundCloud and YouTube and made Coloring Book,<br />

which was initially released exclusively on Apple<br />

Music, into the first-ever streaming-only title to win a<br />

Grammy.<br />

So, the DIY Star is an artist that reaches stardom<br />

in do-it-yourself fashion. It’s the blue collar artist’s<br />

best-case scenario if you will. Thus, this music-related<br />

toolkit is pretty much identical to the BCA’s.<br />

However, the higher profile allows the DIY Star to<br />

use his or her brand for other revenue-generating<br />

endeavors, which can range from advertising deals<br />

to collaborating with big brands or even launching<br />

new businesses.<br />

Of course, these four archetypes are only a rough<br />

description of reality and you’ll find many hybrids<br />

in practice. But the goal isn’t to fit reality into a neat<br />

model but rather, simply, to establish a clearer, more<br />

nuanced understanding of different career types -<br />

which can be pretty useful, for instance, when talking<br />

about different options for artists at certain points of<br />

their careers.<br />

If you have any feedback or input in the meantime,<br />

just drop me a line at<br />

thomas.euler@whagwaan-magazine.de<br />

5<br />

global reggae charts | issue 11 / march <strong>2018</strong>


Micah Shemaiah<br />

”Micah Shemaiah has everything it takes to become a flagship in the<br />

hearts and minds of reggae fans. Leader of the revival of<br />

Jamaican roots reggae, with his music he pays homage to his foundations.<br />

Conscious and motivated Micah Shemaiah encourages the empowerment<br />

of young people and disadvantaged<br />

people worldwide.”<br />

That’s how Micah Shemaiah is described in the official press<br />

release for his new album Roots I Vision. The album made it directly<br />

to #2 on the album charts upon release. Reason enough to feature him<br />

on this issue of the GRC magazine.<br />

global reggae charts | issue 11 / march <strong>2018</strong>


global reggae charts | issue 11 / march <strong>2018</strong>


COMMUNITY<br />

RADIO<br />

GERMANY<br />

global reggae charts<br />

featured voter<br />

INTERVIEW<br />

This time we talked to Philipp Kause, who broadcasts<br />

the show ”Rastashock“ at Radio Z.<br />

<strong>Global</strong> <strong>Reggae</strong> <strong>Charts</strong>: Can you please introduce<br />

yourself and your radio show!<br />

IQulah Rastafari & Philipp Kause<br />

Philipp Kause: OK, I am Philipp from Germany and<br />

one of the five presenters of our radio show. The<br />

show is called ”Rastashock“ and is broadcast 120<br />

minutes every week on FM and streaming.<br />

”Rastashock“ is - as far as I know - the oldest weekly<br />

FM reggae radio show in German-speaking countries<br />

and has been running since spring 1988. So we<br />

are going to celebrate the 30th anniversary in some<br />

weeks :). For us, the show is a blend of everything<br />

in the genre, and so it‘s a surprise every week to our<br />

listeners, what the host keeps the focus on.<br />

Every host is fully free to select everything by themself<br />

so we only communicate a little bit and do not<br />

have much influence on each other. The result is NOT<br />

that every host plays the same - no, it‘s surprisingly<br />

the case that you‘ll rarely find a track running more<br />

than one or two times in this show. And, we include<br />

soca, afrotrap, ska, gospel reggae, country reggae,<br />

dub poetry, dubstep, jungle to an equitable extent,<br />

compared to the main sub-genres.<br />

My main goal is not only to produce a show which<br />

covers some new releases or as many of them as<br />

possible, but to widen the range, to play music from<br />

all continents, for example for me the context is:<br />

I studied anthropology with a focus on Africa and<br />

Brazil, I speak French fluently, and I understand<br />

Portuguese. So I‘m interested in stuff from other<br />

parts of the world than from good old Jamaica. And,<br />

unfortunately, I‘m not really a fan of German productions<br />

with only few exceptions, whereupon I‘m<br />

really deeply interested in my neighbour countries,<br />

in French, Swiss, and Austrian reggae & digital offbeat<br />

music. So please, all people from Latin America,<br />

France or Africa, send me your files that you want to<br />

share ;).<br />

GRC: How did you get into reggae and radio, and<br />

what was your motivation?<br />

PK: Oooops, that happened completely atypically<br />

and in a sinous way. Mh, I‘m born in the‚ 80s in the<br />

South of Germany. We‘d been living under US-American<br />

”protection“, I would call it - I want to say that<br />

public radio & TV stations followed the ”system“ the<br />

Allies had introduced at the end of the 1940s. In the<br />

Southern part of Germany we had a lot of discos or<br />

clubs primarily addressed to the US-American G.I.s,<br />

because those members of the U.S. Army had a lot<br />

of money to spend Friday night on nightlife. Their<br />

music - I think, this is not a stereotype - was funk,<br />

r‘n‘b, soul, disco style. In the larger record stores you<br />

could find large ”Black Music“ departments, and a<br />

print of the ”Billboard R & B <strong>Charts</strong>“ were freshly attached<br />

every week on the walls. Any idea of racism?<br />

Anyway, in public radio programs, all those styles<br />

had their corners, their niches 2-3 times a week,<br />

same for country & western music . For some unclear<br />

reasons, all the public pop music, service and<br />

culture radio stations changed their program struc-<br />

global reggae charts | issue 11 / march <strong>2018</strong> 8


global reggae charts<br />

featured voter<br />

tures radically around 1992 - 1999, introduced algorithm-based<br />

softwares like MusicMaster, Selector<br />

and Radiomax. The new structure they call ”Durchhörbarkeit“<br />

in German, which basically means you<br />

won‘t find any breaks and ruptures and frictions<br />

within the program, it‘s always the same formula, a<br />

bit of this, a bit of that, and no extraordinary tracks,<br />

especially never never never any album tracks - strictly<br />

forbidden.<br />

The consequence: Radio became boring, and the<br />

market research found out: any kind of offbeat music,<br />

maybe soul, maybe reggae, maybe acid house, whatever<br />

is supposed to not please the German audience<br />

at all. So all radio stations turned to a pop-rock-scheme.<br />

I wanted to discover the world, I wanted to listen to<br />

non-English-speaking music, and to other feelings<br />

and rhythms, let‘s say a blue rhythm-kind of music.<br />

For me, Curtis Mayfield (Soul) was a hero, Arrested<br />

Development (Conscious Rap), Stereo MCs (Dance-Acidjazz).<br />

By digging into African music, I stumbled<br />

over the samplers of the Putomayo label and, via<br />

that, I discovered Lucky Dube.<br />

Putomayo is a stereotype thing, but it was played on<br />

the radio in some last remaining shows of quality,<br />

and I always want to give thanks to Jo Schweizer,<br />

Jürgen Herrmann, Claus Kruesken, Thomas Resch,<br />

short FACTS<br />

Station: Radio Z<br />

Location: Nuremberg, Germany<br />

Show: Rastashock<br />

Host: Selecta ”HiPhi“ Philipp Kause<br />

On air: Every Saturday 7-9 PM, Sunday 12-2 PM<br />

(rotating with other hosts)<br />

http://snd.radio-z.net:8000/Radio-Z<br />

https://www.facebook.com/rastashock.<br />

bonusmaterial/<br />

https://www.facebook.com/rastashock95.8/<br />

and Angie Portmann of public Bavarian radio who<br />

discussed their music selections with me via phone<br />

during or after their shows. They tried to build<br />

up some resistance to the mainstream and let me<br />

believe a bit in a future of worldwide-sounds radio<br />

shows. Unfortunately, even if the internet seems to<br />

allow to connect the parts of the world, UK/US music<br />

still dominates radio in Germany, no exception even<br />

on the little free community radios. For me, that‘s<br />

a disappointing and imperialist thing, and so I did<br />

what I could at the end of my studies to spread my<br />

knowledge and to do shows only with or focusing on<br />

African, non-English-speaking or worldwide reggae<br />

music. But I‘m neither a Bob Marley nor a Sean<br />

Paul fan, it‘s just about picking up the rarities I like -<br />

whether they are new, brand-new, brand-brand-new,<br />

unpublished, or old & black on vinyl.<br />

GRC: How do you get to know about new music? Are<br />

you relying on music submissions by labels, artists<br />

and PR agents or do you have other ways?<br />

PK: I would be glad to receive more music from labels,<br />

but I think this is not so easy. I can imagine very<br />

well that for artists promoting themselves it‘s not<br />

a pleasure to write to everyone ”Can you play my<br />

music?“, I understand the situation. BUT: if artists do<br />

so, honestly, I try to give them a chance as much as<br />

I can - the only thing is: it can take some time, long,<br />

long time, but I never forget it on my to-do list.<br />

I have one PR agent or promoter, here from our<br />

German label and agency Rootdown who does a lot<br />

and gives some good input to the shows as well.<br />

He gives me some general feedback on my shows,<br />

too, and qualified feedback is a really rare thing, so I<br />

profit from that. I‘m digging for music in all kinds of<br />

streaming services, yes. That‘s the only way to realize<br />

my project of worldwide music.<br />

Additionally, I‘m very much influenced by the lineups<br />

of several larger and smaller festivals, as we connect<br />

and collaborate. CDs I get at festivals as physical<br />

copies, directly from the artists, are the fourth important<br />

source.<br />

9<br />

global reggae charts | issue 11 / march <strong>2018</strong>


global reggae charts<br />

featured voter<br />

GRC: If you get submissions with new music by mail<br />

or email, what are the dos and don’ts to catch your<br />

attention?<br />

GRC: What spectrum of music do you play in your<br />

show and which artists have you found most inspiring<br />

lately?<br />

PK: There aren‘t any straight rules. On the formal<br />

level, it would help to keep things easier, if sound<br />

files are correctly labeled and not only ”Track 01“,<br />

”Track 02“.<br />

I find it cool to have the choice between .WAV and<br />

.MP3 format, as .WAV sometimes sounds better to<br />

my ears yet .MP3 is easier to check when I listen<br />

to the music going mobile. If someone contributes<br />

a hand-signed vinyl to me between interview and<br />

concert, this black piece will get played with priority,<br />

because this is an important gesture.<br />

If someone sends me a demo, an acoustic track,<br />

without final mastering, and the track has a message<br />

and a feeling and the vocals are strong, it‘s like I<br />

explained above: it widens the range - more countries,<br />

more languages, more styles, more formats,<br />

more recording situations. It‘s a good thing for me.<br />

The live, the dub version, the remix, the unplugged,<br />

I‘m always curious to discover a song from different<br />

angles. I‘m a fan of long songs, too.<br />

For me: better to delete three short songs from the<br />

planned playlist, if there‘s ONE really charismatic<br />

5:30 tune. Maybe it‘s an interlude that catches my<br />

attention more than the regular songs.<br />

PK: From afrohouse to ska, jazz-inspired triphop<br />

tunes to classics from former decades, instrumentals<br />

and remixes - but the focus is on artists I met<br />

in person (no phone call interviews). When there‘s<br />

some soul within the reggae, I like it. ‘Cause reggae<br />

got soul!<br />

My goal as a feminist man is to support some women<br />

who have impressed me and to push them<br />

forward, and it‘s nice if they are not from Jamaica<br />

and do the unexpected.<br />

To sum up after all that, let‘s say I‘m an outsider from<br />

the point of view of an insider who has insights, but<br />

remains an outsider to this scene - and that‘s something<br />

I have very much in common with Nneka, to<br />

an extent with Jaqee, and a little bit with Nattali Rize<br />

(knowing about her life before doing what she currently<br />

does). So these artists are my soulmates and<br />

motivate me, and Marla Brown turned to record a<br />

song as a singer the 1st time at the age of 28 - that‘s<br />

the age when I presented my first radio show - so we<br />

two also have something in common. And you know,<br />

good quality takes its time. So I always believe in the<br />

newcomers and the ”come-backers“.<br />

Album Riddim <strong>Charts</strong> | top 5<br />

Period<br />

Ending 28/02/<strong>2018</strong><br />

Contributing voters: 26<br />

europe<br />

# LM 2M PK MO Label Riddim<br />

1 1 - 1 2 Oneness Nice & Easy Riddim<br />

2 2 - 2 2 Giddimani Civil Rights Riddim<br />

↑3 4 - 3 2 Yellow Moon Episodes Riddim<br />

↑4 5 2 2 3 Upsetta Ouji Riddim<br />

+ 5 - - 5 1 Digi Killaz Yaad N Abraad Riddim<br />

Yaad N Abraad Riddim Nice & Easy Riddim<br />

global reggae charts | issue 11 / march <strong>2018</strong> 10


ON Air<br />

global reggae charts<br />

radio shows<br />

Argentina<br />

Estación La De Dios<br />

LDD SOUNDS PRESENTS<br />

GLOBAL REGGAE CHARTS<br />

with Santi Palazzo<br />

Sundays 3:00 pm ART<br />

Argentina<br />

Radio Cantilo<br />

FUNKY KINGSTON<br />

with Georgia and Santi<br />

Wednesdays 10:00 pm ART<br />

Canada<br />

Radio Regent<br />

ItaL rOOts RaDio<br />

with Sweet T & MAdCast-Fuji<br />

Tuesdays - 3:00 pm EST<br />

Canada<br />

Rootz <strong>Reggae</strong> Radio<br />

NEW MUSIC - TDIF<br />

with DJ Klient<br />

Fridays - 6:00 pm<br />

Costa Rica<br />

Urbano 106<br />

DI DOCTA SHOW<br />

with Docta Rythm Selecta<br />

3. Tuesday - 8:00 pm CST<br />

Germany<br />

Antenne Münster<br />

COOL & DEADLY<br />

with Roots Operator Wolle<br />

4. Saturday - 8:00 pm<br />

Germany<br />

Radio Regentrude<br />

GLOBAL REGGAE CHARTS<br />

with Brigitte Reinert<br />

Last Friday - 8:00 pm CET<br />

Indonesia<br />

Bpost Radio<br />

REGGAE TOP SINGLE CHART 20<br />

with Harry Ramadhan<br />

Mondays - 9:00 pm WITA<br />

Israel<br />

Radio Kol Hanegev 106.4 FM<br />

BA BA REGGAE<br />

with Asaf “Baba G“ Nahmias<br />

Mondays - 8:00 pm IST<br />

Italy<br />

Radio Popolare Network<br />

REGGAE RADIO STATION<br />

with Vitowar<br />

Last Sunday - 11:45 pm CET<br />

Italy<br />

Atom Radio<br />

GLOBAL REGGAE CHARTS<br />

Sundays 5:00 pm CET<br />

Norway<br />

Radio Nova<br />

OSLO REGGAE SHOW<br />

with Dominic Reuben & Selecta Harmony<br />

Last Tuesday 9:30 pm CET<br />

UK<br />

1BTN<br />

VENUM SOUND SHOW<br />

with DJ Kris Snakes<br />

4. Sunday 4:00 pm GMT<br />

UK<br />

99.8FM KCC Live<br />

ELEMENTS OF REGGAE<br />

with MJRuckus<br />

3. Tuesday - 10:00 pm GMT<br />

UK<br />

Black Country Radio<br />

RIDDIM SESSIONS<br />

with Kevin Moore<br />

Fridays - 1:00 am GMT<br />

UK<br />

Radio St. Austell Bay 105.6 FM<br />

A-Z OF REGGAE<br />

with Mark Norman<br />

Last Sunday - 4:00 pm GMT<br />

UK<br />

Vibes FM<br />

REGGAEMYLITIS<br />

with Sarah C<br />

Last Wednesday - 6:00 pm GMT<br />

UK<br />

World A <strong>Reggae</strong><br />

IRIE JAMMS SHOW<br />

DJ 745<br />

On Demand<br />

Venezuela<br />

Radio Nacional de Venezuela<br />

DESDE EL GHETTO<br />

with George Dread<br />

2. & 4. Saturday - 11:00 am VET<br />

GRC on<br />

your<br />

station?<br />

You‘d like to become a<br />

media partner and present<br />

the <strong>Global</strong> <strong>Reggae</strong> <strong>Charts</strong><br />

on your radio station?<br />

Link us!<br />

11<br />

global reggae charts | issue 11 / march <strong>2018</strong>


global<br />

voters<br />

global reggae charts<br />

voters<br />

Argentina<br />

La De Dios<br />

Music Director<br />

Santi Palazzo<br />

La De Dios<br />

Brownie<br />

Martin Quispe<br />

PelaGatos iRadio<br />

Creative Producer<br />

Fernando Sarzynski<br />

PelaGatos iRadio<br />

Host<br />

Maiti Ruts<br />

Radio Demente<br />

Roots & Culture Selector<br />

Iván Tutavac<br />

Australia<br />

2BOB Radio<br />

Roots’n’<strong>Reggae</strong> Show<br />

Bobbie Philp<br />

89.7FM<br />

Ital Galore<br />

Ian Pillar<br />

Radio Fremantle<br />

I&I Sounds<br />

Corby Howell<br />

Belgium<br />

Radio Centraal<br />

Back 2 Bass<br />

Tim Ianna & Kenneth Oyen<br />

Bulgaria<br />

Radio Bumerang 99.00 FM<br />

Music Director<br />

Canada<br />

CFRU 93.3 FM<br />

The Crooked Beat<br />

Nicky Dread<br />

CIUT 89.5 FM<br />

Bassment Sessions<br />

Dubmatix<br />

Radio Regent<br />

ItaL rOOts RaDio<br />

Sweet T<br />

Radio Regent<br />

ItaL rOOts RaDio<br />

MAdCast Fuji<br />

Rootz <strong>Reggae</strong> Radio<br />

Riddim UP - Fridays<br />

Tonie Smith<br />

Czech Republic<br />

Radio 1<br />

<strong>Reggae</strong> Klub<br />

DJ Kaya<br />

Columbia<br />

UPTC Radio 104.1 FM<br />

Legado Africano<br />

Charli Urrego<br />

Costa Rica<br />

Radio Urbano 105.9FM<br />

Di Docta Show<br />

Marco Villalobos<br />

Croatia<br />

<strong>Reggae</strong>.hr<br />

Editor<br />

Ivana Toli<br />

Radio Makarska Rivijera<br />

Zoran Spajic<br />

Denmark<br />

Station Amager<br />

<strong>Reggae</strong> Moods<br />

Dominican Republic<br />

Kabina34 Radio<br />

Champion Sound Radioshow<br />

Omar Tavarez<br />

Finland<br />

Bassoradio<br />

Blaka Blaka Show<br />

Selecta Andor<br />

France<br />

La Grosse Radio<br />

<strong>Reggae</strong> Program Director<br />

Simon Chamfroy<br />

Party Time Radio<br />

Party Time Radio Show<br />

Cheeka<br />

Radio Mille Pattes<br />

Zion High Station<br />

Fillot Jerome<br />

Sunalpes.com<br />

Cassonade<br />

Julien Guedz<br />

World A <strong>Reggae</strong><br />

Editor<br />

Fred <strong>Reggae</strong>lover<br />

Germany<br />

Antenne Münster 95.4<br />

Cool & Deadly<br />

Wolfgang Hickmann<br />

ByteFM<br />

Forward The Bass<br />

Karsten Frehe<br />

Radio Leinehertz 106.5<br />

Wha Gwaan – <strong>Reggae</strong> & Dancehall<br />

Thorben Noß<br />

Radio Regentrude<br />

Music Director<br />

Brigitte Reinert<br />

Radio StHörfunk<br />

Sluggish Radio Show<br />

Daniel Kielczewski<br />

Radio Top 40<br />

Host<br />

Marius Finger (DJ Marious)<br />

Radio Z 95.8<br />

Rastashock<br />

Philipp Kause<br />

Radio Z 95.8<br />

Rastashock<br />

Crystal van de Rastashock<br />

<strong>Reggae</strong>ville<br />

CEO<br />

Julian Schmidt<br />

<strong>Reggae</strong>ville<br />

Author<br />

Gardy Stein<br />

Visador-Radio<br />

<strong>Reggae</strong>RoundUp<br />

Karsten Zick<br />

global reggae charts | issue 11 / march <strong>2018</strong> 12


global reggae charts<br />

voters<br />

Greece<br />

Radio Xanthi One<br />

Music Director<br />

Nick Giannakopoulos<br />

<strong>Reggae</strong>Yard<br />

Editor<br />

Israel<br />

Kol Hanegev 106.4 FM<br />

Ba Ba <strong>Reggae</strong><br />

Asaf Nahmias<br />

Italy<br />

Atom Radio<br />

Host<br />

Giuseppe Bellobuono<br />

Jammonite Radio<br />

<strong>Reggae</strong> New Releases<br />

Marco Fregnan<br />

Radio Magenta FM 92.2<br />

<strong>Reggae</strong> Corner<br />

Teo Riccardi<br />

Radio Popolare Network<br />

<strong>Reggae</strong> Radio Station<br />

Vitowar Fiorentino<br />

Radio Popolare Verona<br />

Exodus<br />

Marco Serafin<br />

Radio Web-Base<br />

<strong>Reggae</strong> Music<br />

Louis Knight<br />

Mexico<br />

Cabina420 Radio<br />

Music Director<br />

Misachael Solis<br />

Netherlands<br />

Impact AM<br />

Music Director<br />

Henk van Ulden<br />

NPO FunX<br />

Music Director<br />

Eric van Holland<br />

NPO Soul & Jazz<br />

Andrew<br />

Andrew Makkinga<br />

RTV-Arnhem<br />

Sound Armada Radio<br />

Wilfman Sound Armada<br />

World A <strong>Reggae</strong><br />

CEO<br />

Danny Creatah<br />

Norway<br />

Radio Harstad<br />

Editor<br />

Tommy Vandalsvik<br />

Radio Nova<br />

Oslo <strong>Reggae</strong> Show<br />

Dominic Reuben<br />

Poland<br />

Polish National Radio<br />

Polskie Radio Czwórka<br />

Strefa Dread<br />

Mirosław “Maken” Dzieciołowski<br />

Positive Thursdays<br />

Rafal Konert<br />

Radio Kampus<br />

Dancehall Masak-Rah<br />

Pawel Szawczukiewicz<br />

Romania<br />

Do The <strong>Reggae</strong> Romania<br />

Editor<br />

Nedelcu Sebastian<br />

Russia<br />

Daily Vibes<br />

Editor<br />

Vladimir Zavialov<br />

South Africa<br />

Mzansi<strong>Reggae</strong><br />

Editor<br />

Lee Phiri<br />

Spain<br />

Arco FM<br />

La Concha <strong>Reggae</strong> Radio<br />

Host<br />

Switzerland<br />

Jam On Radio<br />

Music Director<br />

Raphael Häfliger<br />

United Kingdom<br />

107.8 Black Diamond FM<br />

The <strong>Reggae</strong> Attic<br />

Addie Thomson<br />

1BTN<br />

Venum Sound Show<br />

Kris Lewis<br />

Radio St Austell Bay<br />

A-Z of <strong>Reggae</strong><br />

Mark Norman<br />

<strong>Reggae</strong> Roots Review<br />

Editor<br />

Toby Whittacker-Cook<br />

Swindon 105.5<br />

Andy V’s Random <strong>Reggae</strong> Show<br />

Andy Vater<br />

Vibes FM<br />

<strong>Reggae</strong>mylitis<br />

Sarah C<br />

World A <strong>Reggae</strong><br />

Irie Jamms Show<br />

DJ 745<br />

USA<br />

Caribbean Dance Radio<br />

Owner<br />

DJ PhG<br />

California<br />

<strong>Reggae</strong> Music Forward<br />

Host<br />

Tomas Palermo<br />

<strong>Reggae</strong>ville et al.<br />

Author<br />

Brad Metzger<br />

Colorado<br />

Island Stage Magazine<br />

CEO<br />

Susan Underwood<br />

KDUR FM<br />

Heart Beat of Zion<br />

Rasta Stevie<br />

KGNU<br />

Dub Palace / <strong>Reggae</strong> Transfusion<br />

The Groove Thief<br />

13<br />

global reggae charts | issue 11 / march <strong>2018</strong>


global reggae charts<br />

voters<br />

Florida<br />

<strong>Reggae</strong> King Radio<br />

<strong>Reggae</strong> Rhapsody<br />

Keith Rowe<br />

Illinois<br />

The TikiPod<br />

Program Director<br />

Eric Przybylski<br />

Massachusetts<br />

WZBC Boston College Radio 90.3FM<br />

Raggamuffin International<br />

Robin Walther<br />

New Jersey<br />

WBZC 88.9 FM<br />

Sounds of the Caribbean<br />

Selecta Jerry<br />

New York<br />

SiriusXM<br />

The Joint<br />

Jheanelle Morgan<br />

Oregon<br />

KPOV 88.9 FM<br />

The Coop / High Desert Co-op<br />

Tristan Reisfar<br />

Tennessee<br />

90.3 The Rock Volunteer Radio WUTK<br />

Simmer Down<br />

Mason Mulkey<br />

Texas<br />

KAZI 88.7 FM<br />

<strong>Reggae</strong> Evolution<br />

RJ Johnson<br />

Wisconsin<br />

WORT 89.9 FM<br />

Tropical Riddims<br />

Tropical Riddims Sound System<br />

DJ -F.R.P.<br />

Venezuela<br />

Radio Nacional de Venezuela<br />

Desde El Ghetto / Raices y Cultura<br />

George Dread<br />

Become<br />

a voter!<br />

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info@globalreggaecharts.com<br />

Editor:<br />

Anderson Muth<br />

thegroovethief.com<br />

Author:<br />

Thomas Euler<br />

whagwaan-magazine.de<br />

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front/back: On The Roots<br />

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© Boomrush Productions <strong>2018</strong><br />

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whole is strictly prohibited without prior<br />

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global reggae charts | issue 11 / march <strong>2018</strong><br />

14


media partners<br />

15<br />

global reggae charts | issue 11 / march <strong>2018</strong>


global reggae charts | issue 11 / march <strong>2018</strong>

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