Global Reggae Charts - Issue #11 / March 2018

issue # 11 | march 2018
feature
Reggae Careers
in the Internet Age
Part II
artist of the month
Micah Shemaiah
Philipp Kause-
Germany
global reggae charts | issue 11 / march 2018

global reggae charts | issue 4 / august 2017
#11

editorial
Welcome to a new edition of the Global Reggae Charts!
The hardest winter days are (hopefully!) behind us and spring is slowly but surely approaching.
With the sun returning, the appetite for good vibes and positive music grows, too. Which is why
the behind-the-scenes preparations for the reggae season are in full effect around the globe. The
same is true for the Global Reggae Charts. This is issue #11, which means our first anniversary edition
is coming closer. We want to get some major updates done by then.
We will unveil more about the changes in the upcoming weeks. Some of them will be related to
our website, some to the content, and others to… well, you’ll find out. One update, though, requires
your participation and some more preparation. So let’s talk about it for a second.
One of our goals is to increase the interaction with you, the readers and followers of the Global
Reggae Charts. A format which I’ve liked for a long time is the mailbag: readers send their questions
and receive thoughtful answers (I think Bill Simmons is the master of the format). Since, at
least to our knowledge, there is no reggae mailbag, we want to launch it. And that’s where you
come in:
We need your questions and observations about everything that’s new and interesting in reggae.
Whether you want to know more about your favorite artist, want to discuss a new video or an
artist’s marketing strategy - we are interested in hearing from you!
By establishing this format, we want to tackle more of the topics that you care about - and at the
same time get to know our readers better. Thus, we want to turn the reggae mailbag into a regular
feature going forward. We have created a dedicated email address at mailbag@globalreggaecharts.com.
It would be much appreciated if we could get the Qs coming and a cool reggae
mailbag going!
And now, enjoy the new edition of the Global Reggae Charts. As always, they are packed with a lot
of reggae goodness!
Cheers
Thomas
Thomas Euler is founder of the German reggae & dancehall blogazine whagwaan-magazine.de
1
global reggae charts | issue 11 / march 2018

Album single Charts | top 20
Period
Ending 28/02/2018
Contributing voters: 58
europe
# LM 2M PK Mo Artist Single Label
+ 1 - - 1 1 Capleton & Chronixx Help the Weak ZincFence
↑ 2 10 - 2 2 Koffee Raggamuffin Frankie Music
3 3 10 3 3 Koffee Burning Upsetta
+ 4 - - 4 1 Kabaka Pyramid Borders feat. Stonebwoy Ghetto Youths International
5 1 1 1 7 Alborosie Living Dread Baco
6 2 8 2 6 Black Uhuru Jah Guide feat. Bugle Ajang Music
↑ 7 9 2 2 4 Jah9 Feel Good VP
↑ 8 15 - 8 2 Joe Pilgrim & The Ligerians Migrants Soul Nurse
+ 9 - - 9 1 Micah Shemaiah Roots I Vision Evidence
+ 10 - - 10 1 Protoje Bout Noon Mr Bongo
+ 11 - - 11 1 Joe Pilgrim & The Ligerians Use Your Time Soul Nurse
+ 12 - - 12 1 Dre Island Yaad N Abraad Digi Killaz
+ 13 - - 13 1 King Kong Old School feat. Burro Banton & Pinchers Irie Ites Records
+ 14 - - 14 1 Shaggy & Sting Don‘t Make Me Wait A&M
15 6 - 6 3 Lila Iké Gotti Gotti In.Digg.Nation
16 7 3 2 6 Protoje Truths & Rights feat. Mortimer Mr Bongo
17 11 20 11 5 New Kingston Come from Far Easy Star
↑18 19 - 18 2 Stick Figure Easy Runaway Ruffwood
+ 19 - - 19 1 Katchafire Love Today Lion House
+ 20 - - 20 1 Tarrus Riley Haunted Diwali
Capleton & Chronixx
Kabaka Pyramid
Joe Pilgrim & The Ligerians
Micah Shemaiah
Katchafire
# = this month’s position on the chart LM = last month’s position on the chart 2M = position two months ago
PK = peak position MO = months on the chart ↑= signifies upward movement + = new entry
global reggae charts | issue 11 / march 2018 2

Album Charts | top 20
Period
Ending 28/02/2018
Contributing voters: 53
europe
# LM 2M PK Mo Artist Album Label
↑ 1 7 - 1 2 Sly & Robbie and Dubmatix Overdubbed Echo Beach
+ 2 - - 2 1 Micah Shemaiah Roots I Vision Evidence
3 2 1 1 5 Jesse Royal Lily of da Valley Easy Star
4 4 3 2 8 Damian Marley Stony Hill Republic
5 1 4 1 4 Randy Valentine New Narrative Royal Order
↑ 6 18 - 6 2 Hollie Cook Vessel of Love Merge
↑ 7 8 6 1 8 Samory I Black Gold Rorystonelove / Black Dub
8 6 2 2 4 Mista Savona Havana meets Kingston Baco
9 5 8 1 7 Chronixx Chronology Chronixx Music
↑10 14 - 10 2 Mo‘Kalamity with Sly & Robbie One Love Vibration Sofia-Thea
↑ 11 20 - 11 2 Iba Mahr Get Up and Show Oneness
+ 12 - - 12 1 King Kong Repatriation Irie Ites Records
13 3 5 3 3 Exco Levi Narrative Silly Walks
14 11 9 9 5 New Kingston A Kingston Story: Come from Far Easy Star
15 12 11 4 6
Lee ”Scratch“ Perry with
Subatomic Sound System
Super Ape Returns to Conquer
Echo Beach
16 9 7 6 5 Macka B Health Is Wealth Greensleeves
17 10 10 9 4 Ken Boothe Inna de Yard Wagram / Chapter Two
18 15 12 12 3 Alborosie Soul Pirate - Acoustic Geejam
+ 19 - - 19 1 The Dubbeez Peace, Love & Dub V2 Records
20 16 17 11 4 Chezidek Irie Day Chezi Berry
Randy Valentine The Dubbeez Alborosie King Kong Exco Levi
# = this month’s position on the chart LM = last month’s position on the chart 2M = position two months ago
PK = peak position MO = months on the chart ↑= signifies upward movement + = new entry
3
global reggae charts | issue 11 / march 2018

Reggae Careers
in the Internet Age
Part II: Four Archetypes
of Internet Careers Text: Thomas Euler // whagwaan-magazine.de
If you follow the music industry, you certainly
heard the stories of artists who managed to succeed
thanks to the internet: Justin Bieber who was discovered
thanks to homemade YouTube videos and
then quickly signed by Island Def Jam Recordings.
The mighty Adele, too, was signed after a video that
showed her singing made the rounds on the web
(MySpace, to be precise). Ed Sheeran, The Weeknd,
and Tori Kelly are other notable artists that were first
discovered online.
But for every success story, there is a myriad of
others from people who uploaded their work to the
internet without turning ever into a global superstar
- or even receiving any recognition at all. Sadly, there
are no blueprints or magic formulas that guarantee
success in music. There are only many different
paths and trajectories which a career can follow.
But it’s possible to recognize some patterns. As this
series focuses on reggae careers in the internet age,
it makes sense to begin by looking at the different
career paths and typologies that we encounter today
in order to more clearly map out the realm of possibilities.
The One-Viral Wonder: A song goes viral - for no
predictable reasons, so best to be thought-of as a
random event - and becomes the talk of the internet
for a brief time. In accordance with the web’s general
catalyzed and amped-up nature, it’s basically the
ADD version of what was formerly known as the onehit
wonder. It reaches an insane amount of people in
an incredibly short amount of time. For the artist, the
hard part is to convert that sudden boost of attention
- which usually comes totally unexpected - and
convert it into something that lasts.
About a year ago, Hamburg-based singer Ace Tee
released the video to one of her first songs, Bist du
down?, on YouTube. Thanks to its very cool, laid-back
90’s look - and the strange ways of the web - it became
super popular among urban US media and was
viewed millions of times. Certainly a nice, but also
completely random, start to a career. At that point
it’s critical to not get carried away by the hype but to
leverage it to quick-start more projects, especially if
you don’t really have a catalog yet. After all, people
who stumbled upon the viral song may want to explore
what else you do. If you don’t manage to leverage
the hype in a very short time, the internet’s short
attention span will quickly turn you into a footnote. In
which case you classify as a One-Viral Wonder.
The Blue Collar Artist: The Blue Collar Artist is pretty
much the polar opposite of the One-Viral Wonder.
The BCA’s defining characteristic is constant output
over an endured stretch of time. It’s the slow grind of
building a fanbase from the ground up, without ever
(necessarily) being subject to any extreme event of
sudden internet hype. It’s usually not a career path
that leads to superstardom, but it can lead to notoriety
and recognition within a specific scene. Constant
hustle, when the talent level is at least average, will
often get rewarded and can even lead to the occasional
hit song.
The BCA type has a long history in reggae and particularly
dancehall. The internet popularized the model
- as it gave hard workers the tools to make and distribute
music without having to rely on labels or other
gatekeepers - and enabled a solid business model
for output-oriented artists. In the riddim and single-focused
dancehall game of old, however, it has an
global reggae charts | issue 11 / march 2018 4

global reggae charts
feature
analogue predecessor. Few dancehall artists became
stars outside the scene, but many managed to make
a living by creating a steady supply of music. Just
look at Sizzla’s catalog. The BCA of the internet age
usually has a small and effective support structure
but nothing like a major label. Instead, revenue is generated
from streaming on digital platforms, self-distributed
records (e.g. via Bandcamp), merchandise
sales, and live shows.
The Sustained Internet Sensation: This is the career
path of the lucky artist who had a breakthrough song
on the web and turned it into a sustained career. I
was surprised to find that PSY - the Korean producer
whose Gangnam Style became a global internet
phenomenon can be regarded as a prototypical viral
hit - has several songs in the hundred million views
region, some of them not even a year old. Apparently
he managed to build a career upon his internet hit.
Congratulations!
But we don’t have to go to K-Pop to find examples
for that career arc. We can stay much closer to home
and look at Major Lazer. The Diplo-founded project is
arguably a dancehall ting but its popularity reached
far beyond typical genre limits. From early on, the
project made excellent use of viral phenomena, for
instance when, in 2011, they shot the Original Don
video as a tribute to the Jian Sword Dancing viral
video. Two years later, Bubble Butt turned into a viral
hit in its own right and another two years later we of
course all witnessed the Lean On craze.
There are several models that can lead to sustained
internet sensation status. The most obvious one is
to leverage the initial attention boost into a contract
with a label. While that’s far from a guarantee for
future success, it at least presents a well-understood
framework for future projects. The other option is to
look at the Blue Collar artist’s toolbox in an attempt
to develop into a DIY Star.
The DIY Star: The DIY star trajectory is still a relatively
recent development. Its prototypical protagonist
is Chance the Rapper, who built his entire career
- which so far culminated in his Grammy-winning
2016 album Coloring Book - without relying on
traditional industry structures. He self-released all of
his work thus far, built his career on platforms like
SoundCloud and YouTube and made Coloring Book,
which was initially released exclusively on Apple
Music, into the first-ever streaming-only title to win a
Grammy.
So, the DIY Star is an artist that reaches stardom
in do-it-yourself fashion. It’s the blue collar artist’s
best-case scenario if you will. Thus, this music-related
toolkit is pretty much identical to the BCA’s.
However, the higher profile allows the DIY Star to
use his or her brand for other revenue-generating
endeavors, which can range from advertising deals
to collaborating with big brands or even launching
new businesses.
Of course, these four archetypes are only a rough
description of reality and you’ll find many hybrids
in practice. But the goal isn’t to fit reality into a neat
model but rather, simply, to establish a clearer, more
nuanced understanding of different career types -
which can be pretty useful, for instance, when talking
about different options for artists at certain points of
their careers.
If you have any feedback or input in the meantime,
just drop me a line at
thomas.euler@whagwaan-magazine.de
5
global reggae charts | issue 11 / march 2018

Micah Shemaiah
”Micah Shemaiah has everything it takes to become a flagship in the
hearts and minds of reggae fans. Leader of the revival of
Jamaican roots reggae, with his music he pays homage to his foundations.
Conscious and motivated Micah Shemaiah encourages the empowerment
of young people and disadvantaged
people worldwide.”
That’s how Micah Shemaiah is described in the official press
release for his new album Roots I Vision. The album made it directly
to #2 on the album charts upon release. Reason enough to feature him
on this issue of the GRC magazine.
global reggae charts | issue 11 / march 2018

global reggae charts | issue 11 / march 2018

COMMUNITY
RADIO
GERMANY
global reggae charts
featured voter
INTERVIEW
This time we talked to Philipp Kause, who broadcasts
the show ”Rastashock“ at Radio Z.
Global Reggae Charts: Can you please introduce
yourself and your radio show!
IQulah Rastafari & Philipp Kause
Philipp Kause: OK, I am Philipp from Germany and
one of the five presenters of our radio show. The
show is called ”Rastashock“ and is broadcast 120
minutes every week on FM and streaming.
”Rastashock“ is - as far as I know - the oldest weekly
FM reggae radio show in German-speaking countries
and has been running since spring 1988. So we
are going to celebrate the 30th anniversary in some
weeks :). For us, the show is a blend of everything
in the genre, and so it‘s a surprise every week to our
listeners, what the host keeps the focus on.
Every host is fully free to select everything by themself
so we only communicate a little bit and do not
have much influence on each other. The result is NOT
that every host plays the same - no, it‘s surprisingly
the case that you‘ll rarely find a track running more
than one or two times in this show. And, we include
soca, afrotrap, ska, gospel reggae, country reggae,
dub poetry, dubstep, jungle to an equitable extent,
compared to the main sub-genres.
My main goal is not only to produce a show which
covers some new releases or as many of them as
possible, but to widen the range, to play music from
all continents, for example for me the context is:
I studied anthropology with a focus on Africa and
Brazil, I speak French fluently, and I understand
Portuguese. So I‘m interested in stuff from other
parts of the world than from good old Jamaica. And,
unfortunately, I‘m not really a fan of German productions
with only few exceptions, whereupon I‘m
really deeply interested in my neighbour countries,
in French, Swiss, and Austrian reggae & digital offbeat
music. So please, all people from Latin America,
France or Africa, send me your files that you want to
share ;).
GRC: How did you get into reggae and radio, and
what was your motivation?
PK: Oooops, that happened completely atypically
and in a sinous way. Mh, I‘m born in the‚ 80s in the
South of Germany. We‘d been living under US-American
”protection“, I would call it - I want to say that
public radio & TV stations followed the ”system“ the
Allies had introduced at the end of the 1940s. In the
Southern part of Germany we had a lot of discos or
clubs primarily addressed to the US-American G.I.s,
because those members of the U.S. Army had a lot
of money to spend Friday night on nightlife. Their
music - I think, this is not a stereotype - was funk,
r‘n‘b, soul, disco style. In the larger record stores you
could find large ”Black Music“ departments, and a
print of the ”Billboard R & B Charts“ were freshly attached
every week on the walls. Any idea of racism?
Anyway, in public radio programs, all those styles
had their corners, their niches 2-3 times a week,
same for country & western music . For some unclear
reasons, all the public pop music, service and
culture radio stations changed their program struc-
global reggae charts | issue 11 / march 2018 8

global reggae charts
featured voter
tures radically around 1992 - 1999, introduced algorithm-based
softwares like MusicMaster, Selector
and Radiomax. The new structure they call ”Durchhörbarkeit“
in German, which basically means you
won‘t find any breaks and ruptures and frictions
within the program, it‘s always the same formula, a
bit of this, a bit of that, and no extraordinary tracks,
especially never never never any album tracks - strictly
forbidden.
The consequence: Radio became boring, and the
market research found out: any kind of offbeat music,
maybe soul, maybe reggae, maybe acid house, whatever
is supposed to not please the German audience
at all. So all radio stations turned to a pop-rock-scheme.
I wanted to discover the world, I wanted to listen to
non-English-speaking music, and to other feelings
and rhythms, let‘s say a blue rhythm-kind of music.
For me, Curtis Mayfield (Soul) was a hero, Arrested
Development (Conscious Rap), Stereo MCs (Dance-Acidjazz).
By digging into African music, I stumbled
over the samplers of the Putomayo label and, via
that, I discovered Lucky Dube.
Putomayo is a stereotype thing, but it was played on
the radio in some last remaining shows of quality,
and I always want to give thanks to Jo Schweizer,
Jürgen Herrmann, Claus Kruesken, Thomas Resch,
short FACTS
Station: Radio Z
Location: Nuremberg, Germany
Show: Rastashock
Host: Selecta ”HiPhi“ Philipp Kause
On air: Every Saturday 7-9 PM, Sunday 12-2 PM
(rotating with other hosts)
http://snd.radio-z.net:8000/Radio-Z
https://www.facebook.com/rastashock.
bonusmaterial/
https://www.facebook.com/rastashock95.8/
and Angie Portmann of public Bavarian radio who
discussed their music selections with me via phone
during or after their shows. They tried to build
up some resistance to the mainstream and let me
believe a bit in a future of worldwide-sounds radio
shows. Unfortunately, even if the internet seems to
allow to connect the parts of the world, UK/US music
still dominates radio in Germany, no exception even
on the little free community radios. For me, that‘s
a disappointing and imperialist thing, and so I did
what I could at the end of my studies to spread my
knowledge and to do shows only with or focusing on
African, non-English-speaking or worldwide reggae
music. But I‘m neither a Bob Marley nor a Sean
Paul fan, it‘s just about picking up the rarities I like -
whether they are new, brand-new, brand-brand-new,
unpublished, or old & black on vinyl.
GRC: How do you get to know about new music? Are
you relying on music submissions by labels, artists
and PR agents or do you have other ways?
PK: I would be glad to receive more music from labels,
but I think this is not so easy. I can imagine very
well that for artists promoting themselves it‘s not
a pleasure to write to everyone ”Can you play my
music?“, I understand the situation. BUT: if artists do
so, honestly, I try to give them a chance as much as
I can - the only thing is: it can take some time, long,
long time, but I never forget it on my to-do list.
I have one PR agent or promoter, here from our
German label and agency Rootdown who does a lot
and gives some good input to the shows as well.
He gives me some general feedback on my shows,
too, and qualified feedback is a really rare thing, so I
profit from that. I‘m digging for music in all kinds of
streaming services, yes. That‘s the only way to realize
my project of worldwide music.
Additionally, I‘m very much influenced by the lineups
of several larger and smaller festivals, as we connect
and collaborate. CDs I get at festivals as physical
copies, directly from the artists, are the fourth important
source.
9
global reggae charts | issue 11 / march 2018

global reggae charts
featured voter
GRC: If you get submissions with new music by mail
or email, what are the dos and don’ts to catch your
attention?
GRC: What spectrum of music do you play in your
show and which artists have you found most inspiring
lately?
PK: There aren‘t any straight rules. On the formal
level, it would help to keep things easier, if sound
files are correctly labeled and not only ”Track 01“,
”Track 02“.
I find it cool to have the choice between .WAV and
.MP3 format, as .WAV sometimes sounds better to
my ears yet .MP3 is easier to check when I listen
to the music going mobile. If someone contributes
a hand-signed vinyl to me between interview and
concert, this black piece will get played with priority,
because this is an important gesture.
If someone sends me a demo, an acoustic track,
without final mastering, and the track has a message
and a feeling and the vocals are strong, it‘s like I
explained above: it widens the range - more countries,
more languages, more styles, more formats,
more recording situations. It‘s a good thing for me.
The live, the dub version, the remix, the unplugged,
I‘m always curious to discover a song from different
angles. I‘m a fan of long songs, too.
For me: better to delete three short songs from the
planned playlist, if there‘s ONE really charismatic
5:30 tune. Maybe it‘s an interlude that catches my
attention more than the regular songs.
PK: From afrohouse to ska, jazz-inspired triphop
tunes to classics from former decades, instrumentals
and remixes - but the focus is on artists I met
in person (no phone call interviews). When there‘s
some soul within the reggae, I like it. ‘Cause reggae
got soul!
My goal as a feminist man is to support some women
who have impressed me and to push them
forward, and it‘s nice if they are not from Jamaica
and do the unexpected.
To sum up after all that, let‘s say I‘m an outsider from
the point of view of an insider who has insights, but
remains an outsider to this scene - and that‘s something
I have very much in common with Nneka, to
an extent with Jaqee, and a little bit with Nattali Rize
(knowing about her life before doing what she currently
does). So these artists are my soulmates and
motivate me, and Marla Brown turned to record a
song as a singer the 1st time at the age of 28 - that‘s
the age when I presented my first radio show - so we
two also have something in common. And you know,
good quality takes its time. So I always believe in the
newcomers and the ”come-backers“.
Album Riddim Charts | top 5
Period
Ending 28/02/2018
Contributing voters: 26
europe
# LM 2M PK MO Label Riddim
1 1 - 1 2 Oneness Nice & Easy Riddim
2 2 - 2 2 Giddimani Civil Rights Riddim
↑3 4 - 3 2 Yellow Moon Episodes Riddim
↑4 5 2 2 3 Upsetta Ouji Riddim
+ 5 - - 5 1 Digi Killaz Yaad N Abraad Riddim
Yaad N Abraad Riddim Nice & Easy Riddim
global reggae charts | issue 11 / march 2018 10

ON Air
global reggae charts
radio shows
Argentina
Estación La De Dios
LDD SOUNDS PRESENTS
GLOBAL REGGAE CHARTS
with Santi Palazzo
Sundays 3:00 pm ART
Argentina
Radio Cantilo
FUNKY KINGSTON
with Georgia and Santi
Wednesdays 10:00 pm ART
Canada
Radio Regent
ItaL rOOts RaDio
with Sweet T & MAdCast-Fuji
Tuesdays - 3:00 pm EST
Canada
Rootz Reggae Radio
NEW MUSIC - TDIF
with DJ Klient
Fridays - 6:00 pm
Costa Rica
Urbano 106
DI DOCTA SHOW
with Docta Rythm Selecta
3. Tuesday - 8:00 pm CST
Germany
Antenne Münster
COOL & DEADLY
with Roots Operator Wolle
4. Saturday - 8:00 pm
Germany
Radio Regentrude
GLOBAL REGGAE CHARTS
with Brigitte Reinert
Last Friday - 8:00 pm CET
Indonesia
Bpost Radio
REGGAE TOP SINGLE CHART 20
with Harry Ramadhan
Mondays - 9:00 pm WITA
Israel
Radio Kol Hanegev 106.4 FM
BA BA REGGAE
with Asaf “Baba G“ Nahmias
Mondays - 8:00 pm IST
Italy
Radio Popolare Network
REGGAE RADIO STATION
with Vitowar
Last Sunday - 11:45 pm CET
Italy
Atom Radio
GLOBAL REGGAE CHARTS
Sundays 5:00 pm CET
Norway
Radio Nova
OSLO REGGAE SHOW
with Dominic Reuben & Selecta Harmony
Last Tuesday 9:30 pm CET
UK
1BTN
VENUM SOUND SHOW
with DJ Kris Snakes
4. Sunday 4:00 pm GMT
UK
99.8FM KCC Live
ELEMENTS OF REGGAE
with MJRuckus
3. Tuesday - 10:00 pm GMT
UK
Black Country Radio
RIDDIM SESSIONS
with Kevin Moore
Fridays - 1:00 am GMT
UK
Radio St. Austell Bay 105.6 FM
A-Z OF REGGAE
with Mark Norman
Last Sunday - 4:00 pm GMT
UK
Vibes FM
REGGAEMYLITIS
with Sarah C
Last Wednesday - 6:00 pm GMT
UK
World A Reggae
IRIE JAMMS SHOW
DJ 745
On Demand
Venezuela
Radio Nacional de Venezuela
DESDE EL GHETTO
with George Dread
2. & 4. Saturday - 11:00 am VET
GRC on
your
station?
You‘d like to become a
media partner and present
the Global Reggae Charts
on your radio station?
Link us!
11
global reggae charts | issue 11 / march 2018

global
voters
global reggae charts
voters
Argentina
La De Dios
Music Director
Santi Palazzo
La De Dios
Brownie
Martin Quispe
PelaGatos iRadio
Creative Producer
Fernando Sarzynski
PelaGatos iRadio
Host
Maiti Ruts
Radio Demente
Roots & Culture Selector
Iván Tutavac
Australia
2BOB Radio
Roots’n’Reggae Show
Bobbie Philp
89.7FM
Ital Galore
Ian Pillar
Radio Fremantle
I&I Sounds
Corby Howell
Belgium
Radio Centraal
Back 2 Bass
Tim Ianna & Kenneth Oyen
Bulgaria
Radio Bumerang 99.00 FM
Music Director
Canada
CFRU 93.3 FM
The Crooked Beat
Nicky Dread
CIUT 89.5 FM
Bassment Sessions
Dubmatix
Radio Regent
ItaL rOOts RaDio
Sweet T
Radio Regent
ItaL rOOts RaDio
MAdCast Fuji
Rootz Reggae Radio
Riddim UP - Fridays
Tonie Smith
Czech Republic
Radio 1
Reggae Klub
DJ Kaya
Columbia
UPTC Radio 104.1 FM
Legado Africano
Charli Urrego
Costa Rica
Radio Urbano 105.9FM
Di Docta Show
Marco Villalobos
Croatia
Reggae.hr
Editor
Ivana Toli
Radio Makarska Rivijera
Zoran Spajic
Denmark
Station Amager
Reggae Moods
Dominican Republic
Kabina34 Radio
Champion Sound Radioshow
Omar Tavarez
Finland
Bassoradio
Blaka Blaka Show
Selecta Andor
France
La Grosse Radio
Reggae Program Director
Simon Chamfroy
Party Time Radio
Party Time Radio Show
Cheeka
Radio Mille Pattes
Zion High Station
Fillot Jerome
Sunalpes.com
Cassonade
Julien Guedz
World A Reggae
Editor
Fred Reggaelover
Germany
Antenne Münster 95.4
Cool & Deadly
Wolfgang Hickmann
ByteFM
Forward The Bass
Karsten Frehe
Radio Leinehertz 106.5
Wha Gwaan – Reggae & Dancehall
Thorben Noß
Radio Regentrude
Music Director
Brigitte Reinert
Radio StHörfunk
Sluggish Radio Show
Daniel Kielczewski
Radio Top 40
Host
Marius Finger (DJ Marious)
Radio Z 95.8
Rastashock
Philipp Kause
Radio Z 95.8
Rastashock
Crystal van de Rastashock
Reggaeville
CEO
Julian Schmidt
Reggaeville
Author
Gardy Stein
Visador-Radio
ReggaeRoundUp
Karsten Zick
global reggae charts | issue 11 / march 2018 12

global reggae charts
voters
Greece
Radio Xanthi One
Music Director
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global reggae charts | issue 11 / march 2018

global reggae charts | issue 11 / march 2018