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Global Reggae Charts - Issue #12 / April 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.

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issue # 12 | april <strong>2018</strong><br />

feature<br />

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

in the Internet Age<br />

Part III<br />

artist of the month<br />

Etana<br />

business insight<br />

Mathieu Dassieu -<br />

Baco Records<br />

Vladimir Zavialov -<br />

Russia<br />

global reggae charts | issue 12 / april <strong>2018</strong>


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

<strong>#12</strong>


editorial<br />

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

In this month’s installment of our <strong>Reggae</strong> Careers in the Internet Age series, we’ll cover the topic of<br />

streaming services and the impact they have on the business of music. One aspect: the increasing<br />

importance of the playlists on the big streaming platforms. Thus, it’s only fitting that we launched a<br />

new Spotify playlist ourselves.<br />

It is called ”New <strong>Reggae</strong> Releases” and the title is exactly what you get: all the new reggae and<br />

dancehall releases that made it to Spotify in one place. Since that didn’t exist yet, we figured it’s<br />

time to do it ourselves. It’s not easy to keep up with all the releases that are being put out every<br />

week. While Spotify by no means has a complete catalog of all the new reggae and dancehall releases,<br />

it’s a good starting point.<br />

By building this playlist, we want to provide a useful tool to our voters and reggae fans alike. We<br />

hope you agree with that proposition! If you wanna check the playlist out, just follow this link or<br />

search for ”New <strong>Reggae</strong> Releases” on Spotify. And if you like it, we are very happy if you spread<br />

the word! The official <strong>Global</strong> <strong>Reggae</strong> <strong>Charts</strong> playlist will also stay alive, of course! (As we are still<br />

fine-tuning the process, you might find that a release is missing. In that case, please let us know!<br />

We want the playlist to be complete but the world of reggae is actually very wide.)<br />

Additionally, we are launching a new segment in our magazine: Business Insight. It will usually<br />

consist of interviews with interesting people from all across the reggae industry. For this month’s<br />

premiere, we are very happy that we managed to convince Mathieu Dassieu, CEO of the wellknown<br />

French label Baco Records, to talk to us about the situation of reggae labels in the 21st<br />

century. He had many insightful things to say and the result is definitely worth your time to read.<br />

Last but not least, I want to remind of you of the <strong>Reggae</strong> Mailbag idea I introduced last month. To<br />

sum it up: we’d love to get a reggae-focused mailbag format going, i.e. readers ask smart questions<br />

or share thoughts/ideas and I answer/comment on them. For a lack of questions so far, we<br />

didn’t launch it this month. But I’m still very fond of getting it going. So, if you have any questions<br />

that you want answered, have an idea you want to share and read my take on, or have heard of<br />

rumors that you want to read a comment on, just drop me a line at:<br />

mailbag@globalreggaecharts.com.<br />

And now, have fun with the new edition of the <strong>Global</strong> <strong>Reggae</strong> <strong>Charts</strong>!<br />

Best<br />

Thomas<br />

1<br />

global reggae charts | issue 12 / april <strong>2018</strong>


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

Period<br />

Ending 31/03/<strong>2018</strong><br />

Contributing voters: 50<br />

# LM 2M PK MO ARTIST SINGLE LABEL<br />

1 1 - 1 2 Capleton Help the Weak feat. Chronixx ZincFence<br />

2 2 10 2 3 Koffee Raggamuffin Frankie Music<br />

↑ 3 10 - 3 2 Protoje Bout Noon Mr Bongo<br />

↑ 4 12 - 4 2 Dre Island Yaad N Abraad Digi Killaz<br />

5 5 1 1 8 Alborosie Living Dread Baco<br />

↑ 6 13 - 6 2 King Kong Old School feat. Burro Banton, Pinchers Irie Ites Records<br />

7 7 9 2 5 Jah9 Feel Good VP<br />

8 9 - 8 2 Micah Shemaiah Roots I Vision Evidence<br />

9 15 6 6 4 Lila Iké Gotti Gotti In.Digg.Nation<br />

10 11 - 10 2 Joe Pilgrim & The Ligerians Use Your Time Soul Nurse<br />

11 6 2 2 7 Black Uhuru Jah Guide feat. Bugle Ajang Music<br />

↑ 12 17 11 11 6 New Kingston Come from Far Easy Star<br />

↑ 13 16 7 2 7 Protoje Truths & Rights feat. Mortimer Mr Bongo<br />

+ 14 - - 14 1 Bryan Art Can‘t Cut Wi Vibes G-Block<br />

15 8 15 8 3 Joe Pilgrim & The Ligerians Migrants Soul Nurse<br />

16 3 3 3 4 Koffee Burning Upsetta<br />

17 20 - 17 2 Tarrus Riley Haunted Diwali<br />

+ 18 - - 18 1 Mellow Mood Large La Tempesta Dub<br />

+ 19 - - 19 1 Marla Brown Trigger Marla Brown<br />

+ 20 - - 20 1 Raging Fyah Rebel VP<br />

Capleton & Chronixx<br />

Raging Fyah Mellow Mood Micah Shemaiah<br />

Tarrus Riley<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 12 /april <strong>2018</strong> 2


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

Period<br />

Ending 31/03/<strong>2018</strong><br />

Contributing voters: 46<br />

europe<br />

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

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

2 1 7 1 3 Sly & Robbie and Dubmatix Overdubbed Echo Beach<br />

+ 3 - - 3 1 Etana <strong>Reggae</strong> Forever Tad‘s<br />

↑ 4 12 - 4 2 King Kong Repatriation Irie Ites Records<br />

5 3 2 1 6 Jesse Royal Lily of da Valley Easy Star<br />

6 6 18 6 3 Hollie Cook Vessel of Love Merge<br />

7 4 4 2 9 Damian Marley Stony Hill Republic<br />

8 8 6 2 5 Mista Savona Havana meets Kingston Baco<br />

9 9 5 1 8 Chronixx Chronology Soul Circle Music<br />

↑ 10 11 20 10 3 Iba Mahr Get Up and Show Oneness<br />

+ 11 - - 11 1 Bushman Conquering Lion Burning Bushes<br />

12 7 8 1 9 Samory I Black Gold Rorystonelove / Black Dub<br />

13 5 1 1 5 Randy Valentine New Narrative Royal Order<br />

+ 14 - - 14 1 Alam Sounds Of Freedom Baco<br />

+ 15 - - 15 1 Vibronics Woman on a Mission SCOOPS<br />

16 13 3 3 4 Exco Levi Narrative Silly Walks<br />

17 15 12 4 7<br />

Lee ”Scratch“ Perry with<br />

Subatomic Sound System<br />

Super Ape Returns to Conquer<br />

Echo Beach<br />

18 10 14 10 3 Mo‘Kalamity feat. Sly & Robbie One Love Vibration Sofia-Thea<br />

19 20 16 11 5 Chezidek Irie Day Chezi Berry<br />

+ 20 - - 20 1 Richie Phoe Kingston Connection in Dub Kingston Express<br />

Randy Valentine<br />

Etana Vibronics Alam<br />

Iba Mahr<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 12 / april <strong>2018</strong>


BUSINESS<br />

INSIGHT<br />

global reggae charts<br />

insight<br />

INTERVIEW<br />

With this issue we start a new series of interview<br />

with business insiders, who will give insights into<br />

their field of work. We start with Mathieu Dassieu<br />

from Baco Records in France, who speaks about the<br />

work of a reggae label in the 21st century.<br />

Photo: Julie Arnoux<br />

Felix Rühling: Hi Mat. The topic of this interview is<br />

“managing a reggae label in <strong>2018</strong>.” But since I know<br />

that you are a busy man with many talents – can<br />

you give us a little insight on your background and<br />

the work you are doing?<br />

Danakil’s development was useful for many other<br />

bands. This “Do It Yourself” strategy has become a<br />

real way to think about our business model and it<br />

can fit many other projects or bands. We have experimented<br />

with these “management techniques”<br />

with many bands. What we were aware of, since the<br />

beginning, was that we were involved in a “strange”<br />

business where nobody on radio, TV, or mainstream<br />

media, or big mainstream promoters, wanted to deal<br />

with reggae artists or releases. It was very hard to<br />

obtain visibility with our reggae projects, and that’s<br />

maybe why big labels and major companies were<br />

not interested in reggae bands like us.<br />

Mathieu Dassieu: I am the former saxophonist of<br />

Danakil’s horn section, and manager of the band since<br />

the beginning of our activity in the 2000s, when<br />

we were young students beginning to play reggae<br />

music all together.<br />

More than 10 years after our first gigs, we decided to<br />

create Baco Records in 2011. At this time, we wanted<br />

to take our independence back after a “not so nice”<br />

experience on an indie label. But today, I am retired<br />

from the road with the Danakil band and I mainly<br />

focus on Baco Records’ activities and artist management.<br />

FR: When I look at Baco Records, I see one of the<br />

most successful reggae labels in Europe - some say<br />

even THE most successful within continental Europe.<br />

But, from my perspective, Baco is much more than<br />

just a label releasing music. It is a small empire and<br />

for some artists even the gateway to the European<br />

market. What exactly are you doing and why is that?<br />

Don’t you think that just releasing records is enough<br />

work? [laughs]<br />

MD: Thanks Felix! When we launched our label<br />

activity, we were just managing our own (Danakil)<br />

releases. But month after month, we discovered that<br />

the independent economic model we built through<br />

We understood at this time that the best way to<br />

make our business go well, and to live for and from<br />

our passion, was to try to manage the entire musical<br />

industry “process.”<br />

When Ben Ferdy, Danakil’s former booker, decided to<br />

join us in the Baco adventure, it really changed the<br />

face of our label. At this time, we were able to build<br />

tours around a release, and so to see and to use the<br />

“booking activity” as a major part of our promotion:<br />

especially for bands banned on national TV and<br />

radio. We must build strong and efficient tours if we<br />

want to deliver our artist’s music to the audience.<br />

At the same time, we founded our publishing company<br />

to take good care of our publishing rights.<br />

Two years after, we founded the distribution department<br />

of Baco Records. And today, we are a major<br />

distributor in France. Now we can put on the shelves<br />

our own releases, and also offer this service to other<br />

labels.<br />

<strong>2018</strong> is a very important year for us because we are<br />

building our own office in the deep centre of<br />

Bordeaux. The new office will be available this summer,<br />

with a big bad recording studio inside. At this<br />

time, we will be controlling all the “chain” between<br />

the emergence of the first musical notes of a brand-<br />

global reggae charts | issue 12 /april <strong>2018</strong><br />

4


global reggae charts<br />

insight<br />

MD: As a Danakil member, we started our musical<br />

careers at a time when the market was collapsing.<br />

The business model was already dead in 2000,<br />

and many labels and distributors were closing. So,<br />

we have never experienced the “golden” business<br />

model as it used to be in the 70s/80s. We grew, as<br />

musicians, and as producers, in this time of big tribulations<br />

for the musical industry. From the beginning<br />

we were thinking that a new business model will<br />

rise, and that we must do our best to be on the front<br />

line, trying to give birth to a model that could be profitable.<br />

Thus, we realized that the best way to move<br />

in this positive direction was to manage the whole<br />

productive chain: from the studio to the distribution,<br />

from the touring activity to the publishing part, trying<br />

to handle every aspect of the complex musical industry<br />

world. It took us 10 years of useful experiences<br />

before succeeding in managing all these aspects.<br />

new song, and the moment where we bring the LP<br />

on the stores, and that’s a great pleasure for us when<br />

you know where we come from! We were a laborer<br />

without a plant, and we are going to have our production<br />

tool – it’s going to radically change our way<br />

to produce music.<br />

FR: The music industry is changing a lot lately. For<br />

some years now streaming services helped to increase<br />

the overall revenue of the music industry, on the<br />

other hand many people argue about Spotify, Apple<br />

Music, etc., destroying the music industry. No one<br />

really knows what smart speakers will do to music<br />

consumption, and then to music promotion; value<br />

gap and blockchain are the most popular topics at<br />

every music industry convention, and even 20 years<br />

after the industry overslept on the relevance of mp3<br />

and Napster, I’m not sure if they are in control of the<br />

changes the digital world brings to them every day.<br />

Does any of this affect your work or have any relevance?<br />

How do you react to these changes?<br />

We were one of the first bands to use what was considered<br />

a big trouble and handicap – the Internet and<br />

free downloading – as a tool to develop our band<br />

image and our fan base. Social networks helped us<br />

very much with increasing the number of people<br />

who became aware of our music, and then became<br />

band “followers.” Currently, the fact that the music<br />

is “free” because of peer-to-peer permits us to send<br />

our music everywhere. We were not disappointed<br />

about that because we never knew the time when<br />

musicians were earning money from CD/LP sales.<br />

We used this fact to make our music available everywhere,<br />

pushing the band on many social networks<br />

such as Myspace or Facebook. It has really increased<br />

the band’s popularity, especially on the Internet where<br />

we have developed a young and faithful audience.<br />

Some years after, in 2011, we stayed faithful to this<br />

mechanism, still using the principle of “free music,”<br />

to give our brand-new album Echos du Temps at the<br />

entry of all our gigs during the tour. We distributed<br />

more than 30,000 copies for free. The impact of this<br />

marketing operation was huge, and the album beca-<br />

5<br />

global reggae charts | issue 12 / april <strong>2018</strong>


global reggae charts<br />

insight<br />

me a Danakil classic, with high sales in shops and in<br />

digital stores.<br />

When structural changes happened like that, it’s<br />

better to try to use these changes, and to think about<br />

how it can be profitable for you, instead of trying to<br />

fight against these changes. Some big major labels<br />

or distributors tried to struggle against these changes:<br />

they lost their time and money, and missed the<br />

strategic bend that was occurring at this time.<br />

FR: Imagine a new record label with some good<br />

productions ready to be released. What would you<br />

advise them to start with?<br />

MD: You must be original! And try to find ways to go<br />

off of the path, if you want to meet success. I don’t<br />

want to go into a classic marketing lesson, however,<br />

the first step is always to analyze the strengths and<br />

weaknesses of our projects, of our organization.<br />

Baco Records<br />

Location: Bordeaux, France<br />

founded: 2011<br />

Artists: Danakil, Protoje, Nattali Rize, Havana Meets<br />

Kingston, Biga*Ranx, Yaniss Odua, ...<br />

www.bacorecords.fr<br />

www.facebook.com/bacorecords<br />

www.twitter.com/bacorecords<br />

www.youtube.com/bacorecords<br />

country, probably because of the conscious and<br />

revolutionary messages it delivers. With no huge<br />

visibility, it’s always difficult to make our economic<br />

model profitable. The sales are low. And bands and<br />

labels mainly live because this music is very popular,<br />

and people come to attend the shows.<br />

The way you choose your partners is also very<br />

important, especially when you know that there are<br />

many “foolish” entities and characters in our business!<br />

Finding people in who you can trust is very<br />

important for the stability of your business. However,<br />

for me, the main idea is: Do It By Yourself whenever<br />

it’s possible. You will learn new things, meet new<br />

people, and it will push you to understand more<br />

business features, and this is very exciting! We must<br />

have fun in our day-to-day work! And it never happens<br />

when you are in a day-to-day routine: you must<br />

think every day of which new things can be done to<br />

improve your label, stimulate your team and partners,<br />

etc.<br />

FR: As Baco Records is a reggae label, do you see<br />

any specific advantages or disadvantages coming<br />

with the genre?<br />

The main advantage is that we build a strong audience<br />

and community, who are very faithful. People<br />

haven’t discovered our projects on TV. We never<br />

had national exposure. It’s just word of mouth, live<br />

meetings, real experiences of different human beings<br />

that meet during the time of a show. This makes the<br />

relationship between bands and fans very strong.<br />

When you see a singer appear on a national TV talent<br />

show for the first time, even if he won it, it’s highly<br />

likely that no one will be remembering him 2 months<br />

after the TV show broadcast. Our bands have been on<br />

the road for years now. This is a slow development,<br />

but it’s a real and sincere one. People won’t leave the<br />

band from one day to another. They identified themselves<br />

with the band. The band represents something<br />

important for them, just as they are important for the<br />

band. That is the beauty of our reggae music: bands<br />

and fans are dependent each other.<br />

MD: Haha! I only see disadvantages! This music is<br />

highly boycotted by mainstream media, in every<br />

FR: Thank you so much for your time, and good luck<br />

with your future projects and the studio.<br />

global reggae charts | issue 12 /april <strong>2018</strong><br />

6


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

Period<br />

Ending 31/03/<strong>2018</strong><br />

Contributing voters: 27<br />

europe<br />

1 1 1 1 3 Oneness Nice & Easy Riddim<br />

# LM 2M PK MO LABEL RIDDIM<br />

↑ 2 5 - 2 2 Digi Killaz Yaad N Abraad Riddim<br />

3 2 2 2 3 Giddimani Civil Rights Riddim<br />

+ 4 - - 4 1 May.B Unity Unity Riddim<br />

+ 5 - - 5 1 Giddimani Anti-Racism Riddim<br />

Unity Riddim<br />

Anti-Racism Riddim<br />

7<br />

ON Air<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 />

global reggae charts<br />

radio shows<br />

Indonesia<br />

UK<br />

Bpost Radio<br />

Black Country Radio<br />

REGGAE TOP SINGLE CHART 20<br />

RIDDIM SESSIONS<br />

with Harry Ramadhan<br />

with Kevin Moore<br />

Mondays - 9:00 pm WITA<br />

Fridays - 1:00 am GMT<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 />

fuzionlive.com<br />

REGGAE TAKEOVER<br />

with Judge Knott<br />

Sunday 6pm 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 />

global reggae charts | issue 12 / april <strong>2018</strong>


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

in the Internet Age<br />

Part III: Gamechanger Streaming<br />

Economy<br />

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

Streaming is the main driver behind the music industry’s<br />

return to growth in the last couple of years. The<br />

industry behemoths - Spotify, Apple Music and<br />

Amazon - sit comfortably above 120 million paying<br />

subscribers, according to figures from Music Business<br />

Worldwide. In 2017, the major labels raked in<br />

over US$ 5,3 billion in streaming revenues. As sales<br />

- both physical and digital - continue to dwindle, it<br />

becomes increasingly important for artists to familiarize<br />

themselves with the mechanics and rules of<br />

the streaming game. Thus, this installment of <strong>Reggae</strong><br />

Careers in the Internet Age looks at music streaming<br />

and what it means for reggae artists.<br />

First things first: music streaming is a gamechanger.<br />

It has entirely altered the recorded music market<br />

because it changes what artists are being rewarded<br />

for. In order to be successful in the world of sales,<br />

an artist had to assemble a large fanbase of people<br />

willing to spend money on a record. The more such<br />

fans an artist had, the better off they were. In the<br />

streaming economy, that’s no longer true. Streaming<br />

platforms pay out their revenues to the labels and<br />

artists based on the number of streams. As a result,<br />

it’s no longer enough to have many fans. While the<br />

number of fans is certainly still relevant, what truly<br />

matters in streaming is engaged fans.<br />

Here’s a simple example to illustrate that. Say artist<br />

A has 1000 fans and each one listens once to A’s new<br />

tune. That makes 1000 total streams. Artist B, meanwhile,<br />

has only 100 fans but each of them listens ten<br />

times to B’s new song. In that example, both artists<br />

have the same number of streams and, thus, would<br />

receive the same amount of streaming income (the<br />

example is simplified, as in reality the individual contracts<br />

between the label and the streaming platform<br />

as well as between the artist and the label influence<br />

what the artist eventually receives). While more<br />

fans increase the likelihood of an artist doing well in<br />

streaming, it’s even more important to have fans that<br />

listen a lot.<br />

This simple fact is already changing how artists and<br />

labels create and release music. In most genres, the<br />

album used to be the most important release (reggae<br />

and dancehall are actually somewhat of an exception<br />

as the single/7-inch played a much bigger role).<br />

Hence, most marketing and sales activities focused<br />

on it. The format originated from the fact that music<br />

had to be distributed physically and the LP was the<br />

logical way to sell a bundle of songs. But over the<br />

decades, the album developed from a mere technical<br />

format into a dedicated art form. Artists spent a lot<br />

of thought, energy and creative energy on making<br />

not only great songs but great albums. However, the<br />

time of the album might slowly but surely be coming<br />

to an end.<br />

More and more artists are beginning to experiment<br />

with new release formats that make use of the fact<br />

that digital distribution via streaming platforms<br />

allows for more freedom than the static album. While<br />

the album world of old followed an established release<br />

formula - single, single, album - the streaming<br />

world is still a field for experimentation. Kanye West<br />

was an early pioneer in that field: after the release of<br />

his Life of Pablo album, he famously made several<br />

changes to it - an approach several artists have adopted<br />

since. Another approach was chosen by Drake<br />

who dubbed his streaming-only release More Life<br />

a “playlist”. While that might be regarded as mostly<br />

symbolic, it’s also clearly indicating a changing<br />

mindset.<br />

Another interesting approach is currently being<br />

global reggae charts | issue 12 /april <strong>2018</strong> 8


global reggae charts<br />

feature<br />

tested by the producer duo The Chainsmokers.<br />

A recent Billboard article explains:<br />

“In January, The Chainsmokers put out “Sick Boy”<br />

as what appeared to be a standard single release;<br />

in February, “You Owe Me” arrived as a two-song<br />

bundle on streaming services with “Sick Boy” in<br />

the second slot; since the third single, “Everybody<br />

Hates Me,” dropped March 16, it has topped the<br />

three-song bundle. This cascading process will<br />

repeat until a 12-song album drops in December.<br />

Adam Alpert, CEO of the band’s longtime label,<br />

Columbia partner Disruptor Records, came up with<br />

what he calls the “building the album” strategy.<br />

“Every song will get a new boost in consumption,”<br />

he says.”<br />

In essence, the idea is to slowly build an album by<br />

releasing each song individually, though paired with<br />

all the songs that preceded it. Which, of course, aims<br />

to give prior song another boost in streams once the<br />

next track is released. The final result of that strategy<br />

remains to be seen but it is definitely an interesting<br />

release schedule that’s tailor-made for the streaming<br />

age. While the end result is still going to be a collection<br />

of tracks - an album, essentially - the process to<br />

get there is dramatically different.<br />

But the album format is not the only thing in music<br />

that’s changing thanks to streaming. The other major<br />

shift occurs in discovery. Traditionally, radio was the<br />

most important way for fans to discover music and<br />

new artists. While it is still a highly relevant medium<br />

in today’s transitional phase of the music business,<br />

another discovery tool’s relevance is increasing rapidly:<br />

the playlist. The two largest streaming services,<br />

Spotify and Apple Music, both make heavy use of<br />

curated and/or algorithmically created playlists which<br />

help their users to discover new music.<br />

And those playlists can be highly influential. Spotify’s<br />

famous hip-hop playlist RapCaviar, which Vulture<br />

once called “the most influential playlist in music”,<br />

for instance has almost 10 million followers as of<br />

writing this (for comparison’s sake: Dancehall<br />

Official, Spotify’s biggest dancehall playlist has just<br />

above 500,000 followers). A song that finds it way<br />

onto it can easily blow up, as happened last year<br />

with rapper Lil Uzi Vert’s XO Tour Llif3. The track was<br />

voted “Song of the Summer” at the 2017 VMAs and<br />

peaked at #10 of the Billboard Hot 100 charts - all<br />

without any significant airplay on radio.<br />

So, artists that want to build a career in the streaming<br />

age need to master new challenges. First, they<br />

need to establish relationships with the relevant<br />

curators who can drive listens and break artists.<br />

Moreover, they need to develop tactics to engage<br />

their fans and turn them into regular streamers. This<br />

might start with the music itself, include innovative<br />

release strategies, and also the use of social media to<br />

drive repeat listens. As the rules of the game change,<br />

so do the moves that win big. And it doesn’t necessarily<br />

require major label power behind it. If you search<br />

the web for success stories of DIY artists or those<br />

signed at independent labels, you will find that innovative,<br />

clever teams have a real opportunity.<br />

The key, however, is to not solely rely on streaming<br />

revenues but to make it part of a broader strategy.<br />

Due to the way streaming revenues are distributed<br />

among rights owners, the biggest artists in terms of<br />

overall plays make the most money. For smaller acts,<br />

it can be a challenging environment. Thus, artists in a<br />

niche genre like reggae might find it even harder to<br />

create revenue from streams than from sales. Still,<br />

streaming presents an opportunity even to them.<br />

One key benefit that comes with streaming music is<br />

very good data about the audience. Clever teams, for<br />

instance, use insights like the cities in which an act<br />

is most popular to plan successful tours. The precise<br />

structure of the optimal business varies from artist to<br />

artist - but the streaming economy makes controlling<br />

all parts of it in an integrated manner more desirable<br />

than ever, especially in a “global niche” like reggae.<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 />

9<br />

global reggae charts | issue 12 / april <strong>2018</strong>


ETANA<br />

Etana’s name means “The Strong One” in Swahili, and it’s a title she more<br />

than lives up to with her music and presence. Since debuting in 2006 with<br />

the thought-provoking single “Wrong Address,” the Jamaican-born singer<br />

has established herself as one of the most powerful and distinctive voices in<br />

reggae, blazing a new trail in a genre that has long been male-dominated.<br />

Her new album “<strong>Reggae</strong> Forever” was released on March 8th - International<br />

Women’s Day - by Tad’s International, and went straight to #3 on the <strong>Global</strong><br />

<strong>Reggae</strong> <strong>Charts</strong> and #1 on the Billboard <strong>Reggae</strong> <strong>Charts</strong>.<br />

global reggae charts | issue 12 /april <strong>2018</strong>


global reggae charts | issue 12 / april <strong>2018</strong>


REGGAE<br />

COMMUNITY<br />

RUSSIA<br />

global reggae charts<br />

featured voter<br />

INTERVIEW<br />

This month we talked to Vladimir Zavialov, who<br />

is an editor on the Russian <strong>Reggae</strong> platform Daily<br />

Vibes.<br />

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

yourself and Daily Vibes!<br />

Vladimir Zavialov: Hello world! My name is Vladimir<br />

Zavialov, I’m from Moscow, Russia. I’m an editor and<br />

administrator of the largest Russian media source<br />

about reggae music – Daily Vibes. We have sixty-five<br />

thousand subscribers. We work via one of the most<br />

popular social networks in the world – VKontakte<br />

(VK). Since almost all music and some other digital<br />

content are free to use there, we make playlists,<br />

publish news, write articles, and create other media<br />

content for our subscribers; also, we promote<br />

events and have organized two festivals. Daily Vibes<br />

is everything on reggae in Russian: sharing with the<br />

Russian-speaking world reggae music, its roots, evolution,<br />

and present day manifestations. And not only<br />

reggae, we like and share a wide variety of similar<br />

modern and old school music. Last year we celebrated<br />

eight years since the founding, and four since we<br />

became known as Daily Vibes. This would not have<br />

been possible without our inspiring leader, chief editor,<br />

good professional, and friend – Sergey Karandashev<br />

– who passed away unexpectedly last year. We<br />

– two remaining editors and several authors – aspire<br />

to continue sharing our passion for reggae by staying<br />

true to our motto: a quality and professional<br />

approach in everything we do. Although we are not<br />

professional writers, PR managers, or musicians (I’m<br />

personally an engineer), we do our best to spread<br />

the word and beat of reggae to the Russian-speaking<br />

community.<br />

GRC: How did you get into reggae music?<br />

VZ: As is common for Russians my age (I’m 26), we<br />

Vladimir Zavialov<br />

didn’t have much access to the Internet in the late<br />

90s and early 2000s, so I got to know music through<br />

video games (the Grand Theft Auto and Need For<br />

Speed series to be exact) in high school. It started<br />

with hip-hop, then I found myself to be a big reggae<br />

lover, searching for discographies and playlists of<br />

favorite artists. Once the Internet became more available,<br />

I joined VK and found Sergey administrating<br />

a group about reggae music. I reached out and told<br />

him that I too have something to share with the<br />

world. That’s how we started to create (the future)<br />

Daily Vibes six years ago.<br />

GRC: What kind of reggae music is the focus of<br />

Daily Vibes? Do you cover Russian reggae as well?<br />

Maybe you can give some insight on the Russian<br />

reggae scene?<br />

VZ: As I said, we love and try to share many sub-genres<br />

and styles: from early African and Jamaican<br />

music to ska and rocksteady to old and new roots<br />

to modern dancehall, EDM, and ragga-jungle. But I<br />

would say we focus on actual, trending music: new<br />

Jamaican music, new roots, and new dancehall, that<br />

global reggae charts | issue 12 /april <strong>2018</strong> 12


global reggae charts<br />

featured voter<br />

explosive cocktail of form and content that is popular<br />

all over the world now. We at Daily Vibes do our best<br />

to stay attuned to what listeners demand and balance<br />

it out with our constantly expanding knowledge of<br />

the old, the evolved, and the transformed sounds of<br />

reggae and its sub-genres.<br />

Now the most difficult question – what about Russian<br />

reggae? Of course we do cover and love Russian<br />

reggae. It occupies up to 10% of our content. Due to<br />

the “financial crisis” we started to see a decrease in<br />

new artists, new material, and big concerts in the last<br />

few years, but you still can find a good reggae/<br />

dancehall party almost every week in Moscow (in<br />

Saint Petersburg maybe once every other week),<br />

thanks to good organizers and promoters!<br />

It’s interesting to note that love for reggae music in<br />

Russia originated basically from: Russian rock, punkrock<br />

(ska), American hip-hop (raggamuffin) and European/American<br />

EDM (drum ’n’ bass). And the most<br />

popular events where reggae can be enjoyed are:<br />

Russian reggae festivals, soundsystem parties with<br />

DJs, classic reggae/dancehall/hip-hop parties with<br />

selectors, plus jungle/ragga-jungle; the new trend is<br />

bass/grime music, of course.<br />

Popularity of Russian reggae increases slowly from<br />

year to year thanks to roughly a dozen active and<br />

popular artists, bands, and producers. Although they<br />

work in different styles, Russian reggae artists, since<br />

the USSR, put in their dedication and soul to create<br />

a uniquely Russian reggae vibe. For most of these<br />

artists today it remains a hobby, only for a few is it<br />

their main profession.<br />

If you would like to hear some names of Russian<br />

reggae artists, I will mention here only patois-speaking<br />

Steppa Style (modern reggae, ragga-jungle, and<br />

dancehall) and Tenor Youthman (digital reggae, ruba-dub).<br />

For more Russian reggae artists, I will place<br />

links to our page (tagged #Russia) vk.cc/3hTIzB and<br />

to my own mix of Russian reggae for foreign listeners<br />

goo.gl/fyjEN2.<br />

GRC: How do you find out about new music? Are<br />

you relying on music submission from artists, labels<br />

and PR agents, or do you look for yourself?<br />

VZ: I look for new material by myself from the most<br />

popular sources, sites, video channels, and radio<br />

shows. Some things I find in our social network,<br />

VK. And yes, I do check submissions from (Russian)<br />

artists and agents and publish the most relevant<br />

material.<br />

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

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

your attention?<br />

VZ: The most important thing for me is music. If I<br />

enjoy it, it will catch my attention. I really like when<br />

this happens. I also appreciate respect and manners<br />

when I receive submissions.<br />

13<br />

short FACTS<br />

Location: Moscow and St. Petersburg, Russia<br />

Website: Daily Vibes<br />

Position: Editor<br />

https://vk.com/daily_vibes<br />

https://vk.com/osdogg<br />

www.facebook.com/zavialovv<br />

www.mixcloud.com/vladimir-zavialov<br />

GRC: Which artists have you found most inspiring<br />

lately?<br />

VZ: I find new inspiring artists and songs every<br />

month! To name a few: Mo’Kalamity, Perfect Giddimani,<br />

Lutan Fyah, Keznamdi, Biga Ranx, Kojo Kombolo,<br />

Capleton, Koffee, Alkaline, Jahmiel, Shatta<br />

Wale, Busy Signal… I’d like you to hear my “The Best<br />

of… 2017” playlists: <strong>Reggae</strong>, Dancehall, and Russian<br />

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

- Top 50 <strong>Reggae</strong> 2017: https://vk.cc/7TTUEB (VK) /<br />

https://goo.gl/5EsvLR (Spotify)<br />

- Top 50 Dancehall 2017: https://vk.cc/7TTZkj (VK) /<br />

https://goo.gl/x9K9v5 (Spotify)<br />

global reggae charts | issue 12 / april <strong>2018</strong>


global<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 />

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 />

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 />

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 />

Colombia<br />

Remigio Antonio Cañarte<br />

Estación <strong>Reggae</strong> Zion<br />

Alejandro Muñoz<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 />

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 />

global reggae charts<br />

voters<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>story.de<br />

Peter Joachim<br />

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

Author<br />

Gardy Stein<br />

Visador-Radio<br />

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

Karsten Zick<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 />

global reggae charts | issue 12 /april <strong>2018</strong> 14


global reggae charts<br />

voters<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 />

<strong>Reggae</strong>radio.it<br />

Presenter<br />

Christopher Messina<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 />

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 />

<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 />

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 />

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 />

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 />

Nevada<br />

KTHX-FM<br />

<strong>Reggae</strong> Shack<br />

Tracy Moore<br />

New Jersey<br />

WBZC 88.9 FM<br />

Sounds of the Caribbean<br />

Selecta Jerry<br />

New York<br />

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

Owner<br />

Esteban Rod<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 />

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 />

15<br />

global reggae charts | issue 12 / april <strong>2018</strong>


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global reggae charts | issue 12 /april <strong>2018</strong> 16


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global reggae charts | issue 12 /april <strong>2018</strong>

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