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.

issue # 12 | april 2018


Reggae Careers

in the Internet Age

Part III

artist of the month


business insight

Mathieu Dassieu -

Baco Records

Vladimir Zavialov -


global reggae charts | issue 12 / april 2018

global reggae charts | issue 4 / august 2017



Welcome to a new edition of the Global Reggae Charts!

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

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

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

new Spotify playlist ourselves.

It is called ”New Reggae Releases” and the title is exactly what you get: all the new reggae and

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

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

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

it’s a good starting point.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

And now, have fun with the new edition of the Global Reggae Charts!




global reggae charts | issue 12 / april 2018

Album single Charts | top 20


Ending 31/03/2018

Contributing voters: 50


1 1 - 1 2 Capleton Help the Weak feat. Chronixx ZincFence

2 2 10 2 3 Koffee Raggamuffin Frankie Music

↑ 3 10 - 3 2 Protoje Bout Noon Mr Bongo

↑ 4 12 - 4 2 Dre Island Yaad N Abraad Digi Killaz

5 5 1 1 8 Alborosie Living Dread Baco

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

7 7 9 2 5 Jah9 Feel Good VP

8 9 - 8 2 Micah Shemaiah Roots I Vision Evidence

9 15 6 6 4 Lila Iké Gotti Gotti In.Digg.Nation

10 11 - 10 2 Joe Pilgrim & The Ligerians Use Your Time Soul Nurse

11 6 2 2 7 Black Uhuru Jah Guide feat. Bugle Ajang Music

↑ 12 17 11 11 6 New Kingston Come from Far Easy Star

↑ 13 16 7 2 7 Protoje Truths & Rights feat. Mortimer Mr Bongo

+ 14 - - 14 1 Bryan Art Can‘t Cut Wi Vibes G-Block

15 8 15 8 3 Joe Pilgrim & The Ligerians Migrants Soul Nurse

16 3 3 3 4 Koffee Burning Upsetta

17 20 - 17 2 Tarrus Riley Haunted Diwali

+ 18 - - 18 1 Mellow Mood Large La Tempesta Dub

+ 19 - - 19 1 Marla Brown Trigger Marla Brown

+ 20 - - 20 1 Raging Fyah Rebel VP

Capleton & Chronixx

Raging Fyah Mellow Mood Micah Shemaiah

Tarrus Riley

# = 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 12 /april 2018 2

Album Charts | top 20


Ending 31/03/2018

Contributing voters: 46


# LM 2M PK MO Artist Album Label

1 2 - 1 2 Micah Shemaiah Roots I Vision Evidence

2 1 7 1 3 Sly & Robbie and Dubmatix Overdubbed Echo Beach

+ 3 - - 3 1 Etana Reggae Forever Tad‘s

↑ 4 12 - 4 2 King Kong Repatriation Irie Ites Records

5 3 2 1 6 Jesse Royal Lily of da Valley Easy Star

6 6 18 6 3 Hollie Cook Vessel of Love Merge

7 4 4 2 9 Damian Marley Stony Hill Republic

8 8 6 2 5 Mista Savona Havana meets Kingston Baco

9 9 5 1 8 Chronixx Chronology Soul Circle Music

↑ 10 11 20 10 3 Iba Mahr Get Up and Show Oneness

+ 11 - - 11 1 Bushman Conquering Lion Burning Bushes

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

13 5 1 1 5 Randy Valentine New Narrative Royal Order

+ 14 - - 14 1 Alam Sounds Of Freedom Baco

+ 15 - - 15 1 Vibronics Woman on a Mission SCOOPS

16 13 3 3 4 Exco Levi Narrative Silly Walks

17 15 12 4 7

Lee ”Scratch“ Perry with

Subatomic Sound System

Super Ape Returns to Conquer

Echo Beach

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

19 20 16 11 5 Chezidek Irie Day Chezi Berry

+ 20 - - 20 1 Richie Phoe Kingston Connection in Dub Kingston Express

Randy Valentine

Etana Vibronics Alam

Iba Mahr

# = 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 12 / april 2018



global reggae charts



With this issue we start a new series of interview

with business insiders, who will give insights into

their field of work. We start with Mathieu Dassieu

from Baco Records in France, who speaks about the

work of a reggae label in the 21st century.

Photo: Julie Arnoux

Felix Rühling: Hi Mat. The topic of this interview is

“managing a reggae label in 2018.” But since I know

that you are a busy man with many talents – can

you give us a little insight on your background and

the work you are doing?

Danakil’s development was useful for many other

bands. This “Do It Yourself” strategy has become a

real way to think about our business model and it

can fit many other projects or bands. We have experimented

with these “management techniques”

with many bands. What we were aware of, since the

beginning, was that we were involved in a “strange”

business where nobody on radio, TV, or mainstream

media, or big mainstream promoters, wanted to deal

with reggae artists or releases. It was very hard to

obtain visibility with our reggae projects, and that’s

maybe why big labels and major companies were

not interested in reggae bands like us.

Mathieu Dassieu: I am the former saxophonist of

Danakil’s horn section, and manager of the band since

the beginning of our activity in the 2000s, when

we were young students beginning to play reggae

music all together.

More than 10 years after our first gigs, we decided to

create Baco Records in 2011. At this time, we wanted

to take our independence back after a “not so nice”

experience on an indie label. But today, I am retired

from the road with the Danakil band and I mainly

focus on Baco Records’ activities and artist management.

FR: When I look at Baco Records, I see one of the

most successful reggae labels in Europe - some say

even THE most successful within continental Europe.

But, from my perspective, Baco is much more than

just a label releasing music. It is a small empire and

for some artists even the gateway to the European

market. What exactly are you doing and why is that?

Don’t you think that just releasing records is enough

work? [laughs]

MD: Thanks Felix! When we launched our label

activity, we were just managing our own (Danakil)

releases. But month after month, we discovered that

the independent economic model we built through

We understood at this time that the best way to

make our business go well, and to live for and from

our passion, was to try to manage the entire musical

industry “process.”

When Ben Ferdy, Danakil’s former booker, decided to

join us in the Baco adventure, it really changed the

face of our label. At this time, we were able to build

tours around a release, and so to see and to use the

“booking activity” as a major part of our promotion:

especially for bands banned on national TV and

radio. We must build strong and efficient tours if we

want to deliver our artist’s music to the audience.

At the same time, we founded our publishing company

to take good care of our publishing rights.

Two years after, we founded the distribution department

of Baco Records. And today, we are a major

distributor in France. Now we can put on the shelves

our own releases, and also offer this service to other


2018 is a very important year for us because we are

building our own office in the deep centre of

Bordeaux. The new office will be available this summer,

with a big bad recording studio inside. At this

time, we will be controlling all the “chain” between

the emergence of the first musical notes of a brand-

global reggae charts | issue 12 /april 2018


global reggae charts


MD: As a Danakil member, we started our musical

careers at a time when the market was collapsing.

The business model was already dead in 2000,

and many labels and distributors were closing. So,

we have never experienced the “golden” business

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

musicians, and as producers, in this time of big tribulations

for the musical industry. From the beginning

we were thinking that a new business model will

rise, and that we must do our best to be on the front

line, trying to give birth to a model that could be profitable.

Thus, we realized that the best way to move

in this positive direction was to manage the whole

productive chain: from the studio to the distribution,

from the touring activity to the publishing part, trying

to handle every aspect of the complex musical industry

world. It took us 10 years of useful experiences

before succeeding in managing all these aspects.

new song, and the moment where we bring the LP

on the stores, and that’s a great pleasure for us when

you know where we come from! We were a laborer

without a plant, and we are going to have our production

tool – it’s going to radically change our way

to produce music.

FR: The music industry is changing a lot lately. For

some years now streaming services helped to increase

the overall revenue of the music industry, on the

other hand many people argue about Spotify, Apple

Music, etc., destroying the music industry. No one

really knows what smart speakers will do to music

consumption, and then to music promotion; value

gap and blockchain are the most popular topics at

every music industry convention, and even 20 years

after the industry overslept on the relevance of mp3

and Napster, I’m not sure if they are in control of the

changes the digital world brings to them every day.

Does any of this affect your work or have any relevance?

How do you react to these changes?

We were one of the first bands to use what was considered

a big trouble and handicap – the Internet and

free downloading – as a tool to develop our band

image and our fan base. Social networks helped us

very much with increasing the number of people

who became aware of our music, and then became

band “followers.” Currently, the fact that the music

is “free” because of peer-to-peer permits us to send

our music everywhere. We were not disappointed

about that because we never knew the time when

musicians were earning money from CD/LP sales.

We used this fact to make our music available everywhere,

pushing the band on many social networks

such as Myspace or Facebook. It has really increased

the band’s popularity, especially on the Internet where

we have developed a young and faithful audience.

Some years after, in 2011, we stayed faithful to this

mechanism, still using the principle of “free music,”

to give our brand-new album Echos du Temps at the

entry of all our gigs during the tour. We distributed

more than 30,000 copies for free. The impact of this

marketing operation was huge, and the album beca-


global reggae charts | issue 12 / april 2018

global reggae charts


me a Danakil classic, with high sales in shops and in

digital stores.

When structural changes happened like that, it’s

better to try to use these changes, and to think about

how it can be profitable for you, instead of trying to

fight against these changes. Some big major labels

or distributors tried to struggle against these changes:

they lost their time and money, and missed the

strategic bend that was occurring at this time.

FR: Imagine a new record label with some good

productions ready to be released. What would you

advise them to start with?

MD: You must be original! And try to find ways to go

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

want to go into a classic marketing lesson, however,

the first step is always to analyze the strengths and

weaknesses of our projects, of our organization.

Baco Records

Location: Bordeaux, France

founded: 2011

Artists: Danakil, Protoje, Nattali Rize, Havana Meets

Kingston, Biga*Ranx, Yaniss Odua, ...

country, probably because of the conscious and

revolutionary messages it delivers. With no huge

visibility, it’s always difficult to make our economic

model profitable. The sales are low. And bands and

labels mainly live because this music is very popular,

and people come to attend the shows.

The way you choose your partners is also very

important, especially when you know that there are

many “foolish” entities and characters in our business!

Finding people in who you can trust is very

important for the stability of your business. However,

for me, the main idea is: Do It By Yourself whenever

it’s possible. You will learn new things, meet new

people, and it will push you to understand more

business features, and this is very exciting! We must

have fun in our day-to-day work! And it never happens

when you are in a day-to-day routine: you must

think every day of which new things can be done to

improve your label, stimulate your team and partners,


FR: As Baco Records is a reggae label, do you see

any specific advantages or disadvantages coming

with the genre?

The main advantage is that we build a strong audience

and community, who are very faithful. People

haven’t discovered our projects on TV. We never

had national exposure. It’s just word of mouth, live

meetings, real experiences of different human beings

that meet during the time of a show. This makes the

relationship between bands and fans very strong.

When you see a singer appear on a national TV talent

show for the first time, even if he won it, it’s highly

likely that no one will be remembering him 2 months

after the TV show broadcast. Our bands have been on

the road for years now. This is a slow development,

but it’s a real and sincere one. People won’t leave the

band from one day to another. They identified themselves

with the band. The band represents something

important for them, just as they are important for the

band. That is the beauty of our reggae music: bands

and fans are dependent each other.

MD: Haha! I only see disadvantages! This music is

highly boycotted by mainstream media, in every

FR: Thank you so much for your time, and good luck

with your future projects and the studio.

global reggae charts | issue 12 /april 2018


Album Riddim Charts | top 5


Ending 31/03/2018

Contributing voters: 27


1 1 1 1 3 Oneness Nice & Easy Riddim


↑ 2 5 - 2 2 Digi Killaz Yaad N Abraad Riddim

3 2 2 2 3 Giddimani Civil Rights Riddim

+ 4 - - 4 1 May.B Unity Unity Riddim

+ 5 - - 5 1 Giddimani Anti-Racism Riddim

Unity Riddim

Anti-Racism Riddim


ON Air


Estación La De Dios



with Santi Palazzo

Sundays 3:00 pm ART


Radio Cantilo


with Georgia and Santi

Wednesdays 10:00 pm ART


Radio Regent

ItaL rOOts RaDio

with Sweet T & MAdCast-Fuji

Tuesdays - 3:00 pm EST


Rootz Reggae Radio


with DJ Klient

Fridays - 6:00 pm

Costa Rica

Urbano 106


with Docta Rythm Selecta

3. Tuesday - 8:00 pm CST


Antenne Münster


with Roots Operator Wolle

4. Saturday - 8:00 pm


Radio Regentrude


with Brigitte Reinert

Last Friday - 8:00 pm CET

global reggae charts

radio shows



Bpost Radio

Black Country Radio



with Harry Ramadhan

with Kevin Moore

Mondays - 9:00 pm WITA

Fridays - 1:00 am GMT


Radio Kol Hanegev 106.4 FM


with Asaf “Baba G“ Nahmias

Mondays - 8:00 pm IST


Radio Popolare Network


with Vitowar

Last Sunday - 11:45 pm CET


Atom Radio


Sundays 5:00 pm CET


Radio Nova


with Dominic Reuben & Selecta Harmony

Last Tuesday 9:30 pm CET




with DJ Kris Snakes

4. Sunday 4:00 pm GMT


99.8FM KCC Live


with MJRuckus

3. Tuesday - 10:00 pm GMT



with Judge Knott

Sunday 6pm GMT


Radio St. Austell Bay 105.6 FM


with Mark Norman

Last Sunday - 4:00 pm GMT


Vibes FM


with Sarah C

Last Wednesday - 6:00 pm GMT


World A Reggae


DJ 745

On Demand


Radio Nacional de Venezuela


with George Dread

2. & 4. Saturday - 11:00 am VET

global reggae charts | issue 12 / april 2018

Reggae Careers

in the Internet Age

Part III: Gamechanger Streaming


Text: Thomas Euler //

Streaming is the main driver behind the music industry’s

return to growth in the last couple of years. The

industry behemoths - Spotify, Apple Music and

Amazon - sit comfortably above 120 million paying

subscribers, according to figures from Music Business

Worldwide. In 2017, the major labels raked in

over US$ 5,3 billion in streaming revenues. As sales

- both physical and digital - continue to dwindle, it

becomes increasingly important for artists to familiarize

themselves with the mechanics and rules of

the streaming game. Thus, this installment of Reggae

Careers in the Internet Age looks at music streaming

and what it means for reggae artists.

First things first: music streaming is a gamechanger.

It has entirely altered the recorded music market

because it changes what artists are being rewarded

for. In order to be successful in the world of sales,

an artist had to assemble a large fanbase of people

willing to spend money on a record. The more such

fans an artist had, the better off they were. In the

streaming economy, that’s no longer true. Streaming

platforms pay out their revenues to the labels and

artists based on the number of streams. As a result,

it’s no longer enough to have many fans. While the

number of fans is certainly still relevant, what truly

matters in streaming is engaged fans.

Here’s a simple example to illustrate that. Say artist

A has 1000 fans and each one listens once to A’s new

tune. That makes 1000 total streams. Artist B, meanwhile,

has only 100 fans but each of them listens ten

times to B’s new song. In that example, both artists

have the same number of streams and, thus, would

receive the same amount of streaming income (the

example is simplified, as in reality the individual contracts

between the label and the streaming platform

as well as between the artist and the label influence

what the artist eventually receives). While more

fans increase the likelihood of an artist doing well in

streaming, it’s even more important to have fans that

listen a lot.

This simple fact is already changing how artists and

labels create and release music. In most genres, the

album used to be the most important release (reggae

and dancehall are actually somewhat of an exception

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

Hence, most marketing and sales activities focused

on it. The format originated from the fact that music

had to be distributed physically and the LP was the

logical way to sell a bundle of songs. But over the

decades, the album developed from a mere technical

format into a dedicated art form. Artists spent a lot

of thought, energy and creative energy on making

not only great songs but great albums. However, the

time of the album might slowly but surely be coming

to an end.

More and more artists are beginning to experiment

with new release formats that make use of the fact

that digital distribution via streaming platforms

allows for more freedom than the static album. While

the album world of old followed an established release

formula - single, single, album - the streaming

world is still a field for experimentation. Kanye West

was an early pioneer in that field: after the release of

his Life of Pablo album, he famously made several

changes to it - an approach several artists have adopted

since. Another approach was chosen by Drake

who dubbed his streaming-only release More Life

a “playlist”. While that might be regarded as mostly

symbolic, it’s also clearly indicating a changing


Another interesting approach is currently being

global reggae charts | issue 12 /april 2018 8

global reggae charts


tested by the producer duo The Chainsmokers.

A recent Billboard article explains:

“In January, The Chainsmokers put out “Sick Boy”

as what appeared to be a standard single release;

in February, “You Owe Me” arrived as a two-song

bundle on streaming services with “Sick Boy” in

the second slot; since the third single, “Everybody

Hates Me,” dropped March 16, it has topped the

three-song bundle. This cascading process will

repeat until a 12-song album drops in December.

Adam Alpert, CEO of the band’s longtime label,

Columbia partner Disruptor Records, came up with

what he calls the “building the album” strategy.

“Every song will get a new boost in consumption,”

he says.”

In essence, the idea is to slowly build an album by

releasing each song individually, though paired with

all the songs that preceded it. Which, of course, aims

to give prior song another boost in streams once the

next track is released. The final result of that strategy

remains to be seen but it is definitely an interesting

release schedule that’s tailor-made for the streaming

age. While the end result is still going to be a collection

of tracks - an album, essentially - the process to

get there is dramatically different.

But the album format is not the only thing in music

that’s changing thanks to streaming. The other major

shift occurs in discovery. Traditionally, radio was the

most important way for fans to discover music and

new artists. While it is still a highly relevant medium

in today’s transitional phase of the music business,

another discovery tool’s relevance is increasing rapidly:

the playlist. The two largest streaming services,

Spotify and Apple Music, both make heavy use of

curated and/or algorithmically created playlists which

help their users to discover new music.

And those playlists can be highly influential. Spotify’s

famous hip-hop playlist RapCaviar, which Vulture

once called “the most influential playlist in music”,

for instance has almost 10 million followers as of

writing this (for comparison’s sake: Dancehall

Official, Spotify’s biggest dancehall playlist has just

above 500,000 followers). A song that finds it way

onto it can easily blow up, as happened last year

with rapper Lil Uzi Vert’s XO Tour Llif3. The track was

voted “Song of the Summer” at the 2017 VMAs and

peaked at #10 of the Billboard Hot 100 charts - all

without any significant airplay on radio.

So, artists that want to build a career in the streaming

age need to master new challenges. First, they

need to establish relationships with the relevant

curators who can drive listens and break artists.

Moreover, they need to develop tactics to engage

their fans and turn them into regular streamers. This

might start with the music itself, include innovative

release strategies, and also the use of social media to

drive repeat listens. As the rules of the game change,

so do the moves that win big. And it doesn’t necessarily

require major label power behind it. If you search

the web for success stories of DIY artists or those

signed at independent labels, you will find that innovative,

clever teams have a real opportunity.

The key, however, is to not solely rely on streaming

revenues but to make it part of a broader strategy.

Due to the way streaming revenues are distributed

among rights owners, the biggest artists in terms of

overall plays make the most money. For smaller acts,

it can be a challenging environment. Thus, artists in a

niche genre like reggae might find it even harder to

create revenue from streams than from sales. Still,

streaming presents an opportunity even to them.

One key benefit that comes with streaming music is

very good data about the audience. Clever teams, for

instance, use insights like the cities in which an act

is most popular to plan successful tours. The precise

structure of the optimal business varies from artist to

artist - but the streaming economy makes controlling

all parts of it in an integrated manner more desirable

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

If you have any feedback or input in the meantime,

just drop me a line at


global reggae charts | issue 12 / april 2018


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

than lives up to with her music and presence. Since debuting in 2006 with

the thought-provoking single “Wrong Address,” the Jamaican-born singer

has established herself as one of the most powerful and distinctive voices in

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

Her new album “Reggae Forever” was released on March 8th - International

Women’s Day - by Tad’s International, and went straight to #3 on the Global

Reggae Charts and #1 on the Billboard Reggae Charts.

global reggae charts | issue 12 /april 2018

global reggae charts | issue 12 / april 2018




global reggae charts

featured voter


This month we talked to Vladimir Zavialov, who

is an editor on the Russian Reggae platform Daily


Global Reggae Charts: Can you please introduce

yourself and Daily Vibes!

Vladimir Zavialov: Hello world! My name is Vladimir

Zavialov, I’m from Moscow, Russia. I’m an editor and

administrator of the largest Russian media source

about reggae music – Daily Vibes. We have sixty-five

thousand subscribers. We work via one of the most

popular social networks in the world – VKontakte

(VK). Since almost all music and some other digital

content are free to use there, we make playlists,

publish news, write articles, and create other media

content for our subscribers; also, we promote

events and have organized two festivals. Daily Vibes

is everything on reggae in Russian: sharing with the

Russian-speaking world reggae music, its roots, evolution,

and present day manifestations. And not only

reggae, we like and share a wide variety of similar

modern and old school music. Last year we celebrated

eight years since the founding, and four since we

became known as Daily Vibes. This would not have

been possible without our inspiring leader, chief editor,

good professional, and friend – Sergey Karandashev

– who passed away unexpectedly last year. We

– two remaining editors and several authors – aspire

to continue sharing our passion for reggae by staying

true to our motto: a quality and professional

approach in everything we do. Although we are not

professional writers, PR managers, or musicians (I’m

personally an engineer), we do our best to spread

the word and beat of reggae to the Russian-speaking


GRC: How did you get into reggae music?

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

Vladimir Zavialov

didn’t have much access to the Internet in the late

90s and early 2000s, so I got to know music through

video games (the Grand Theft Auto and Need For

Speed series to be exact) in high school. It started

with hip-hop, then I found myself to be a big reggae

lover, searching for discographies and playlists of

favorite artists. Once the Internet became more available,

I joined VK and found Sergey administrating

a group about reggae music. I reached out and told

him that I too have something to share with the

world. That’s how we started to create (the future)

Daily Vibes six years ago.

GRC: What kind of reggae music is the focus of

Daily Vibes? Do you cover Russian reggae as well?

Maybe you can give some insight on the Russian

reggae scene?

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

and styles: from early African and Jamaican

music to ska and rocksteady to old and new roots

to modern dancehall, EDM, and ragga-jungle. But I

would say we focus on actual, trending music: new

Jamaican music, new roots, and new dancehall, that

global reggae charts | issue 12 /april 2018 12

global reggae charts

featured voter

explosive cocktail of form and content that is popular

all over the world now. We at Daily Vibes do our best

to stay attuned to what listeners demand and balance

it out with our constantly expanding knowledge of

the old, the evolved, and the transformed sounds of

reggae and its sub-genres.

Now the most difficult question – what about Russian

reggae? Of course we do cover and love Russian

reggae. It occupies up to 10% of our content. Due to

the “financial crisis” we started to see a decrease in

new artists, new material, and big concerts in the last

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

dancehall party almost every week in Moscow (in

Saint Petersburg maybe once every other week),

thanks to good organizers and promoters!

It’s interesting to note that love for reggae music in

Russia originated basically from: Russian rock, punkrock

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

EDM (drum ’n’ bass). And the most

popular events where reggae can be enjoyed are:

Russian reggae festivals, soundsystem parties with

DJs, classic reggae/dancehall/hip-hop parties with

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

bass/grime music, of course.

Popularity of Russian reggae increases slowly from

year to year thanks to roughly a dozen active and

popular artists, bands, and producers. Although they

work in different styles, Russian reggae artists, since

the USSR, put in their dedication and soul to create

a uniquely Russian reggae vibe. For most of these

artists today it remains a hobby, only for a few is it

their main profession.

If you would like to hear some names of Russian

reggae artists, I will mention here only patois-speaking

Steppa Style (modern reggae, ragga-jungle, and

dancehall) and Tenor Youthman (digital reggae, ruba-dub).

For more Russian reggae artists, I will place

links to our page (tagged #Russia) and

to my own mix of Russian reggae for foreign listeners

GRC: How do you find out about new music? Are

you relying on music submission from artists, labels

and PR agents, or do you look for yourself?

VZ: I look for new material by myself from the most

popular sources, sites, video channels, and radio

shows. Some things I find in our social network,

VK. And yes, I do check submissions from (Russian)

artists and agents and publish the most relevant


GRC: If you get submissions with new music by

mail or email, what are the dos and don’ts to catch

your attention?

VZ: The most important thing for me is music. If I

enjoy it, it will catch my attention. I really like when

this happens. I also appreciate respect and manners

when I receive submissions.


short FACTS

Location: Moscow and St. Petersburg, Russia

Website: Daily Vibes

Position: Editor

GRC: Which artists have you found most inspiring


VZ: I find new inspiring artists and songs every

month! To name a few: Mo’Kalamity, Perfect Giddimani,

Lutan Fyah, Keznamdi, Biga Ranx, Kojo Kombolo,

Capleton, Koffee, Alkaline, Jahmiel, Shatta

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

of… 2017” playlists: Reggae, Dancehall, and Russian


- Top 50 Reggae 2017: (VK) / (Spotify)

- Top 50 Dancehall 2017: (VK) / (Spotify)

global reggae charts | issue 12 / april 2018




La De Dios

Music Director

Santi Palazzo

La De Dios


Martin Quispe

PelaGatos iRadio


Maiti Ruts

Radio Demente

Roots & Culture Selector

Iván Tutavac


2BOB Radio

Roots’n’Reggae Show

Bobbie Philp


Ital Galore

Ian Pillar


Radio Centraal

Back 2 Bass

Tim Ianna & Kenneth Oyen


Radio Bumerang 99.00 FM

Music Director


CFRU 93.3 FM

The Crooked Beat

Nicky Dread

Radio Regent

ItaL rOOts RaDio

Sweet T

Radio Regent

ItaL rOOts RaDio

MAdCast Fuji

Rootz Reggae Radio

Riddim UP - Fridays

Tonie Smith


Remigio Antonio Cañarte

Estación Reggae Zion

Alejandro Muñoz

UPTC Radio 104.1 FM

Legado Africano

Charli Urrego

Costa Rica

Radio Urbano 105.9FM

Di Docta Show

Marco Villalobos



Ivana Toli

Radio Makarska Rivijera

Zoran Spajic


Station Amager

Reggae Moods

Dominican Republic

Kabina34 Radio

Champion Sound Radioshow

Omar Tavarez


La Grosse Radio

Reggae Program Director

Simon Chamfroy

Party Time Radio

Party Time Radio Show


Radio Mille Pattes

Zion High Station

Fillot Jerome


Julien Guedz

World A Reggae


Fred Reggaelover


Antenne Münster 95.4

Cool & Deadly

Wolfgang Hickmann


Forward The Bass

Karsten Frehe

global reggae charts


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


Marius Finger (DJ Marious)

Radio Z 95.8


Philipp Kause

Radio Z 95.8


Crystal van de Rastashock

Peter Joachim



Gardy Stein



Karsten Zick


Radio Xanthi One

Music Director

Nick Giannakopoulos




Kol Hanegev 106.4 FM

Ba Ba Reggae

Asaf Nahmias


Atom Radio


Giuseppe Bellobuono

Jammonite Radio

Reggae New Releases

Marco Fregnan

Radio Magenta FM 92.2

Reggae Corner

Teo Riccardi

global reggae charts | issue 12 /april 2018 14

global reggae charts


Radio Popolare Network

Reggae Radio Station

Vitowar Fiorentino

Radio Popolare Verona


Marco Serafin

Radio Web-Base

Reggae Music

Louis Knight


Christopher Messina


Cabina420 Radio

Music Director

Misachael Solis


Impact AM

Music Director

Henk van Ulden


Music Director

Eric van Holland

NPO Soul & Jazz


Andrew Makkinga


Sound Armada Radio

Wilfman Sound Armada

World A Reggae


Danny Creatah


Radio Harstad


Tommy Vandalsvik

Radio Nova

Oslo Reggae Show

Dominic Reuben


Polish National Radio

Polskie Radio Czwórka

Strefa Dread

Mirosław “Maken” Dzieciołowski

Positive Thursdays

Rafal Konert

Radio Kampus

Dancehall Masak-Rah

Pawel Szawczukiewicz


Do The Reggae Romania


Nedelcu Sebastian


Daily Vibes


Vladimir Zavialov

South Africa



Lee Phiri

United Kingdom

107.8 Black Diamond FM

The Reggae Attic

Addie Thomson


Venum Sound Show

Kris Lewis

Reggae Roots Review


Toby Whittacker-Cook

Swindon 105.5

Andy V’s Random Reggae Show

Andy Vater

World A Reggae

Irie Jamms Show

DJ 745


Caribbean Dance Radio




Reggae Music Forward


Tomas Palermo


Island Stage Magazine


Susan Underwood


Heart Beat of Zion

Rasta Stevie


Dub Palace / Reggae Transfusion

The Groove Thief


Reggae King Radio

Reggae Rhapsody

Keith Rowe


The TikiPod

Program Director

Eric Przybylski


WZBC Boston College Radio 90.3FM

Raggamuffin International

Robin Walther



Reggae Shack

Tracy Moore

New Jersey

WBZC 88.9 FM

Sounds of the Caribbean

Selecta Jerry

New York

Reggae Roots


Esteban Rod


The Joint

Jheanelle Morgan


KPOV 88.9 FM

The Coop / High Desert Co-op

Tristan Reisfar


90.3 The Rock Volunteer Radio WUTK

Simmer Down

Mason Mulkey


WORT 89.9 FM

Tropical Riddims

Tropical Riddims Sound System

DJ -F.R.P.


Radio Nacional de Venezuela

Desde El Ghetto / Raices y Cultura

George Dread


global reggae charts | issue 12 / april 2018


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Boomrush Productions

Tondernstr. 14

26127 Oldenburg



Felix Rühling


Anderson Muth


Thomas Euler

Art Director:

Solvey Schönknecht


Felix Rühling


Photo credits:

front/back, Page 10/11: Jordache Jones

© Boomrush Productions 2018

All rights reserved. Reproduction in part or

whole is strictly prohibited without prior

consent or authorization from the publisher.

global reggae charts | issue 12 /april 2018 16

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global reggae charts | issue 12 / april 2018

global reggae charts | issue 12 /april 2018

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