Global Reggae Charts - Issue #21 / February 2019


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 #21 | january 2019

artist of the month

Lila Iké

Business Insight

Emch of Subatomic Sound System

global reggae charts | issue 21 / feb 2019


global reggae charts | issue 4 / august 2017


With 2019 barreling ahead into “Reggae Month,” welcome to the February issue of Global Reggae

Charts magazine!

Our cover this month belongs to the chart-topping Lila Iké, who’s “Second Chance” is currently dominating

the singles chart. A member of Protoje’s In.Digg.Nation Collective, she continues to make

a name for herself through her unique voice and style.

We also have an in-depth feature interview with Emch of New York City’s Subatomic Sound System.

Currently on tour with Lee “Scratch” Perry in honor of the 45th Anniversary of the landmark

Blackboard Jungle Dub album, Emch discusses how their collaboration first came to be, how it

has developed over time, the effects of Perry’s Black Ark production style on his own aesthetic, and


Back to the charts, on the singles side the remaining top five belong to a nice range of artists:

Alborosie & Chronixx at #2, Tarrus Riley at #3, Beres Hammond at #4, and Koffee’s latest “Toast” at

#5. Groundation’s “Fossil Fuels” is in at #8, and it’s worth noting that Koffee’s “Raggamuffin” – #1

overall for 2018 – is still at #11 after 11 full months on the charts! Further down there are several

debuts with Jah9’s “Heaven” at #16, Samory I’s “Feeling” at #18, and Alika’s “Dreadlocks” at #20.

The albums list finds many expected names, as Alborosie Meets The Wailers United remains at

#1, King Jammy presents Dennis Brown is back up to #2, and Protoje’s A Matter Of Time stands

strong at #3. Black Uhuru has risen to #6 this month, while Manudigital brings a digital vibe to the

seventh position. Jahbar I makes an impressive first month appearance at #8, while other acts

include Black Roots, Assassin, and Dubmatix. The bottom four of the chart are all fresh; Popcaan

as well as Mellow Mood & Paolo Baldini DubFiles are new entries, and Eesah’s Masterpiece plus

Bulby York’s Master Blaster are on their second month.

The “Peng Peng Riddim” seems to have the riddim chart on lock-down, still at #1 after four

months! At #2 remains the “State of Emergency Riddim,” likewise for the ensuing Green Lion

Crew’s “Militant Step Riddim.” Returning to the chart after an absence are the “Old Jack Plug Riddim”

and the “Lecturer Riddim” to wrap things up.

Thanks as always to our voters and readers; we truly appreciate your efforts and tireless devotion

to reggae music!

Big ups from Colorado, USA,



global reggae charts | issue 21 / feb 2019

Album single Charts | top 20


Ending 31/12/2018

Contributing voters: 47

# LM 2M PK Mo Artist Single Label

↑ 1 5 2 1 5 Lila Iké Second Chance In.Digg.Nation

2 2 4 1 8 Alborosie & Chronixx Contradiction Greensleeves

3 1 17 1 3 Tarrus Riley Guess Who VP

4 4 1 1 8 Beres Hammond I‘m Alive VP

5 3 - 3 2 Koffee Toast Columbia

↑ 6 15 5 2 8 Protoje & Chronixx No Guarantee Mr Bongo

↑ 7 10 9 9 3 Mortimer Careful Easy Star

↑ 8 19 19 5 6 Groundation Fossil Fuels Baco

9 6 10 3 8 Kabaka Pyramid & Damian Marley Kontraband Ghetto Youths

↑ 10 13 12 7 4 Bulby York

Lots of Signs feat. Christopher Martin,

Beenie Man

Bulby York

↑ 11 - 3 1 11 Koffee Raggamuffin Frankie

↑ 12 - 8 8 2 Manudigital Bad feat. General Degree X-Ray

↑ 13 . 7 7 2 Beres Hammond Land Of Sunshine VP

14 11 15 11 4 Protoje Like This Mr Bongo

↑ 15 17 14 11 5 Capital Letters The Roots Sugar Shack

+ 16 - - 16 1 Jah9 Heaven (Ready Fi Di Feeling) VP

17 16 13 10 7 Yaadcore

No Fenke Fenke feat. Shanique Marie

& Kabaka Pyrami

12 Yaad

+ 18 - - 18 1 Samory I Feeling Rorystonelove

19 7 6 6 4 Mojo Morgan Be Free feat. Stephen Marley, Gramps Morgan Heritage Grown

+ 20 - - 20 1 Alika Dreadlocks feat. Jah9 Irie Sudamerica

Samory I Beres Hammond Jah9

Mortimer Manudigital

# = 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 21 / feb 2019 2

Album Charts | top 20


Ending 31/12/2018

Contributing voters: 40

# LM 2M PK Mo Artist Album Label

1 1 2 1 7 Alborosie Meets The Wailers United Unbreakable Greensleeves

↑ 2 6 1 1 4 Dennis Brown

King Jammy Presents:

Tracks Of Life


3 3 3 1 7 Protoje A Matter of Time Mr Bongo

↑ 4 - 4 4 2 Beres Hammond Never Ending VP

↑ 5 7 5 1 8 Kabaka Pyramid Kontraband Ghetto Youths International

↑ 6 10 - 6 2 Black Uhuru As The World Turns Black Uhuru

7 5 8 5 3 Manudigital Bass Attack X-Ray

+ 8 - - 8 1 Jahbar I Jahbar I Dehya Wizkilful

↑ 9 11 6 6 4 Groundation The Next Generation Baco

10 4 - 4 2 Lee „Scratch“ Perry The Black Album Upsetta

11 10 - 10 2 Black Roots Take It Khanti

↑ 12 13 18 12 3 Capital Letters Judgement Day Sugar Shack

13 2 7 2 4 Assassin Hope River Diamond Studios

↑ 14 18 16 4 6 Reemah Breaking News Feel Line

↑ 15 - 19 15 4 Dubmatix King Size Dub Special Echo Beach

↑ 16 - 17 3 7 Mellow Mood Large La Tempesta Dub

+ 17 - - 17 1 Popcaan Forever Mixpak

+ 18 - - 18 1 Mellow Mood & Paolo Baldini DubFiles Large Dub La Tempesta Dub

19 8 - 8 2 Eesah Masterpiece B.I.G.

↑20 - - 10 2 Bulby York Master Blaster Bulby York

Lee Perry

Black Uhuru




# = 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 21 / feb 2019




For this feature – originally produced for KGNU

Community Radio [Boulder/Denver, Colorado,

USA] – we have a timely chat with Emch of

Subatomic Sound System. He’s worked with

Lee “Scratch” Perry for over ten years now,

and they are currently on tour celebrating the

45th Anniversary of what is arguably the firstever

dub album: Blackboard Jungle Dub.

global reggae charts


of evolved over time. I think we put out an album

in 2003 or something like that, one very rootsy dub

song called “Our Father, Our King” that we put on

there ended up being the most popular song on the

album, which we thought was really funny cause it

was like this eclectic album with hiphop, dancehall,

downtempo-y stuff, some jungle-y stuff, and then

this one dub song.

We kind of felt like although that was something we

Anderson Muth: Obviously, Lee “Scratch” Perry

is a well-regarded and truly legendary Jamaican

producer, engineer, musician, singer, etc. – how did

the Subatomic Sound System connection really first

happen, and was that a studio thing or a live thing or

just one of those coincidences of the reggae world?

Emch: Well, you know, I think that reggae is a global

community, and it’s sort of an underground music

around the world, almost more so I feel like than

maybe any other style. And so, I was playing guitar

for a band from Austria on tour, who was doing an

album with Lee Perry at the time – that was maybe

2007 or something like that – this band called Dubblestandart,

and they asked me to do some remixes

for some of the songs, and they wanted me to do

dubstep-style mixes. And when Subatomic started in

New York, it was me and a reggae/dub, specifically

live dub, bass player, a guy called Noah the Riddim

Doctor, he had a group called No Shadow Kick that

was, a lot of the members actually that went on to

get into the Easy Star All-Stars, he was part of that,

and Victor Axelrod, a lot of people know him as

Ticklah – a lot of people who know dub and reggae,

Ticklah was part of Antibalas also, he’s a guy who’s

kind of gotten into a lot of areas of music, he worked

on the Amy Winehouse albums and things like that.

So it was an interesting community, the musicians

who were into dub, but it was kind of like one element

of what we were doing at the time like actually

we kind of got together in the late 90s we had jungle

and hiphop and dub was an element of it that sort

were passionate about, we didn’t really see that as

the path, but as time went on we got deeper into

it, and ended up doing these remixes for Lee Perry

that were theoretically dubstep, at a time when

dubstep was just sort of catching on in the US, and

when I say US I mostly mean New York, this party

global reggae charts | issue 21 / feb 2019


global reggae charts


called Dub War going on. But this cross-pollination

of electronic music and reggae, especially dub, was

something we were really into. It wasn’t like we got

into dubstep as much as the combination of influences

that we were doing led us to something that

sounded like what was developing in the UK, you

know dubstep there did develop out of lot of people

who were kind of tired of the jungle/drum-n-bass

scene, slowed it down, and combined it with reggae

SummerStage in Central Park… that’s a long standing

summer concert series, I wouldn’t say I have

a lot of music dreams, but maybe two of them

would’ve been playing at SummerStage and getting

to work with Lee “Scratch” Perry, and so I got to do

both of those in one day – it was bananas – and that

was the first time basically playing him with him…

Yeah, it was a really interesting cross-pollination

that led to me playing more with “Scratch” over in

Europe, and then eventually in 2011 I put together

a dub festival and ended up playing with him in a

band for a show for the festival, and that led to us

doing our first tour with him, where the idea was

that what we had done with these dubstep remixes

was interesting and just unusual. I didn’t realize at

the time how into pushing the boundaries he was.

So many people think of him as a reggae artist, and

most people are known for their work in a certain

genre, kind of evolved within the scope of the genre,

but I didn’t’ realize how much he wanted to get

into anything and everything, just the whole idea of

performing with a whole element of the band, with

electronics and live instruments… it wasn’t really

even completely clear how we were going to do it,

but the idea was they wanted that sort of sound live.

AM: What type of instrumentation lineup where you

using back then, compared to what’s happening on

the tour now?

– which is essentially what were kind of doing on

our own path in New York. So from there, that led

to us being asked to do a show with “Scratch,” the

first shows we did, actually we ended up doing two

shows in a weekend – one was a secret show, the

real show we were doing with him was at

Emch: You know, the very first show I played with

him was more of a traditional band setup, and I was

playing guitar and maybe some melodica. We had

a horn section, percussion, bass, drums, so on…

sometimes we had backing vocals. We really did a

rotating combination, in a way, for people who are

familiar with Thievery Corporation, the live show

that they developed, was something we were doing

separately, without even knowing it… kind of a combination

of reggae and electronic music to crowds

that weren’t really familiar with it, and having it go

over great. We’re used to having a bunch of different

singers, different instrumentation, sort of being a



global reggae charts | issue 21 / feb 2019

So when we started out with “Scratch” we were

rotating through different combinations of people;

the core group though, we’ve always included Larry

McDonald on percussion, who has worked with

“Scratch” since back in the days of the Black Ark,

and recorded with, even before him, with Count

Ossie – the original Nyabinghi drum group – the

Skatalites… they recorded with Bob Marley and

Peter Tosh… so it was interesting because the band

was really multi-generational too, now “Scratch”

is coming up on his 83rd birthday, Larry is 81 going

on 82, and both those guys are just a very inspiring

example of how age has nothing to do with your

youthful creative outlook on life.

So having Larry in there from the get-go, we started

out oftentimes with live bass and horns, the tour

that we’re doing now is more horn-related, because

going back and doing an album like Blackboard Jungle

which we’re gonna do on this tour, and before

that we’ve done a Super Ape album, that era of the

70s recordings by Perry, I felt like the horn and percussion

was really a crucial element in that sound,

a real crucial element of the Black Ark studio sound,

his studio where he really came into his own as a


AM: How much over the years have you immersed

yourself into that Black Ark catalog, how much have

you let the past work of “Scratch” affect your involvement

with him, versus just approaching it with a

fresh vision for current times?

Emch: I mean, to be honest, we kind of went backwards

in time in a way, we started with him and

initially he didn’t really want to be doing a lot of old

music, he wanted to do a lot of new stuff, like I said

he wanted to work with us because of the dubstep

stuff, and that became very popular. At a certain

point, probably with the dawn of Skrillex, it kind of

killed it – because then that sort of left turn for dubstep

really didn’t have anything to do with reggae


So we kind of stopped trying to have that associati-

global reggae charts


on to a certain extent, but what we did instead was

instead of having it be like remixes of songs… really

trying to back into that catalog and find songs that

we could – I don’t want to say modernize – but combine

with elements that were newer – I mean just

the whole format of the band, the fact that there’s

electronics and old traditional instruments playing

old original parts – that in itself made it different.

And just figuring out what music of his fit best into

that format and how to make it more seamless…

when we were first playing we’d do what sounded

like dubstep track, and then what sounded like a

jungle or drum-n-bass track, and then something

that sounds like a reggae track – instead we’ve now

kind of made it so in a way it flows seamlessly

through these elements, you kind of hear hints of

different styles come in and out. And to me, it’s really

kind of capturing an evolution of his aesthetic, and

in a way our aesthetic, because it’s been based on,

built on the shoulders of, what he created.

AM: I know with the Super Ape album that you worked

with the track listing, made to have dub versions

at the end as well, to make sure it’s a fresh thing

rather a remix album or something like that…

Emch: Yeah, but we did this whole tour for the 40th

Anniversary of Super Ape, and in the process of

doing the tour – you know the original album is so

sort of meditative and sparse that to bring it live, I

don’t think it would’ve been that compelling as a

live show. There’s a lot of music I love to listen to,

but going and standing in a dark room for an hour

or two listening to it isn’t really the optimal way

to enjoy it – the original album is best enjoyed just

kicking it, relaxing – but we wanted something that

took those same songs and instilled it with more,

just, energy, made it more hype.

And you know, the direction of a lot of reggae, especially

in Europe, is a lot of more of the steppers, Jah

Shaka-inspired beats, where it’s quite high energy.

And I just found that a lot of those songs on that

album lend themselves to that sort of evolution,

global reggae charts | issue 21 / feb 2019


global reggae charts


and it made for a great live show and we found it in

many ways: we stretched them out, we added other

elements, especially say like the horn section, we

found there was a really kind of compelling synergy

with African horn lines, especially like Ethiopian

jazz – those were the kinds of things that “Scratch”

was very influenced by the African drums, and a lot

of melodies, that’s a fascination of his already and

just kind of extending those influences in the music

also made sense, and that’s something that really

has nothing to do with the technology or the electronics,

that’s actually kind of again going back in time

, but bringing that as a kind of expanded dimension

to the music, so yeah, it’s not like trying to recreate

or remix as much as just sort of use that music as

a blueprint for what else can we create from that,

which I think is sort of what’s at the core of what’s

interesting about dub and “Scratch,” I think he’s a

guy who’s given blueprints to people all over the

world, across generations, across genres.

It’s why you find, for us, we love to play in front of

different sort of audiences: we’ll play an electronic

music festival one day, a reggae festival another

day, we played at a big techno club called Output in

Brooklyn last year, and that was crazy – that was one

of the first ever live shows they ever had in there, on

a big Funktion-One sound system, and you find that

across different genres…

“Scratch” as a producer has had an influence on so

many people, and that’s part of what makes this music,

to me, interesting, is the way that it’s connected

to all these genres that are commonplace today, but

people might otherwise not realize have a connection

to reggae or dub.

AM: To me, that’s why this music resonates with so

many people – it is old, but crucially, it’s fresh.

Emch: Yeah, I was talking to a guy

who programs music for a fountain

in Seattle… a scenario where people

gather in the city: a big fountain

and they have music. He was talking

about how he put some music of

mine in there recently and it was

actually from the early 2000s, but

he was saying it was really interesting…

somehow he was expecting

for it to sound older in the middle of

the mix, but it didn’t. It sounded like

you didn’t know if it was just created

yesterday, or when. And I think, not

to sound like I’m complimenting myself,

but I think when you’re making

music and you achieve the goal of

conveying a feeling, if you can do it

in a way that doesn’t sound like it’s

locked in a time or genre – it’s kind of

got an out-of-time element, timeless – then that’s a

real goal, you’ve achieved something with that…

Yeah, you know one funny review we got out of the

Super Ape Returns to Conquer album, this reviewer

in Germany I think it was for Riddim Mag, which

I love that magazine, so I was excited to see that

they had done a review of it – I had to translate it


global reggae charts | issue 21 / feb 2019

global reggae charts


from German cause it’s the German version – but

he said something to the effect of when listening

to the album at first he was thinking, he thought it

sounded but he wasn’t really sure what was different,

and then went back to the original album and

said that the funny thing was the new album sounds

like what he remembered the original album sounds

like… often times older music has some production

value limitations, and a big part of the new album

was extending the frequencies and things like that,

so you know, it sounds consistent in a way with music

produced today, even though it’s got something

from a previous era.

Sometimes in your head, your memory of music

from decades past, updates the music, your recollection

of it updates it to sound consistent with what

you’re hearing today. But when you go back and listen

to it, you realize it, oh wow it’s much quieter, the

bass isn’t the way I thought it is when I play it backto-back

with this track. But the feeling you got when

you first heard it: you remember that. I think that’s

part of what I like to do, not just with “Scratch’s”

music, but our own music – get that feeling of kind

of transporting you back…

AM: And finally, you’re willing to say, theoretically,

since I know there’s a lot of controversy, that Blackboard

Jungle Dub is the first dub album…?

Emch: There’s a lot of controversy, and really dub

started as b-sides for 45s, kind of accidentally, but

I would say Lee Perry, what I feel like distinguishes

him, is he was someone who was always first of all

focused on putting the producer – I think even before

that album – he was showing up as a producer, but

as the artist on the cover of the album, he was doing

a lot of stuff with instrumentals, and then he started

to get into working with effects, and he used that

as sort of a whole concept. And certainly his take on

dub is different than Scientist or King Tubby, and I

think that’s what makes all of those guys great and

interesting. You know, some people say the Augustus

Pablo Java Java Java Java album, which came out in

1973 was… I’ve heard people say that’s the first dub

album, but to me that’s an instrumental reggae

album – I love Augustus Pablo, some of his later stuff,

a lot of stuff he worked recording riddim tracks at

the Black Ark, whether “Scratch” mixed them or not;

I know they were actually good friends, “Scratch”

has enormous respect for Augustus Pablo. But I feel

like, legitimately, that’s a fair claim.

Riddim Charts | top 5


Ending 31/12/2018

Contributing voters: 22

# LM 2M PK Mo Riddim Label

1 1 1 1 4 Peng Peng Riddim Boomrush

2 2 - 2 2 State of Emergency Riddim Maximum Sound

3 3 4 3 3 Militant Step Riddim Green Lion Crew

↑ 4 - 3 3 3 Old Jack Plug Riddim Giddimani

↑ 5 - - 5 2 Lecturer Riddim Stingray

Old Jack Plug Riddim

global reggae charts | issue 21 / feb 2019




Sitting atop the current Singles Chart with “Second Chance,” Lila Iké

has clearly blossomed under the tutelage of label boss and mentor

Protoje. Simultaneously light and heavy, with the maturity of an artist

hitting her prime, the track’s video also showcases an intimate style

well suited for its emotional vocal delivery. A perfect choice for our

artist of the month feature!

global reggae charts | issue 21 / feb 2019



global reggae charts



La De Dios

Music Director

Santi Palazzo

La De Dios


Martin Quispe


2BOB Radio

Roots’n’Reggae Show

Bobbie Philp


Ital Galore

Ian Pillar

Radio Fremantle

I&I Sounds

Corby Howell


Radio Centraal

Back 2 Bass

Tim Ianna & Kenneth Oyen



Programa Digestivo

Rodolpho Gibertoni


Radio Bumerang 99.00 FM

Music Director


Radio Regent

ItaL rOOts RaDio

Sweet T

Radio Regent

ItaL rOOts RaDio

MAdCast Fuji

Rootz Reggae Radio

Riddim UP - Fridays

Tonie Smith

Cape Verde

Radio Morabeza


Evelise Gomes


UPTC Radio 104.1 FM

Legado Africano

Charli Urrego

Costa Rica

Radio Urbano 105.9FM

Di Docta Show

Marco Villalobos


Station Amager

Reggae Moods



Blaka Blaka Show

Selecta Andor


La Grosse Radio

Reggae Program Director

Simon Chamfroy


Antenne Münster 95.4

Cool & Deadly

Wolfgang Hickmann


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


Marius Finger (DJ Marious)

Radio Z 95.8


Philipp Kause

Radio Z 95.8


Crystal van de Rastashock

Outta Mi Yard Radio

007 FM


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

Radio Magenta FM 92.2

Reggae Corner

Teo Riccardi

Radio Popolare Network

Reggae Radio Station

Vitowar Fiorentino

Radio Popolare Verona


Marco Serafin

Radio Web-Base

Reggae Music

Louis Knight


Cabina420 Radio

Music Director

Misachael Solis


Impact AM

Music Director

Henk van Ulden

global reggae charts | issue 21 / feb 2019 10

global reggae charts



Radio Harstad

Tommy Vandelsvik

Radio Nova

Oslo Reggae Show

Dominic Reuben


Polskie Radio Czwórka

Strefa Dread


Radio Kampus

Dancehall Masak-Rah

Pawel Szawczukiewicz


Do The Reggae Romania


Nedelcu Sebastian


Daily Vibes


Vladimir Zavialov

South Africa



Lee Phiri

United Kingdom


Venum Sound Show

Kris Lewis

fuzion live

Reggae Takeover

Judge Knott

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




101.5 FM KTKE

Positive Vibrations

DJ Treez

Reggae Music Forward


Tomas Palermo



Heart Beat of Zion

Rasta Stevie


Dub Palace / Reggae Transfusion

The Groove Thief


Reggae Transfusion

Thomas Behler


One Love Music

Scott Peterson


Dread Radio

More Fire Show

DJ Crossfire

Foundation Radio


Real Rockaz

Marlon Burrell


The TikiPod

Program Director

Eric Przybylski


WZBC Boston College Radio 90.3FM

Raggamuffin International

Robin Walther



Dancehall/Reggae Show

Brian Tomsic




Rey Azucar


KPOV 88.9 FM

The Coop / High Desert Co-op

Tristan Reisfar


WORT 89.9 FM

Tropical Riddims

Tropical Riddims Sound System

DJ -F.R.P.


global reggae charts | issue 21 / feb 2019

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

1. Friday - 8:00 pm CET

global reggae charts

radio shows



Visador Radio

Black Country Radio

Global Reggae Charts


Wednesdays - 5:00 pm CET

with Kevin Moore

Fridays - 1:00 am GMT


Radio Kol Hanegev 106.4 FM



with Asaf “Baba G“ Nahmias


Mondays - 8:00 pm IST

with Judge Knott

Sunday 6pm GMT


Radio Popolare Network


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Last Sunday - 11:45 pm CET


Atom Radio


Sundays 5:00 pm CET


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with Dominic Reuben & Selecta Harmony

Last Tuesday 9:30 pm CET




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4. Sunday 4:00 pm GMT


99.8FM KCC Live


with MJRuckus

3. Tuesday - 10:00 pm 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



Boomrush Productions

Kalandstr. 15

38118 Braunschweig


Art Director:

Solvey Schönknecht

Photo Credits Lila Iké:

Smith Duroge


Issue#20: Photo Credits Jah9:



Felix Rühling


Felix Rühling

© Boomrush Productions 2018


Anderson Muth


All rights reserved. Reproduction in part or

whole is strictly prohibited without prior

consent or authorization from the publisher.


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global reggae charts | issue 21 / feb 2019

global reggae charts | issue 21 / feb 2019

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