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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.

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 <strong>#21</strong> | january <strong>2019</strong><br />

artist of the month<br />

Lila Iké<br />

Business Insight<br />

Emch of Subatomic Sound System<br />

global reggae charts | issue 21 / feb <strong>2019</strong>


<strong>#21</strong><br />

global reggae charts | issue 4 / august 2017


editorial<br />

With <strong>2019</strong> barreling ahead into “<strong>Reggae</strong> Month,” welcome to the <strong>February</strong> issue of <strong>Global</strong> <strong>Reggae</strong><br />

<strong>Charts</strong> magazine!<br />

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

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

a name for herself through her unique voice and style.<br />

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

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

Blackboard Jungle Dub album, Emch discusses how their collaboration first came to be, how it<br />

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

more.<br />

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

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

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

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

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

The albums list finds many expected names, as Alborosie Meets The Wailers United remains at<br />

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

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

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

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

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

Bulby York’s Master Blaster are on their second month.<br />

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

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

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

and the “Lecturer Riddim” to wrap things up.<br />

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

to reggae music!<br />

Big ups from Colorado, USA,<br />

Anderson<br />

1<br />

global reggae charts | issue 21 / feb <strong>2019</strong>


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

Period<br />

Ending 31/12/2018<br />

Contributing voters: 47<br />

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

↑ 1 5 2 1 5 Lila Iké Second Chance In.Digg.Nation<br />

2 2 4 1 8 Alborosie & Chronixx Contradiction Greensleeves<br />

3 1 17 1 3 Tarrus Riley Guess Who VP<br />

4 4 1 1 8 Beres Hammond I‘m Alive VP<br />

5 3 - 3 2 Koffee Toast Columbia<br />

↑ 6 15 5 2 8 Protoje & Chronixx No Guarantee Mr Bongo<br />

↑ 7 10 9 9 3 Mortimer Careful Easy Star<br />

↑ 8 19 19 5 6 Groundation Fossil Fuels Baco<br />

9 6 10 3 8 Kabaka Pyramid & Damian Marley Kontraband Ghetto Youths<br />

↑ 10 13 12 7 4 Bulby York<br />

Lots of Signs feat. Christopher Martin,<br />

Beenie Man<br />

Bulby York<br />

↑ 11 - 3 1 11 Koffee Raggamuffin Frankie<br />

↑ 12 - 8 8 2 Manudigital Bad feat. General Degree X-Ray<br />

↑ 13 . 7 7 2 Beres Hammond Land Of Sunshine VP<br />

14 11 15 11 4 Protoje Like This Mr Bongo<br />

↑ 15 17 14 11 5 Capital Letters The Roots Sugar Shack<br />

+ 16 - - 16 1 Jah9 Heaven (Ready Fi Di Feeling) VP<br />

17 16 13 10 7 Yaadcore<br />

No Fenke Fenke feat. Shanique Marie<br />

& Kabaka Pyrami<br />

12 Yaad<br />

+ 18 - - 18 1 Samory I Feeling Rorystonelove<br />

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

+ 20 - - 20 1 Alika Dreadlocks feat. Jah9 Irie Sudamerica<br />

Samory I Beres Hammond Jah9<br />

Mortimer Manudigital<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 21 / feb <strong>2019</strong> 2


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

Period<br />

Ending 31/12/2018<br />

Contributing voters: 40<br />

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

1 1 2 1 7 Alborosie Meets The Wailers United Unbreakable Greensleeves<br />

↑ 2 6 1 1 4 Dennis Brown<br />

King Jammy Presents:<br />

Tracks Of Life<br />

VP<br />

3 3 3 1 7 Protoje A Matter of Time Mr Bongo<br />

↑ 4 - 4 4 2 Beres Hammond Never Ending VP<br />

↑ 5 7 5 1 8 Kabaka Pyramid Kontraband Ghetto Youths International<br />

↑ 6 10 - 6 2 Black Uhuru As The World Turns Black Uhuru<br />

7 5 8 5 3 Manudigital Bass Attack X-Ray<br />

+ 8 - - 8 1 Jahbar I Jahbar I Dehya Wizkilful<br />

↑ 9 11 6 6 4 Groundation The Next Generation Baco<br />

10 4 - 4 2 Lee „Scratch“ Perry The Black Album Upsetta<br />

11 10 - 10 2 Black Roots Take It Khanti<br />

↑ 12 13 18 12 3 Capital Letters Judgement Day Sugar Shack<br />

13 2 7 2 4 Assassin Hope River Diamond Studios<br />

↑ 14 18 16 4 6 Reemah Breaking News Feel Line<br />

↑ 15 - 19 15 4 Dubmatix King Size Dub Special Echo Beach<br />

↑ 16 - 17 3 7 Mellow Mood Large La Tempesta Dub<br />

+ 17 - - 17 1 Popcaan Forever Mixpak<br />

+ 18 - - 18 1 Mellow Mood & Paolo Baldini DubFiles Large Dub La Tempesta Dub<br />

19 8 - 8 2 Eesah Masterpiece B.I.G.<br />

↑20 - - 10 2 Bulby York Master Blaster Bulby York<br />

Lee Perry<br />

Black Uhuru<br />

Protoje<br />

Reemah<br />

Groundation<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 21 / feb <strong>2019</strong>


INTERVIEW<br />

BUSINESS<br />

INSIGHT<br />

For this feature – originally produced for KGNU<br />

Community Radio [Boulder/Denver, Colorado,<br />

USA] – we have a timely chat with Emch of<br />

Subatomic Sound System. He’s worked with<br />

Lee “Scratch” Perry for over ten years now,<br />

and they are currently on tour celebrating the<br />

45th Anniversary of what is arguably the firstever<br />

dub album: Blackboard Jungle Dub.<br />

global reggae charts<br />

insight<br />

of evolved over time. I think we put out an album<br />

in 2003 or something like that, one very rootsy dub<br />

song called “Our Father, Our King” that we put on<br />

there ended up being the most popular song on the<br />

album, which we thought was really funny cause it<br />

was like this eclectic album with hiphop, dancehall,<br />

downtempo-y stuff, some jungle-y stuff, and then<br />

this one dub song.<br />

We kind of felt like although that was something we<br />

Anderson Muth: Obviously, Lee “Scratch” Perry<br />

is a well-regarded and truly legendary Jamaican<br />

producer, engineer, musician, singer, etc. – how did<br />

the Subatomic Sound System connection really first<br />

happen, and was that a studio thing or a live thing or<br />

just one of those coincidences of the reggae world?<br />

Emch: Well, you know, I think that reggae is a global<br />

community, and it’s sort of an underground music<br />

around the world, almost more so I feel like than<br />

maybe any other style. And so, I was playing guitar<br />

for a band from Austria on tour, who was doing an<br />

album with Lee Perry at the time – that was maybe<br />

2007 or something like that – this band called Dubblestandart,<br />

and they asked me to do some remixes<br />

for some of the songs, and they wanted me to do<br />

dubstep-style mixes. And when Subatomic started in<br />

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

live dub, bass player, a guy called Noah the Riddim<br />

Doctor, he had a group called No Shadow Kick that<br />

was, a lot of the members actually that went on to<br />

get into the Easy Star All-Stars, he was part of that,<br />

and Victor Axelrod, a lot of people know him as<br />

Ticklah – a lot of people who know dub and reggae,<br />

Ticklah was part of Antibalas also, he’s a guy who’s<br />

kind of gotten into a lot of areas of music, he worked<br />

on the Amy Winehouse albums and things like that.<br />

So it was an interesting community, the musicians<br />

who were into dub, but it was kind of like one element<br />

of what we were doing at the time like actually<br />

we kind of got together in the late 90s we had jungle<br />

and hiphop and dub was an element of it that sort<br />

were passionate about, we didn’t really see that as<br />

the path, but as time went on we got deeper into<br />

it, and ended up doing these remixes for Lee Perry<br />

that were theoretically dubstep, at a time when<br />

dubstep was just sort of catching on in the US, and<br />

when I say US I mostly mean New York, this party<br />

global reggae charts | issue 21 / feb <strong>2019</strong><br />

4


global reggae charts<br />

insight<br />

called Dub War going on. But this cross-pollination<br />

of electronic music and reggae, especially dub, was<br />

something we were really into. It wasn’t like we got<br />

into dubstep as much as the combination of influences<br />

that we were doing led us to something that<br />

sounded like what was developing in the UK, you<br />

know dubstep there did develop out of lot of people<br />

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

scene, slowed it down, and combined it with reggae<br />

SummerStage in Central Park… that’s a long standing<br />

summer concert series, I wouldn’t say I have<br />

a lot of music dreams, but maybe two of them<br />

would’ve been playing at SummerStage and getting<br />

to work with Lee “Scratch” Perry, and so I got to do<br />

both of those in one day – it was bananas – and that<br />

was the first time basically playing him with him…<br />

Yeah, it was a really interesting cross-pollination<br />

that led to me playing more with “Scratch” over in<br />

Europe, and then eventually in 2011 I put together<br />

a dub festival and ended up playing with him in a<br />

band for a show for the festival, and that led to us<br />

doing our first tour with him, where the idea was<br />

that what we had done with these dubstep remixes<br />

was interesting and just unusual. I didn’t realize at<br />

the time how into pushing the boundaries he was.<br />

So many people think of him as a reggae artist, and<br />

most people are known for their work in a certain<br />

genre, kind of evolved within the scope of the genre,<br />

but I didn’t’ realize how much he wanted to get<br />

into anything and everything, just the whole idea of<br />

performing with a whole element of the band, with<br />

electronics and live instruments… it wasn’t really<br />

even completely clear how we were going to do it,<br />

but the idea was they wanted that sort of sound live.<br />

AM: What type of instrumentation lineup where you<br />

using back then, compared to what’s happening on<br />

the tour now?<br />

– which is essentially what were kind of doing on<br />

our own path in New York. So from there, that led<br />

to us being asked to do a show with “Scratch,” the<br />

first shows we did, actually we ended up doing two<br />

shows in a weekend – one was a secret show, the<br />

real show we were doing with him was at<br />

Emch: You know, the very first show I played with<br />

him was more of a traditional band setup, and I was<br />

playing guitar and maybe some melodica. We had<br />

a horn section, percussion, bass, drums, so on…<br />

sometimes we had backing vocals. We really did a<br />

rotating combination, in a way, for people who are<br />

familiar with Thievery Corporation, the live show<br />

that they developed, was something we were doing<br />

separately, without even knowing it… kind of a combination<br />

of reggae and electronic music to crowds<br />

that weren’t really familiar with it, and having it go<br />

over great. We’re used to having a bunch of different<br />

singers, different instrumentation, sort of being a<br />

collective.<br />

5<br />

global reggae charts | issue 21 / feb <strong>2019</strong>


So when we started out with “Scratch” we were<br />

rotating through different combinations of people;<br />

the core group though, we’ve always included Larry<br />

McDonald on percussion, who has worked with<br />

“Scratch” since back in the days of the Black Ark,<br />

and recorded with, even before him, with Count<br />

Ossie – the original Nyabinghi drum group – the<br />

Skatalites… they recorded with Bob Marley and<br />

Peter Tosh… so it was interesting because the band<br />

was really multi-generational too, now “Scratch”<br />

is coming up on his 83rd birthday, Larry is 81 going<br />

on 82, and both those guys are just a very inspiring<br />

example of how age has nothing to do with your<br />

youthful creative outlook on life.<br />

So having Larry in there from the get-go, we started<br />

out oftentimes with live bass and horns, the tour<br />

that we’re doing now is more horn-related, because<br />

going back and doing an album like Blackboard Jungle<br />

which we’re gonna do on this tour, and before<br />

that we’ve done a Super Ape album, that era of the<br />

70s recordings by Perry, I felt like the horn and percussion<br />

was really a crucial element in that sound,<br />

a real crucial element of the Black Ark studio sound,<br />

his studio where he really came into his own as a<br />

producer.<br />

AM: How much over the years have you immersed<br />

yourself into that Black Ark catalog, how much have<br />

you let the past work of “Scratch” affect your involvement<br />

with him, versus just approaching it with a<br />

fresh vision for current times?<br />

Emch: I mean, to be honest, we kind of went backwards<br />

in time in a way, we started with him and<br />

initially he didn’t really want to be doing a lot of old<br />

music, he wanted to do a lot of new stuff, like I said<br />

he wanted to work with us because of the dubstep<br />

stuff, and that became very popular. At a certain<br />

point, probably with the dawn of Skrillex, it kind of<br />

killed it – because then that sort of left turn for dubstep<br />

really didn’t have anything to do with reggae<br />

anymore.<br />

So we kind of stopped trying to have that associati-<br />

global reggae charts<br />

insight<br />

on to a certain extent, but what we did instead was<br />

instead of having it be like remixes of songs… really<br />

trying to back into that catalog and find songs that<br />

we could – I don’t want to say modernize – but combine<br />

with elements that were newer – I mean just<br />

the whole format of the band, the fact that there’s<br />

electronics and old traditional instruments playing<br />

old original parts – that in itself made it different.<br />

And just figuring out what music of his fit best into<br />

that format and how to make it more seamless…<br />

when we were first playing we’d do what sounded<br />

like dubstep track, and then what sounded like a<br />

jungle or drum-n-bass track, and then something<br />

that sounds like a reggae track – instead we’ve now<br />

kind of made it so in a way it flows seamlessly<br />

through these elements, you kind of hear hints of<br />

different styles come in and out. And to me, it’s really<br />

kind of capturing an evolution of his aesthetic, and<br />

in a way our aesthetic, because it’s been based on,<br />

built on the shoulders of, what he created.<br />

AM: I know with the Super Ape album that you worked<br />

with the track listing, made to have dub versions<br />

at the end as well, to make sure it’s a fresh thing<br />

rather a remix album or something like that…<br />

Emch: Yeah, but we did this whole tour for the 40th<br />

Anniversary of Super Ape, and in the process of<br />

doing the tour – you know the original album is so<br />

sort of meditative and sparse that to bring it live, I<br />

don’t think it would’ve been that compelling as a<br />

live show. There’s a lot of music I love to listen to,<br />

but going and standing in a dark room for an hour<br />

or two listening to it isn’t really the optimal way<br />

to enjoy it – the original album is best enjoyed just<br />

kicking it, relaxing – but we wanted something that<br />

took those same songs and instilled it with more,<br />

just, energy, made it more hype.<br />

And you know, the direction of a lot of reggae, especially<br />

in Europe, is a lot of more of the steppers, Jah<br />

Shaka-inspired beats, where it’s quite high energy.<br />

And I just found that a lot of those songs on that<br />

album lend themselves to that sort of evolution,<br />

global reggae charts | issue 21 / feb <strong>2019</strong><br />

6


global reggae charts<br />

insight<br />

and it made for a great live show and we found it in<br />

many ways: we stretched them out, we added other<br />

elements, especially say like the horn section, we<br />

found there was a really kind of compelling synergy<br />

with African horn lines, especially like Ethiopian<br />

jazz – those were the kinds of things that “Scratch”<br />

was very influenced by the African drums, and a lot<br />

of melodies, that’s a fascination of his already and<br />

just kind of extending those influences in the music<br />

also made sense, and that’s something that really<br />

has nothing to do with the technology or the electronics,<br />

that’s actually kind of again going back in time<br />

, but bringing that as a kind of expanded dimension<br />

to the music, so yeah, it’s not like trying to recreate<br />

or remix as much as just sort of use that music as<br />

a blueprint for what else can we create from that,<br />

which I think is sort of what’s at the core of what’s<br />

interesting about dub and “Scratch,” I think he’s a<br />

guy who’s given blueprints to people all over the<br />

world, across generations, across genres.<br />

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

different sort of audiences: we’ll play an electronic<br />

music festival one day, a reggae festival another<br />

day, we played at a big techno club called Output in<br />

Brooklyn last year, and that was crazy – that was one<br />

of the first ever live shows they ever had in there, on<br />

a big Funktion-One sound system, and you find that<br />

across different genres…<br />

“Scratch” as a producer has had an influence on so<br />

many people, and that’s part of what makes this music,<br />

to me, interesting, is the way that it’s connected<br />

to all these genres that are commonplace today, but<br />

people might otherwise not realize have a connection<br />

to reggae or dub.<br />

AM: To me, that’s why this music resonates with so<br />

many people – it is old, but crucially, it’s fresh.<br />

Emch: Yeah, I was talking to a guy<br />

who programs music for a fountain<br />

in Seattle… a scenario where people<br />

gather in the city: a big fountain<br />

and they have music. He was talking<br />

about how he put some music of<br />

mine in there recently and it was<br />

actually from the early 2000s, but<br />

he was saying it was really interesting…<br />

somehow he was expecting<br />

for it to sound older in the middle of<br />

the mix, but it didn’t. It sounded like<br />

you didn’t know if it was just created<br />

yesterday, or when. And I think, not<br />

to sound like I’m complimenting myself,<br />

but I think when you’re making<br />

music and you achieve the goal of<br />

conveying a feeling, if you can do it<br />

in a way that doesn’t sound like it’s<br />

locked in a time or genre – it’s kind of<br />

got an out-of-time element, timeless – then that’s a<br />

real goal, you’ve achieved something with that…<br />

Yeah, you know one funny review we got out of the<br />

Super Ape Returns to Conquer album, this reviewer<br />

in Germany I think it was for Riddim Mag, which<br />

I love that magazine, so I was excited to see that<br />

they had done a review of it – I had to translate it<br />

7<br />

global reggae charts | issue 21 / feb <strong>2019</strong>


global reggae charts<br />

insight<br />

from German cause it’s the German version – but<br />

he said something to the effect of when listening<br />

to the album at first he was thinking, he thought it<br />

sounded but he wasn’t really sure what was different,<br />

and then went back to the original album and<br />

said that the funny thing was the new album sounds<br />

like what he remembered the original album sounds<br />

like… often times older music has some production<br />

value limitations, and a big part of the new album<br />

was extending the frequencies and things like that,<br />

so you know, it sounds consistent in a way with music<br />

produced today, even though it’s got something<br />

from a previous era.<br />

Sometimes in your head, your memory of music<br />

from decades past, updates the music, your recollection<br />

of it updates it to sound consistent with what<br />

you’re hearing today. But when you go back and listen<br />

to it, you realize it, oh wow it’s much quieter, the<br />

bass isn’t the way I thought it is when I play it backto-back<br />

with this track. But the feeling you got when<br />

you first heard it: you remember that. I think that’s<br />

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

music, but our own music – get that feeling of kind<br />

of transporting you back…<br />

AM: And finally, you’re willing to say, theoretically,<br />

since I know there’s a lot of controversy, that Blackboard<br />

Jungle Dub is the first dub album…?<br />

Emch: There’s a lot of controversy, and really dub<br />

started as b-sides for 45s, kind of accidentally, but<br />

I would say Lee Perry, what I feel like distinguishes<br />

him, is he was someone who was always first of all<br />

focused on putting the producer – I think even before<br />

that album – he was showing up as a producer, but<br />

as the artist on the cover of the album, he was doing<br />

a lot of stuff with instrumentals, and then he started<br />

to get into working with effects, and he used that<br />

as sort of a whole concept. And certainly his take on<br />

dub is different than Scientist or King Tubby, and I<br />

think that’s what makes all of those guys great and<br />

interesting. You know, some people say the Augustus<br />

Pablo Java Java Java Java album, which came out in<br />

1973 was… I’ve heard people say that’s the first dub<br />

album, but to me that’s an instrumental reggae<br />

album – I love Augustus Pablo, some of his later stuff,<br />

a lot of stuff he worked recording riddim tracks at<br />

the Black Ark, whether “Scratch” mixed them or not;<br />

I know they were actually good friends, “Scratch”<br />

has enormous respect for Augustus Pablo. But I feel<br />

like, legitimately, that’s a fair claim.<br />

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

Period<br />

Ending 31/12/2018<br />

Contributing voters: 22<br />

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

1 1 1 1 4 Peng Peng Riddim Boomrush<br />

2 2 - 2 2 State of Emergency Riddim Maximum Sound<br />

3 3 4 3 3 Militant Step Riddim Green Lion Crew<br />

↑ 4 - 3 3 3 Old Jack Plug Riddim Giddimani<br />

↑ 5 - - 5 2 Lecturer Riddim Stingray<br />

Old Jack Plug Riddim<br />

global reggae charts | issue 21 / feb <strong>2019</strong><br />

8


Lila<br />

Iké<br />

Sitting atop the current Singles Chart with “Second Chance,” Lila Iké<br />

has clearly blossomed under the tutelage of label boss and mentor<br />

Protoje. Simultaneously light and heavy, with the maturity of an artist<br />

hitting her prime, the track’s video also showcases an intimate style<br />

well suited for its emotional vocal delivery. A perfect choice for our<br />

artist of the month feature!<br />

global reggae charts | issue 21 / feb <strong>2019</strong>


global<br />

voters<br />

global reggae charts<br />

voters<br />

Argentina<br />

La De Dios<br />

Music Director<br />

Santi Palazzo<br />

La De Dios<br />

Brownie<br />

Martin Quispe<br />

Australia<br />

2BOB Radio<br />

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

Bobbie Philp<br />

89.7FM<br />

Ital Galore<br />

Ian Pillar<br />

Radio Fremantle<br />

I&I Sounds<br />

Corby Howell<br />

Belgium<br />

Radio Centraal<br />

Back 2 Bass<br />

Tim Ianna & Kenneth Oyen<br />

Brazil<br />

Rádio UFSCAR<br />

Programa Digestivo<br />

Rodolpho Gibertoni<br />

Bulgaria<br />

Radio Bumerang 99.00 FM<br />

Music Director<br />

Canada<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 />

Cape Verde<br />

Radio Morabeza<br />

Rockers<br />

Evelise Gomes<br />

Colombia<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 />

Denmark<br />

Station Amager<br />

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

Finland<br />

Bassoradio<br />

Blaka Blaka Show<br />

Selecta Andor<br />

France<br />

La Grosse Radio<br />

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

Simon Chamfroy<br />

Germany<br />

Antenne Münster 95.4<br />

Cool & Deadly<br />

Wolfgang Hickmann<br />

ByteFM<br />

Forward The Bass<br />

Karsten Frehe<br />

Radio Leinehertz 106.5<br />

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

Thorben Noß<br />

Radio Regentrude<br />

Music Director<br />

Brigitte Reinert<br />

Radio StHörfunk<br />

Sluggish Radio Show<br />

Daniel Kielczewski<br />

Radio Top 40<br />

Host<br />

Marius Finger (DJ Marious)<br />

Radio Z 95.8<br />

Rastashock<br />

Philipp Kause<br />

Radio Z 95.8<br />

Rastashock<br />

Crystal van de Rastashock<br />

Outta Mi Yard Radio<br />

007 FM<br />

Ruffneck-Smille<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 />

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 />

Radio Magenta FM 92.2<br />

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

Teo Riccardi<br />

Radio Popolare Network<br />

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

Vitowar Fiorentino<br />

Radio Popolare Verona<br />

Exodus<br />

Marco Serafin<br />

Radio Web-Base<br />

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

Louis Knight<br />

Mexico<br />

Cabina420 Radio<br />

Music Director<br />

Misachael Solis<br />

Netherlands<br />

Impact AM<br />

Music Director<br />

Henk van Ulden<br />

global reggae charts | issue 21 / feb <strong>2019</strong> 10


global reggae charts<br />

voters<br />

Norway<br />

Radio Harstad<br />

Tommy Vandelsvik<br />

Radio Nova<br />

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

Dominic Reuben<br />

Poland<br />

Polskie Radio Czwórka<br />

Strefa Dread<br />

Maken<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 />

1BTN<br />

Venum Sound Show<br />

Kris Lewis<br />

fuzion live<br />

<strong>Reggae</strong> Takeover<br />

Judge Knott<br />

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

101.5 FM KTKE<br />

Positive Vibrations<br />

DJ Treez<br />

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

Host<br />

Tomas Palermo<br />

Colorado<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 />

KGNU<br />

<strong>Reggae</strong> Transfusion<br />

Thomas Behler<br />

KZYR<br />

One Love Music<br />

Scott Peterson<br />

Florida<br />

Dread Radio<br />

More Fire Show<br />

DJ Crossfire<br />

Foundation Radio<br />

Network<br />

Real Rockaz<br />

Marlon Burrell<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 />

Michigan<br />

WCBN<br />

Dancehall/<strong>Reggae</strong> Show<br />

Brian Tomsic<br />

Minnesota<br />

KFAI<br />

LatinoAltRock<br />

Rey Azucar<br />

Oregon<br />

KPOV 88.9 FM<br />

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

Tristan Reisfar<br />

Wisconsin<br />

WORT 89.9 FM<br />

Tropical Riddims<br />

Tropical Riddims Sound System<br />

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

11<br />

global reggae charts | issue 21 / feb <strong>2019</strong>


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 />

1. Friday - 8:00 pm CET<br />

global reggae charts<br />

radio shows<br />

Germany<br />

UK<br />

Visador Radio<br />

Black Country Radio<br />

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

RIDDIM SESSIONS<br />

Wednesdays - 5:00 pm CET<br />

with Kevin Moore<br />

Fridays - 1:00 am GMT<br />

Israel<br />

Radio Kol Hanegev 106.4 FM<br />

UK<br />

BA BA REGGAE<br />

fuzionlive.com<br />

with Asaf “Baba G“ Nahmias<br />

REGGAE TAKEOVER<br />

Mondays - 8:00 pm IST<br />

with Judge Knott<br />

Sunday 6pm GMT<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 />

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 />

Imprint<br />

Publisher:<br />

Boomrush Productions<br />

Kalandstr. 15<br />

38118 Braunschweig<br />

Germany<br />

Art Director:<br />

Solvey Schönknecht<br />

Photo Credits Lila Iké:<br />

Smith Duroge<br />

Errata:<br />

<strong>Issue</strong>#20: Photo Credits Jah9:<br />

@samokush_i<br />

Editor-in-Chief:<br />

Felix Rühling<br />

info@globalreggaecharts.com<br />

Advertising:<br />

Felix Rühling<br />

info@globalreggaecharts.com<br />

© Boomrush Productions 2018<br />

Author/Editor:<br />

Anderson Muth<br />

thegroovethief.com<br />

Website:<br />

https://globalreggaecharts.com<br />

All rights reserved. Reproduction in part or<br />

whole is strictly prohibited without prior<br />

consent or authorization from the publisher.<br />

8


media partners<br />

global reggae charts | issue 21 / feb <strong>2019</strong>


global reggae charts | issue 21 / feb <strong>2019</strong>

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