Global Reggae Charts - Issue #22 / March 2019

GlobalReggaeCharts

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 #22 | march 2019

artist of the month

Eesah

Business Insight

Dave Halchak |

Cervantes‘ Masterpiece Ballroom

global reggae charts | issue 22 / march 2019


#22

global reggae charts | issue 4 / august 2017


editorial

Time relentlessly marches forward, just like a crucial riddim in the dance, which brings us to the

latest issue of Global Reggae Charts magazine!

Eesah has been bubbling up within the Jamaican roots scene, so his presence on the album charts

at #11 for Masterpiece, is only logical. Likewise is his appearance on our cover, since we’re excited

to see where his music takes him from here! Otherwise, there’s a lot of great music on the charts –

of course – plus, we’ve got the first in an ongoing series of interviews examining who often controls

the public’s perceptions of and experiences with reggae: talent bookers. To debut this, we’ve

got an exclusive interview with Dave Halchak, of Cervantes’ Masterpiece Ballroom in Denver,

Colorado, USA.

As for those charts, the single side is all about Koffee. A previously featured artist, her newest track

“Throne” – a Walshy Fire production with a choice Aggrovators sample – edges out its predecessor

“Toast” for the top spot! From there, Tarrus Riley with “Guess Who,” Alborosie & Chronixx on

“Contradiction,” and Jah9’s “Field Trip” wrap up the top five. Richie Spice makes a debut at #6, while

former chart-toppers by Lila Iké and Beres Hammond come in just behind. Strong first-month

showings seem to be the norm, perhaps as selectors hunger for fresh vibes in the new year: Cali P

& Teka are #9 for “Baddest,” Kabaka Pyramid is #10 for “Reggae Music,” King Mas’ posse cut “Definition

of a King” is #13, Rocky Dawuni is #17 with “Beats of Zion,” the Emeterians’ “Justice” is #19,

and the Berlin Boom Orchestra is #20 for “Originaler Stil.”

Unbreakable from Alborosie meets The Wailers United continues its domination of the album

charts, now in its third month in the #1 position! Jah9’s Feelings takes #2 in its first month, while

Groundation’s The Next Generation moves up to the fourth slot in its fifth month. Manudigital’s

Bass Attack remains solid, at #6; Gentleman’s Dub Club and Julian Marley break into the charts,

along with the Italian collaboration To the Foundation by Forelock with Arawak & Paolo Baldini

DubFiles - #7, #8, and #13, respectively. Alpha Steppa and Nai-Jah’s The Great Elephant brings a

heavier sound to #15, and an ex-number one from Protoje remains relevant at #19.

Riddims? Well, the Peng Peng Riddim continues its domination for another month, likewise for the

State of Emergency Riddim at #2. The Militant Step Riddim moves up into third, with new entries

Reggae Revolution Riddim and Love Vibration Riddim wrapping up the charts.

Thanks as always to our voters and readers; the reggae scene thrives when our work as individuals

creates community!

Big ups from Colorado, USA,

Anderson

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global reggae charts | issue 22 / march 2019


Album single Charts | top 20

Period

Ending 31/01/2019

Contributing voters: 39

# LM 2M PK Mo Artist Single Label

+ 1 - - 1 1 Koffee Throne Columbia

↑ 2 5 3 3 3 Koffee Toast Columbia

3 3 1 1 4 Tarrus Riley Guess Who VP

4 2 2 1 9 Alborosie & Chronixx Contradiction Greensleeves

↑ 5 - 9 9 3 Jah9 Field Trip VP

+ 6 - - 6 1 Richie Spice Beautiful Life feat. Kathryn Aria VP

7 1 5 1 6 Lila Iké Second Chance In.Digg.Nation

8 4 4 1 9 Beres Hammond I‘m Alive VP

+ 9 - - 9 1 Cali P x Teka Baddest LowLow

+ 10 - - 10 1 Kabaka Pyramid Reggae Music Ghetto Youths

↑ 11 - 20 11 2 Sevana Sometime Love In.Digg.Nation

↑ 12 - 17 11 5 Capital Letters The Roots Sugar Shack

+ 13 - - 13 1 King Mas

Definition of a King feat. Randy Valentine,

Kabaka Pyramid, Jahdan Blakkamoor &

Hymphatic Thabs

Bantu Nation

14 6 15 2 9 Protoje & Chronixx No Guarantee Mr Bongo

15 9 6 3 9 Kabaka Pyramid & Damian Marley Kontraband Ghetto Youths

16 10 13 7 5 Bulby York

Lots of Signs feat. Christopher Martin,

Beenie Man

Bulby York

+ 17 - - 17 1 Rocky Dawuni Beats Of Zion Aquarian

18 16 - 16 2 Jah9 Heaven (Ready Fi Di Feeling) VP

+ 19 - - 19 1 Emeterians Justice Cosme Deyah

+ 20 - - 20 1 Berlin Boom Orchestra Originaler Stil Springstoff

Cali P Jah9 King Mas

Koffee Rocky Dawuni

# = 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 22 / march 2019 2


Album Charts | top 20

Period

Ending 31/01/2019

Contributing voters: 30

# LM 2M PK Mo Artist Album Label

1 1 1 1 8 Alborosie meets The Wailers United Unbreakable Greensleeves

+ 2 - - 2 1 Jah9 Feelings VP

3 2 6 1 5 Dennis Brown King Jammy Presents: Tracks Of Life VP

↑ 4 9 11 4 5 Groundation The Next Generation Baco

5 4 - 4 3 Beres Hammond Never Ending VP

↑ 6 7 5 5 4 Manudigital Bass Attack X-Ray

+ 7 - - 7 1 Gentleman‘s Dub Club Lost in Space Easy Star

+ 8 - - 8 1 Julian Marley As I Am Ghetto Youths

9 5 7 1 9 Kabaka Pyramid Kontraband Ghetto Youths

↑ 10 13 2 2 5 Agent Sasco Hope River Diamond

↑ 11 19 8 8 3 Eesah Masterpiece B.I.G.

12 6 10 6 3 Black Uhuru As The World Turns Black Uhuru

+ 13 - - 13 1

Forelock with Arawak

& Paolo Baldini DubFiles

To the Foundation

La Tempesta Dub

↑ 14 - 19 5 5 Mr. Vegas ISM Germaica

↑ 15 - - 13 2 Alpha Steppa with Nai-Jah The Great Elephant Steppas

↑ 16 - 20 16 2 Ras Demo & Silly Walks Discotheque Pon Di Riddim Silly Walks

+ 17 - - 17 1 Alborosie meets the Roots Radics Dub for the Radicals VP

+ 17 - - 17 1 Dub Caravan feat. Hornsman Coyote Rootical Sojourn Dread Camel

19 3 3 1 8 Protoje A Matter of Time Mr Bongo

↑ 20 - 14 8 4 Bitty McLean with Sly & Robbie Love Restart Tabou 1

Eesah

Jah9

Protoje

Dub Caravan

Gentleman‘s Dub Club

# = this month’s position on the chart LM = last month’s position on the chart 2M = position two months ago

PK = peak position MO = months on the chart ↑= signifies upward movement + = new entry

3

global reggae charts | issue 22 / march 2019


INTERVIEW

BUSINESS

INSIGHT

For this month’s feature – our first focused

on the role that venues can play in shaping a

reggae scene – we speak with Dave Halchak,

a Talent Buyer for esteemed dual-room venue

Cervantes‘ Masterpiece Ballroom & The Other

Side in Denver, Colorado, USA. Cervantes’ has

hosted thousands of live shows across most

every genre since opening in 2003, continuing

the building’s legacy of live music dating back

to the jazz days of the 1930s, when the Casino

Cabaret hosted greats such as Duke Ellington,

Count Basie, and Benny Goodman.

Anderson Muth: How do you view the big picture

role of a music venue?

Dave Halchak: It‘s like we‘re viewed as the gatekeeper

and what we let through is something worth

checking out. That‘s what we try to do, that‘s kind of

the general idea if you were to boil it down.

AM: Can you tell us about yourself, what you‘ve

done as a musician, and what brought you to

Cervantes‘ for your current position?

DH: Background on me, is basically I moved out to

Denver [from the East Coast] in 2008, and I‘ve always

been playing music and I‘ve always been managing

and booking my own bands, except for the

bands that have gotten booking agents which has

happened, but usually it‘s just me. So I‘ve always

been heavy on the business side of things, but also

splitting that time between writing songs and scheduling

rehearsals in addition to booking shows and

managing travel arrangements and things like that.

So when I got to Denver, first thing I started to do

was put together a band [Ground Up]... and that was

always kind of in the jam scene. Long story short,

Cervantes‘ was always the place to play, so that was

immediately where I needed to get in Denver.

Within that timeframe, I had a guitar friend in that

band who is heavily influenced by 311 and the more

global reggae charts

insight

rock side of reggae. It‘s not that I was naive or

blinded by the reggae scene, I just wasn‘t as exposed

to much else other than Bob Marley and Gregory

Isaacs, Ziggy Marley maybe. [As I listened to more

reggae], I just naturally started writing some reggae-tinged

tunes... it went from a jamband to more

of a rock/reggae jamband. And he is who I started

Wake Up And Live! with, which is when I really

started digging in, further than Bob, into the Clinton

Fearons and really started expanding my knowledge

of the reggae scene. And in that time is when I started

to develop a relationship with Scott, the owner

of Cervantes‘. Around 2013, I started booking shows

for other bands at Cervantes‘ - it was very new to

me - and kind of entrance into becoming a Cervantes

employee. And then it turned into a full-time thing,

which is where I am now.

AM: Do you remember any of your first reggaerelated

bookings then?

DH: At the time, Tatanka was nationally touring,

although they‘re local; but on a more national level

I guess the first one I was involved with was probably

booking some support acts for Pato Banton. So

I booked support on that, and it just kind of started

to - it wasn‘t like there wasn‘t a lot of reggae being

booked at Cervantes‘, but there wasn‘t - the bigger

acts, the Tribal Seeds and the Fortunate Youths, but

there wasn‘t a lot of local reggae acts being booked,

there wasn‘t a lot of the smaller 200-300 cap

room-type reggae bands, so I just started bringing

those types of bands to help them develop in the

Denver scene, and I guess it was partly because I

wasn‘t booking bigger bands yet. So I naturally flowed

into stuff that I wanted to see and hear.

AM: It seems the role of reggae has shifted for

Cervantes‘ then, as far as its role within the bigger

picture?

DH: I do like to think that we‘re exposing more reggae

acts to the Denver crowd. Cervantes‘ has always

had plenty of reggae acts coming through, but I

global reggae charts | issue 22 / march 2019

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global reggae charts

insight

think what we‘re seeing is more of a consistent basis

of bringing younger reggae acts through, with #ReggaeTuesdays,

and the scene just growing - because

it‘s not just the Capletons and Pato Bantons and the

Sizzlas - it‘s the younger up-and-coming reggae acts

that are coming through now, in addition to those legendary

acts that we still have. I‘m not by any means

taking all credit for reggae at Cervantes,‘ that‘s for

sure, because Scott and Adam, the owners, book tons

of reggae.

and I think that has a little bit to do with the fact

that Red Rocks [Amphitheater] season is coming

to a close and now people want to go inside to see

music...

AM: How does that dynamic work, with the mix of

genres - Cervantes‘ isn‘t wanting to be an all-reggae

place, right?

DH: Well, honestly, it comes down to availability

and what makes sense on what dates. It‘s kind of a

first-come first-served, if you have a great show that‘s

gonna crush, and you‘re looking at a date then you‘re

gonna snag the date before someone else does. It‘s

hard to plan out - hey we‘re gonna have 12 electronic

shows, 15 hip-hop shows, 10 jamband shows, and 6

reggae shows - you know, you can‘t do that. So really

it comes down to availability and when those agents

are hitting us up.

AM: There definitely seems to be an ebb and flow...

DH: I know, and it‘s so hard to predict, and I don‘t

think there‘s any rhyme or reason to it. I think it‘s just

specific times of the year it‘s better to come through

Colorado; a lot of touring acts aren‘t going to come

through in say late April or early May since they can‘t

hit the mountain towns, because it‘s mud season. But

then 4:20 also kind of...

AM: What do you see as that peak Colorado season?

DH: February is a busy month in general, definitely.

February and March are very busy months, but the

fall is always consistently the most popular time, and

a lot of those mountains aren‘t open, so maybe my

logic is wrong. September/October has consistently

been one of the more popular times to come through,

AM: If we look at touring acts within reggae that

you‘re bringing, they‘re obviously still several tiers

there, right? How do you gauge all of that?

DH: It‘s really just research, you do your research on

the bands.

AM: In 2019, what all does that entail from a venue‘s

perspective?

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global reggae charts | issue 22 / march 2019


global reggae charts

insight

DH: Well, there‘s a few factors. Number one, who‘s

reaching out to you. Is it the drummer? Or is an

agent from Paradigm, one of the bigger agencies out

there? Or is it an agent from a smaller agency? So

you could, I hate to say it, instantly put a band into

a size category based on who‘s reaching out to you.

Also, for me, it‘s listening to the band and seeing

how professional or unprofessional they sound.

And looking at their socials - I don‘t want to say the

number of Facebook likes is important, but it is important

- and granted, people can buy likes on social

media...

AM: That‘s the question then, is it only the likes?

DH: No, it is not. If you look at, say, their Facebook

page, and they have 10,000 likes. But you look at

their posts, and there‘s no action. You can tell that

they probably bought those 10,000 likes. So it‘s a

mix of listening to the band - what do I think of this

band? do I think there‘s potential? do I think people

would like it? is it professional? do they have a good

package? for example, you look at their Facebook

page or their Instagram page, are they professional

in the way they present themselves?

AM: And are those the two main social media

channels that you value given the American market?

DH: Yep, Instagram has kinda stepped in front of

Facebook, but those are really the top two as far as if

an agent, or whoever‘s representing a band, reaches

out... if they‘re bigger, you‘re gonna look on Pollstar

and look at their touring history and look what kind

of average ticket sales they‘re putting together.

AM: Are you also looking at what venues they‘ve

played in comparable markets?

DH: Really focusing on where they‘ve played in

Denver. So, if they‘ve got a lot of history, you look

at that since that‘s where we are, and that‘s what‘s

gonna be most important. But at the same time, if

they have a lot of Denver history, we‘re probably

gonna be aware of them and we‘re probably gonna

already know them.

AM: And often they‘ve already played at Cervantes‘

at that point, right?

DH: Yeah, usually. There‘s just this natural progression,

it‘s almost like steps to Red Rocks... there is a

natural ladder.

AM: Cervantes‘ has two rooms, so how do you

decide if the Other Side or the Ballroom is the better

option?

DH: It depends on the artist‘s history, if it‘s gonna be

their first time headlining in Denver, we‘re not gonna

put them in the Ballroom. It‘s a thousand capacity

room, we‘re gonna start them on the Other Side -

five hundred cap - even then, that‘s a big room! A lot

of the bands, we might say‚ we want to build your

history in this market, but we need you to support

someone because you‘ve gotta sell 500 tickets or

we‘re all gonna lose money.

AM: How willing, and how important, is it to give

nationally touring, but less known locally, bands

a slot? Even though you‘re well aware they‘re not

going to directly sell the tickets, but it‘s the package

of the evening that will sell, hopefully.

DH: I think a lot of it depends on how much we believe

in the music and the band as a product. Because

a band is a business. So, if we think the band has

potential, then there‘s a little bit of it that you want

to be the one to bring them to the market. There‘s

that excitement about ‚this band is awesome, I want

everyone else to know they‘re awesome, so I want

to bring them to Denver.‘ There‘s this excitement

and/or competition level - well, we want to be the

ones to build their history, not XYZ. There‘s just a lot

of really good acts out there that deserve that shot,

and aren‘t gonna build their history if you‘re not

willing to build their history, you know?

global reggae charts | issue 22 / march 2019

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global reggae charts

insight

AM: #ReggaeTuesdays has become, pretty rapidly, a

prominently known event here in Denver, and it‘s really

providing touring artists an off-night opportunity

while giving local artists a chance to play on a bigger

platform than they would ever have on a Tuesday, or

even a weekend. How did that idea come together,

and what are your thoughts now that the event has

been running for over a year?

DH: Well, it‘s all an extension of Bob Marley because

we‘ve – [Halchak’s band] Wake Up And Live! - been

doing the Bob Marley birthday shows every year. So

when I was thinking about the show for 2018, it just

happened to be a Tuesday and at the same time I

was trying to figure out a night where we could do a

reggae night and just kind of try it out and see how

it goes, and see if it was something the venue would

look into doing on a regular basis. Tuesday was kind

of a night where we just didn‘t have a lot going

on - Wednesdays we have electronic, Thursdays

bluegrass, Friday/Saturday is a mishmash of kind of

whatever makes the most sense.

at first, but then with bands‘ touring schedules, you

can‘t predict which Tuesday of the month it‘s gonna

be. And then we started booking more nationals for

#ReggaeTuesdays, so then we started opening it up

to whatever Tuesday.

It‘s been a great platform for younger up-and-coming

bands like, take, for example, EarthKry. I was

introduced to EarthKry, they happened to be coming

through, it was a Tuesday which would be an off

night for them. We brought them through, they killed

it, people loved it. They came back and played the

Ogden [Theatre] with J Boog, and now they‘re gonna

come back and play the Other Side, and we‘ll try

to do it on a weekend this time through.

AM: Do you feel that process is worth it on the

business side?

DH: It makes sense, because they‘re an opening act

on the Ogden show, so they get exposed to a much

larger crowd than we could have at Cervantes‘ - 1600

vs. 1000. I think it makes sense, it‘s those stepping

stones. I‘d like to hope, it‘s the music business, so it

is what it is, but specifically, with those guys, I know

that they know who we are, and they respect the

fact that we gave them the first shot. Not all agents

or bands are going to be like that, but...

AM: Before we end, I do want to ask, since our audience

is DJ-based, what are the realities comparing

DJs and bands here in the US for reggae? Especially

given that we‘ve pretty much exclusively talked

about bands... do you even get inquiries from DJs, or

is it just a band thing?

So it seemed like the venue kind of wanted to have

a bit more going on on Tuesdays, number one, and

I was kinda looking for a night that we can kinda

dedicate to reggae - so we decided is what we‘re

gonna do is we‘re gonna do Bob Marley‘s birthday

on this Tuesday, and we‘re gonna start a thing called

#ReggaeTuesdays. So the idea at the time was to

do the first Tuesday of every month... that worked

DH: Yeah, I think it‘s mostly bands, with the exception

of like Yaadcore. There‘s really not been, through

my personal experiences, many discussions with the

DJ side of things. And I think Denver is a live music

town, although electronic music is very huge here,

there‘s no crossover for whatever reason, not that

I‘ve seen. It‘s mostly just live bands, and that has

to do with the crowd maybe, but it‘s tough to say

really...

7

global reggae charts | issue 22 / march 2019


global reggae charts | issue 22 / march 2019 8


Lila

Iké

Once known as Jahkime, Eesah’s Masterpiece, album currently sits at

#11 on the charts. With a quick delivery and thought-provoking lyrics,

his style sits nicely amongst the leading voices in the Jamaican reggae

scene. His rise is really no surprise, given excellent features on tracks

from the likes of Micah Shemaiah and Chronixx – check out “Dread At

The Control” and “Perfect Tree/Cannabis” if you’re not familiar!

global reggae charts | issue 22 / march 2019


global

voters

global reggae charts

voters

Argentina

La De Dios

Music Director

Santi Palazzo

Australia

2BOB Radio

Roots’n’Reggae Show

Bobbie Philp

89.7FM

Ital Galore

Ian Pillar

Radio Fremantle

I&I Sounds

Corby Howell

Belgium

Radio Centraal

Back 2 Bass

Tim Ianna & Kenneth Oyen

Brazil

Rádio UFSCAR

Programa Digestivo

Rodolpho Gibertoni

Bulgaria

Radio Bumerang 99.00 FM

Music Director

Canada

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

Rockers

Evelise Gomes

Colombia

UPTC Radio 104.1 FM

Legado Africano

Charli Urrego

Denmark

Station Amager

Reggae Moods

France

La Grosse Radio

Reggae Program Director

Simon Chamfroy

R-DWA

Meltin’ Dub

Baptiste Lefort

Germany

Antenne Münster 95.4

Cool & Deadly

Wolfgang Hickmann

ByteFM

Forward The Bass

Karsten Frehe

Outta Mi Yard Radio

007 FM

Ruffneck-Smille

Radio Leinehertz 106.5

Wha Gwaan – Reggae & Dancehall

Thorben Noß

Radio Regentrude

Music Director

Brigitte Reinert

Radio StHörfunk

Sluggish Radio Show

Daniel Kielczewski

Radio Top 40

Host

Marius Finger (DJ Marious)

Radio Z 95.8

Rastashock

Philipp Kause

Radio Z 95.8

Rastashock

Crystal van de Rastashock

Reggaestory.de

Peter Joachim

Reggaeville

Author

Gardy Stein

Visador-Radio

ReggaeRoundUp

Karsten Zick

Greece

Radio Xanthi One

Music Director

Nick Giannakopoulos

Israel

Kol Hanegev 106.4 FM

Ba Ba Reggae

Asaf Nahmias

Italy

Atom Radio

Host

Giuseppe Bellobuono

Radio Magenta FM 92.2

Reggae Corner

Teo Riccardi

Radio Popolare Network

Reggae Radio Station

Vitowar Fiorentino

Radio Popolare Verona

Exodus

Marco Serafin

Mexico

Cabina420 Radio

Music Director

Misachael Solis

Netherlands

Centraal FM

Reggae Connection

Camiel Vugs

Norway

Radio Harstad

Tommy Vandelsvik

Radio Nova

Oslo Reggae Show

Dominic Reuben

Poland

Polskie Radio Czwórka

Strefa Dread

Maken

global reggae charts | issue 22 / march 2019 10


global reggae charts

voters

Radio Kampus

Dancehall Masak-Rah

Pawel Szawczukiewicz

Russia

Daily Vibes

Editor

Vladimir Zavialov

South Africa

MzansiReggae

Editor

Lee Phiri

United Kingdom

1BTN

Venum Sound Show

Kris Lewis

fuzion live

Reggae Takeover

Judge Knott

Swindon 105.5

Andy V’s Random Reggae Show

Andy Vater

Vibes FM

Reggaemylitis

Sarah C

World A Reggae

Irie Jamms Show

DJ 745

Wycombe Sound

Rum and Reggae Show

Gregory Joseph

USA

Caribbean Dance Radio

Owner

DJ PhG

California

101.5 FM KTKE

Positive Vibrations

DJ Treez

Reggae Music Forward

Host

Tomas Palermo

Colorado

KDUR FM

Heart Beat of Zion

Rasta Stevie

KGNU

Dub Palace / Reggae Transfusion

The Groove Thief

KGNU

Reggae Transfusion

Thomas Behler

KZYR

One Love Music

Scott Peterson

Florida

Dread Radio

More Fire Show

DJ Crossfire

Foundation Radio

Network

Real Rockaz

Marlon Burrell

Vibes Squad Internet Radio

Content Manager

Shemroy Charley

Illinois

The TikiPod

Program Director

Eric Przybylski

Massachusetts

WZBC Boston College Radio 90.3FM

Raggamuffin International

Robin Walther

Michigan

WCBN

Dancehall/Reggae Show

Brian Tomsic

Oregon

KPOV 88.9 FM

The Coop / High Desert Co-op

Tristan Reisfar

KPOV 88.9 FM

The High Desert Co-op

Stacie Johnson

Wisconsin

WORT 89.9 FM

Tropical Riddims

Tropical Riddims Sound System

DJ -F.R.P.

Riddim Charts | top 5

Period

Ending 31/01/2019

Contributing voters: 15

# LM 2M PK Mo Riddim Label

1 1 1 1 5 Peng Peng Riddim Boomrush

2 2 2 2 3 State of Emergency Riddim Maximum Sound

3 3 3 3 4 Militant Step Riddim Green Lion Crew

11

+ 4 - - 4 1 Reggae Revolution Riddim Live MB

+ 5 - - 5 1 Love Vibration Riddim Upsetta

Reggae Revolution

Riddim

State of Emerceny

Riddim


ON Air

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LDD SOUNDS PRESENTS

GLOBAL REGGAE CHARTS

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GLOBAL REGGAE CHARTS

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Wednesdays - 5:00 pm CET

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Last Sunday - 11:45 pm CET

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GLOBAL REGGAE CHARTS

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3. Tuesday - 10:00 pm GMT

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radio shows

UK

Black Country Radio

RIDDIM SESSIONS

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Fridays - 1:00 am GMT

UK

fuzionlive.com

REGGAE TAKEOVER

with Judge Knott

Sunday 6pm GMT

UK

Radio St. Austell Bay 105.6 FM

A-Z OF REGGAE

with Mark Norman

Last Sunday - 4:00 pm GMT

UK

Vibes FM

REGGAEMYLITIS

with Sarah C

Last Wednesday - 6:00 pm GMT

UK

World A Reggae

IRIE JAMMS SHOW

DJ 745

On Demand

Venezuela

Radio Nacional de Venezuela

DESDE EL GHETTO

with George Dread

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

Imprint

Publisher:

Boomrush Productions

Kalandstr. 15

38118 Braunschweig

Germany

Editor-in-Chief:

Felix Rühling

info@globalreggaecharts.com

Author/Editor:

Anderson Muth

thegroovethief.com

Art Director:

Solvey Schönknecht

Photo Credits:

front/inside: Joachim Maquet

back: Raya Charles

Advertising:

Felix Rühling

info@globalreggaecharts.com

Website:

https://globalreggaecharts.com

© Boomrush Productions 2019

All rights reserved. Reproduction in part or

whole is strictly prohibited without prior

consent or authorization from the publisher.

8


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global reggae charts | issue 22 / march 2019


global reggae charts | issue 22 / march 2019

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