Global Reggae Charts - Issue #22 / March 2019

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
1
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
4

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?
5
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
6

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

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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.
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global reggae charts | issue 22 / march 2019

global reggae charts | issue 22 / march 2019