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CHECK OUT ZIMBABWE DANCEHALL BROUGHT TO YOU BY JANS ORTEGA


 

Veteran Riddim from Jans Ortega arrived in 2019 through Jans Ortega / Licensed To Pty Audio Distribution and Publishing, and the project runs seven cuts deep. It sits in the Latin-reggae pocket rather than a straight Jamaican dancehall lane, but the riddim language is familiar: a sturdy mid-tempo pulse, lean drums, bright synth accents and a rubbery low end that leaves room for hooks and singalong phrasing.



Awards Riddim lands in the Zimbabwe dancehall lane with Nigel Sadya at the centre, and the title fit feels almost ceremonial. This is a 2026 release, cut as a proper juggling with an instrumental version carrying Sadya’s name and four vocal takes from Jah Rise, Ndondoh, Rhijoman and Wispah Fire. The naming also points to Sadya as more than just the hand behind the riddim; he is present as the producer and the guiding creative voice on the project.


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The sound is built for dancehall systems, but with a ZimDancehall edge that keeps it lean and direct rather than overworked. The rhythm feels steady and ready for chants, with enough space in the arrangement for each deejay to ride the pocket cleanly. That instrumental cut matters, because it lets the beat breathe on its own and gives the project a version to use for juggling and stage play.


Jah Rise’s “Mhamha” brings the kind of street-facing energy that suits a riddim set, while Ndondoh’s “Kana Ndakuda” pushes the emotional side of the project. Rhijoman’s “Handina Munhu” adds a more vulnerable note, and Wispah Fire’s “Mai Vako” rounds it out with a title that already suggests sharp local flavour and immediate singalong appeal. Taken together, the set feels less like a random grouping of songs and more like a snapshot of where contemporary ZimDancehall is at: melodic, rooted in vernacular storytelling, and built for repeat plays.




Check Out Passion Vybz Riddim (Catalogue Vol 11) By Hot Drop Records


 

Hot Drop Records keeps its catalogue moving with Passion Vybz Riddim, a 2026 dancehall juggling that sits squarely in the same Zimbabwe-linked lane as the label’s recent releases. The title fits the sound: bright, programmed, and built for fast juggling, with a lean runtime and a direct, selector-friendly feel rather than a sprawling studio showcase.



This one pulls together Big Nigel, GP Baybie Livity, Mr Murder, Monster Tea, Karizmatik Soul and Cyclops, all names that have been circulating in the ZimDancehall space through Hot Drop’s recent catalogue run. Big Nigel and Monster Tea are both familiar from earlier Hot Drop projects, while GP Baybie Livity has also surfaced on the label’s recent output, which gives the riddim a sense of continuity rather than a one-off cast.


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The strongest cuts are the ones that match the riddim’s title with a little attitude. Big Nigel’s Tik Tok and Mr Murder’s Whine Big It Up point straight at the dancefloor, while GP Baybie Livity’s Handimbovatya and Karizmatik Soul’s Whine Fi Mi keep the energy playful and flirtatious. Cyclops closes in with Bigger Tingz, a name that feels made for the same kind of chest-out delivery. Passion Vybz works because it does not overcomplicate itself: short cuts, local voices, and a rhythm that leaves room for each artist to ride the groove their own way.





JANS ORTEGA BRINGS TO YOU RED HOT LATTIN REGGAE RIDDIM ... CHECK IT OUT!

 

Veteran Riddim from Jans Ortega arrived in 2019 through Jans Ortega / Licensed To Pty Audio Distribution and Publishing, and the project runs seven cuts deep. It sits in the Latin-reggae pocket rather than a straight Jamaican dancehall lane, but the riddim language is familiar: a sturdy mid-tempo pulse, lean drums, bright synth accents and a rubbery low end that leaves room for hooks and singalong phrasing.



Jans Ortega has kept his name attached to a run of Spanish-language reggae work, and Veteran Riddim fits that catalogue neatly. The lineup mixes established Central American voices with a few pairing moves that give the set some texture. Makano turns in Donde Está el Amor, while Oneil’s Porque Decir Adiós pushes the emotional side of the rhythm further, with Sarita joining for a remix that sharpens the duet angle. Tal Como Antes brings Flex and Nigga into the fold, a combination that gives the riddim some commercial weight and a more melodic, radio-friendly finish.




The strongest pull here is the way the riddim supports heartbreak and reflection without losing momentum. Even the instrumental credit, Veteran Riddim Beat, points to a production built for juggling rather than a one-off song. Almirante’s Esta Lloviendo keeps the project grounded in the same easy sway, while Sam’s Down adds another layer to the set’s laid-back, lovers-rock-adjacent mood. Veteran Riddim works because it gives each voice enough space to land, while the groove stays steady and unmistakably tied together.




BOOK CLUB PICK: Lee Scratch Perry: Black Ark


 

A massive photographic archive of Lee “Scratch” Perry’s legendary recording studio...

A 600-page tribute to one of the most famous locales in music history, Black Ark is a detailed inventory of photographs and writings from the Black Ark Studios in Kingston, Jamaica, where producer Lee “Scratch” Perry created music from 1973 onward. The eclectic and constantly evolving decoration of the studio provides an enduring visual counterpart to Perry’s expansive musical catalog. From mural paintings to shape-shifting assemblages of records, instruments, found objects, posters and newspaper clippings, the artworks layer upon one another as they intertwine with the studio building itself. Perry created his own dense and diverse world in which to work: memorialized in this volume before the Black Ark disappears for good.




The photographic documentation of the studio in the spring of 2021 was supplemented by efforts to secure and preserve Perry’s works, objects and recordings as part of a joint project with the Smithsonian Institution in Washington, DC. Black Ark reflects the rhythm and layering effects of collage both in its content and the materials used to craft the book. Perry was involved in the development of this publication until his death in August 2021. The book closes with memorial essays from Ishion Hutchinson, David Katz, Kodwo Eshun and John Corbett.




Lee “Scratch” Perry (1936–2021) was a musician and producer best known for pioneering the dub genre in the 1970s. He worked with well-known Jamaican artists such as Bob Marley and the Wailers, the Heptones, the Congos and Max Romeo. In 2003 he won a Grammy Award for Best Reggae Album.



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LET LITTLE KIR FILL YOUR PLAYLIST WITH SMOOTH GOODNESS RIGHT NOW ... CHECK IT OUT!



LITTLE KIRK has just dropped  a red HOT summer lover's track  that you will want to reach for  when the night's are  warm and so is your sweetie beside you!  The track is packed with the smooth rich soulful vocals that we have come to expect from LITTLE KIRK.  Family you know what to do ... hit that >> GO BUTTON<< and soak up the goodness right now!




Little Kirk, born Kirk Davis, is a Jamaican dancehall singer best known for the smooth, melodic side of the genre that came through in the late 1980s and 1990s. The older brother of Beenie Man, he first came to wider attention after winning a community talent contest in Waterhouse and going on to record with producer Patrick Roberts and the Shocking Vibes camp, one of the key engines of dancehall at the time. 




His early work helped set him apart from the rougher deejay style then dominating the sound. He leaned into song-driven dancehall with a voice that could carry both romance and uplift, and that balance became part of his appeal.





TERRY GANZIE'S "REGRETS" IS A : MUST TO CHECK OUT


 

Terry Ganzie turns up here in familiar form, sounding like a man who has lived through every line he sings. “Regrets” sits in that reflective corner of his catalog where the patter is steady, the tone is serious, and the message carries the weight. The title says plenty on its own: this is a song about looking back, owning mistakes, and speaking with the kind of plain honesty that has always made Ganzie’s voice hit harder than a simple nostalgia trip.



Ganzie is one of the notable dancehall voices to emerge from Hanover, Jamaica, and his name has long been tied to the early-90s rise of conscious, sharp-edged DJ culture alongside figures like Buju Banton and other Penthouse-era hitmakers. He made his mark with records such as “Showdown, ” “Heavy Like Lead, ” and “Who Is It, ” and he still sounds best when the writing carries a little pressure and purpose. “Regrets” follows that path, with a veteran cadence that feels measured rather than rushed, letting the emotion sit in the phrasing.



Quincy Din Records handles the production, extending a run of recent releases from a label that has kept its name in the modern reggae and dancehall conversation. The track is listed as a 2026 single, and it fits neatly with Ganzie’s late-career run of conscious material: rooted, direct, and voiced by someone who knows exactly how to make regret sound human instead of sentimental.





MAESTRO DON TEAMS UPO WITH 808 DELAVEGA TO DROP "BALANCE"





Maestro Don and 808 Delavega link up on “Balance, ” a dancehall single cut for the Evidence Music camp in 2026. The song sits in a lane both artists know well: sharp streetwise vocals over a rhythm that is clean, modern, and built for replay. The title points to the central idea, with the lyrics circling steadiness, restraint, and keeping level through pressure rather than drifting off course.



Maestro Don has been carving out his place in Jamaican dancehall from Portmore, with a catalog that moves between party cuts, personal songs, and tougher street records. 808 Delavega has also been working through Evidence Music for some time, a reminder that the Geneva-based label has become a reliable home for contemporary reggae and dancehall projects with an international reach. That context matters here, because “Balance” feels like a release designed for selectors and streaming playlists at the same time.




What gives the track its pull is the contrast between the title’s calm message and the energy of the delivery. The vocal approach has the confidence of a dancehall record, but the subject matter keeps it grounded. Rather than chasing chaos, the song turns toward discipline and composure, which is exactly what makes the single feel current.




HERE'S A BRAND NEW ROOTSY LOVER'S ROCK CUT FROM ANTHONY CRUZ




Anthony Cruz comes in with a rootsy lovers-rock cut that speaks to the confusion and short-sightedness eating at everyday life. The song title says plenty: it’s about people moving with no direction, no discernment, and no real plan, while Cruz turns that complaint into a smooth, melodic warning rather than a sermon. His delivery has the seasoned ease he’s long been known for, with that warm, soulful tone that has made him a dependable voice in Jamaican reggae since the late 1990s.



Cruz is from Mandeville, Manchester, and he comes from a musical family that also includes Garnett Silk. He built his name on radio-friendly lovers rock and conscious reggae, with a catalogue that runs from early staples like “Maria Maria” and “Dem Boy Deh Nuh Really Know We” to later work that kept him active across Jamaica’s sound system and live-show circuits. That background gives “No Vision” extra weight; it feels like a veteran singer speaking plainly to the moment rather than chasing a trend.



The release lands on One King Music, a label name that has been moving steadily through digital reggae and Caribbean singles in recent years. “No Vision” fits that modern single-focused rollout, and the 2026 date lines up with the current wave of fresh digital drops. The production is crisp and uncluttered, with a midtempo pulse, clean one-drop feel, and enough space for Cruz’s vocal phrasing to carry the message.




STREAMING WITH YOU IN THE PAST WEEK




We broadcast globally 24/7 .... 365 and have been for over a decade. We  have embedded players on our web pages, in our radio lounge, on 15 affiliate websites  and broadcast live from TIC TOC.  That's reaching out to a lot of reggae enthusiasts. Our service provider furnishes  a cumulative report from all the disbursed media players and here's the top 25 countries who tuned in the past 7 days.

The first graph reports  the top countries who hit that >> GO BUTTON<<< and tuned in. The second graph reports who tuned in for the longest period of time per session!  This is the NATION family!!!!  The people we love and respect.  Thank you for  hitting that dial and staying locked .....








And here is what we were all listening to :

Listen on Online Radio Box! Shyrick Dancehall RadioShyrick Dancehall Radio






LIVICATION TO FANTAN MOJAH - My Crown (Remastered)


 

Fantan Mojah’s “My Crown” is a roots-minded declaration of self-possession, the kind of song that fits his catalogue of spiritual uplift and hard-earned resilience. He has long been one of Jamaica’s clearest conscious reggae voices, pairing Rastafarian conviction with melodies that stay warm and direct. This track first appeared in 2020, and the remastered version revives it for 2026 under 1Connection Records.



The song centers on dignity, faith and the refusal to let pressure, doubt or distraction strip away personal worth. That message sits well with Fantan Mojah’s style: earnest, melodic, and anchored in a sing-jay delivery that can ride a heavy one-drop or a tougher digital swing without losing its calm. His voice has always carried a devotional edge, but it also has enough grit to keep the sentiment from sounding soft. On “My Crown, ” that balance is the point. The title alone frames the track as a statement of inner authority, and the rest follows that line with steady conviction.




As a release, the remaster gives the song new life for a current audience while keeping the original spirit intact. 1Connection Records puts it back into circulation as a single rather than a riddim cut, which makes sense for a song with this much identity. Fantan Mojah’s name remains tied to roots reggae with message, and “My Crown” sits neatly in that lane: proud, reflective and built around the kind of vocal presence that has kept him relevant across changing reggae cycles.




CHECK OUT THIS NEW BANGER FROM TEFLON - FIREMAN CHANT

 


Teflon Young King’s “Fire Man Chant” lands with the kind of righteous pressure he has made his name on, carrying the tough, militant edge that has long put him in the conversation alongside Jamaica’s conscious roots-and-dancehall voices. The title alone points to a chant-heavy tune built for sound systems and stage time, and the song sits naturally in a catalogue that has often balanced spiritual conviction with hard-hitting delivery.



Teflon, born Sha-neil Andre Watson in St. Mary, has been recording since the mid-2000s and built a reputation as a roots-minded singjay with a strong live presence and a catalogue that runs from devotional songs to more direct dancehall cuts. That background matters here, because “Fire Man Chant” feels like the work of an artist who understands the weight of a chant: it has to move a crowd while still sounding grounded.




Track Starr Music gives the single a clean modern setting, and the 2026 release date places it firmly in the current run of Teflon’s output. The cut sounds built on stern drums, a steady bass pulse and an assertive vocal line that pushes the message forward without crowding the groove. It has the urgency of a warning song, with enough swing in the rhythm to keep it ringing after the first play.





OUR FAVOURITE SAXMAN AND AMBASSADOR ARTIST JUST DROPPED HIS 2026 CD: MIND POWER


 

Jerry Johnson, saxophonist extraordinaire, is world-renowned and in demand on the Reggae music scene. Tap that >> GO BUTTON<<  family and check out why! 



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Born in the Bronx to a Jamaican father and a Barbadian mother, Jerry’s interest in the saxophone began at the tender age of five on his first visit to the local barber shop, which was owned by his dad’s friend and Sugar Minnot’s trumpet playing uncle, Lester Minnot. 





Lester and his fellow musicians left a wonderfully strong impression on young Jerry; especially the saxophonist, Chughie, who also played with The Dynamites & The Stepping Stones.  



Says Jerry “Even though I wasn’t thrilled about getting my first hair cut, (they gave me a lollipop to stop me from crying), I felt excited, because I knew I wanted to play the horn and jam just like them.”


Ironically, Jerry didn’t actually begin playing until junior high school. He also took private lessons and played in his first Reggae band when he was 16. 

Jerry’s father had a Jamaican Night Club from the ‘60’s thru the ‘80’s. Even though the club underwent a few name changes through the decades, it was there that 
                                               
(Cedric Brooks and Jerry Johnson )
 
Jerry saw and met many musicians and singers such as The  Blues Busters, Lester Sterling Of The Skatalites, The Wild Bunch F/T Bunny Rugs Of Third World, Phyllis Dillon, Byron Lee, Denroy Morgan of the Black Eagles (father of Morgan Heritage), and many more.





BLAST FROM THE PAST: Various Artists - Scandal Ska


Here is a real treat for all you ska lover ( or lovers of scandal if it fits.) The tracks were recorded from 1960-1962 and compiled by Gaz Mayall (of the TROJANS). Hit that >> GO BUTTON<<   family, don't miss out on this nostalgic treat!


Don Drummond - Scandal

Robert Marley - Judge Not

Desmond Dekker - Honour Your Mother & Father

Jimmy Cliff - Miss Jamaica

Laurel Aitken - Love Me Baby

Cornel Campbell - Turn Down Date

Ernest Ranglin - Exodus

Roy & Millie - We'll Meet


Skitter - Mr. Kruschev

King Edwards - Russian Roulette

Theophilus Beckford - Now That You're Dead

Lloyd Clark - Girls Rush

Lloyd Clark - Japanese Girl

Kentrick Patrick - Beyond

Roland Alphonso - Christine Keeler

Basil Gabbidon - Get On The Ball



WHO IS GAZ MAYALL OF THE TROZANS?

Specializing in ska and reggae with a dash of soul, funk, R&B and world roots, The Trojans were formed in late 1986 from the ashes of the premature demise of Gaz Mayall's first band Gaz's Rebel Blues Rockers where brief emergence on the London pub/club scene lasted from early 1982 to mid 83.




Their debut gig was at the Astoria on Charing Cross road by London's center point on the 23rd December 1986, supporting premier ska band Potato 5 and ska legend Laurel Aitken. Within two and a half years they headlined the same venue with the above acts supporting.


 



During the first few years they recorded several albums that were well received on the UK underground all on Gaz's own independent label Gaz's Rockin' Records. The first was 'Ala-Ska' which featured the classic single 'Gaelic Ska' and launched a whole new genre of Afro-Celtic fusion that has since become a hallmark of The Trojans' sound.




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