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CHECK OUT "CALM MY NERVES" BY RICHIE SPICE AND JAH MELODY


 

Richie Spice and Jah Melody link up on Calm My Nerves, a rootsy 2026 single that sits in the lane both singers have long owned: music for pressure, prayer, and keeping your head steady when things get heavy. Brownz Records handles the release, and the pairing makes sense on paper and in sound. Richie Spice has spent years as one of reggae’s clearest conscious voices, a singer with a warm, rugged tone and a catalog built on uplift, social commentary, and Rastafari conviction. Jah Melody, whose name has been around reggae circles since the early 2000s, brings a similar melodic ease and devotional edge.



The track title says a lot about the subject matter before the first verse even lands. This is a song about trying to quiet the noise, hold on to faith, and find balance under stress. The vocal blend is the draw: Richie Spice’s earthy delivery gives the song weight, while Jah Melody softens the edges with a smoother, more meditative phrasing. Together they ride a restrained reggae groove that feels spacious rather than crowded, with a steady one-drop pulse, clean bass movement, and a patient arrangement that leaves room for the message to breathe.




Brownz Records has been active in the modern roots-reggae space, and Calm My Nerves fits neatly into that catalog of conscious releases. It is the kind of cut that doesn’t need a loud hook to land; the strength is in the chemistry, the calm pacing, and the familiar spiritual intensity both voices bring to the table.




SIGN HIS PETITION HERE: Frankie Sly Takes on New Role as Face of Global Creators' Rights Campaign


The veteran entertainer has been named national spokesperson for the Creator's Rights Movement (CRM), a growing coalition of artists, songwriters, filmmakers and media professionals pushing for sweeping reforms to copyright law, streaming royalties and creators' ownership rights.




The appointment places Frankie Sly at the forefront of an international campaign advocating for perpetual copyright protection, fairer streaming contracts and greater education around intellectual property rights.


As part of his new role, the reggae artist will join the organization's Creators' Tour, a series of workshops and town halls designed to educate artists, authors, journalists, producers, composers and musicians on copyright ownership, contract negotiation, registration and royalty rights.




"Having established artists like Frankie Sly stand with us proves they recognize the severe challenges creators are facing today," said Mark G. Goldstein, founder of the Creator Rights Movement. "Their involvement shows they are eager to use their platforms to help us make a real difference."





For Frankie Sly, the appointment carries particular significance.


The artist has been embroiled in a highly publicized copyright dispute involving reggae star Buju Banton, making issues of ownership and intellectual property especially personal.




"Together we join forces, we build and we break these barriers which infringe on our rights," Frankie Sly said. "Creators, your careers are limited until we take a stand together as one and make changes for our future."


The Creator Rights Movement has assembled a diverse coalition of creative professionals from across the music, film and publishing industries, all united around what they describe as systemic inequities in the way artists are compensated and protected.




Among those supporting the initiative are songwriter and former Motown artist Ricky Abernathy of Lakeside, filmmaker Phabian Winfield, rapper and producer Shawn Mims, best known for the hit This Is Why I'm Hot R&B artist S.O.A.Q. (Abdul Qadaae Bey), Akustix Andrew Donovan White and several other musicians, producers and speakers.


CRM managing partner Kimberly Weekes argued that the issues extend beyond business disputes.


"What every creator around the world is experiencing is a human rights violation," she said. "Frankie gives voice to millions who've been silenced by fine print and bad deals."


At the heart of the movement is an online petition urging the U.S. Congress to strengthen creators' rights by granting authors and artists perpetual ownership of their works while restricting perpetual corporate ownership of creative content.


Sign the Petition: https://c.org/TS5ZkTpzRN


As debates over streaming revenue, copyright ownership and artists' compensation continue to intensify across the global music industry, Frankie Sly's new role signals that the fight for creators' rights is moving beyond the courtroom and into the public spotlight.





a HORN DRIVEN ARRANGEMENT AND A ROOTS BACKBONE: HORNS OF BLESSINGS RIDDIM

 


Horns Of Blessings Riddim finds Treasure Chest Productions and Unison Entertainment in classic reggae mode, pairing a horn-driven arrangement with a steady roots backbone that gives the whole set a lifted, almost ceremonial feel. The title cut from Bobby Treasure sits at the center of that idea, with brass figures carrying the weight while the rhythm section stays warm and measured. It is a 2026 release, and the deluxe treatment gives the juggling a little more room to breathe.



The voice cast reaches across generations and styles. Freddie McGregor brings seasoned authority to “Senseless Killings, ” turning the riddim into a plea for sanity rather than just another roots chant. Jah Mason’s “The Best That I Can Be” adds that straight-ahead conscious tenor he has made a calling card over the years, while Natural Black’s “Make Them Sure” stays in the same uplift lane. Cutty Ranks gives “World Is In Trouble” a harder edge, and I-Maroon’s “Angry Revolution” pushes the protest side of the project even further. Toots And The Maytals’ “Prayer Of David” gives the set a direct line back to reggae tradition, and that legacy weight matters here.


Yasus Afari and Ryan Bailey’s “People Crying” adds spoken-word urgency, while Angel’s “Why, ” Waynie Culture’s “Lead Me Oh Lord, ” Chester Miller’s “Kings Of Kings, ” and Dahlia’s “Baby Love” widen the mood without breaking the riddim’s spiritual core. Treasure Chest has long worked in roots, conscious reggae, and artist-led singles, and this one fits neatly into that catalogue.




Documentary On Rocksteady :The Roots Of Reggae


A renewed spotlight is being placed on one of Jamaica’s most influential musical genres through the acclaimed documentary Rocksteady: The Roots of Reggae, a film that traces the rise of the sound that transformed the island’s music and laid the foundation for reggae’s global success.



Originally released in 2009, the documentary has been reintroduced to music lovers through a recent feature by reggae producer and writer Dubmatix, bringing fresh attention to the brief but revolutionary rocksteady era. The film reunites many of the legendary singers, musicians, and producers who shaped the genre during its golden years between 1966 and 1968, offering first-hand accounts of the music’s evolution and lasting influence.




Unlike many music documentaries that rely heavily on archival footage, Rocksteady: The Roots of Reggae follows surviving pioneers as they return to Tuff Gong Studios in Kingston to record a new album of classic rocksteady songs before performing together in a reunion concert. The project blends live performances, studio sessions, and personal interviews, allowing the artistes to reflect on a period that forever changed Jamaican music.




Among those featured are some of the genre’s most celebrated figures, including Rita Marley, Judy Mowatt, Marcia Griffiths, Ken Boothe, Stranger Cole, Hopeton Lewis, Derrick Harriott, Leroy Sibbles, B.B. Seaton and U-Roy. Throughout the film, they recount how rocksteady emerged from ska, slowing the tempo while placing greater emphasis on soulful vocals, intricate harmonies and the prominent basslines that would later become defining characteristics of reggae.




Reflecting on the significance of the genre, one of the featured musicians describes rocksteady as “the bridge between ska and reggae,” while others recall the remarkable creativity that flourished during the era despite limited resources. The artistes also speak candidly about the friendships, rivalries, and collaborations that helped produce many of Jamaica’s timeless recordings.




The documentary also examines the social and cultural backdrop of 1960s Jamaica, illustrating how the optimism of independence, urban life in Kingston, and the emergence of the “rude boy” culture influenced the music’s lyrical themes and distinctive sound. Although rocksteady enjoyed mainstream popularity for only a short period, historians widely regard it as the genre that introduced the slower rhythms, emotional storytelling, and sophisticated arrangements that became hallmarks of reggae.




Music historians continue to credit rocksteady with launching the careers of numerous Jamaican icons while shaping the international success of reggae in the decades that followed. More than half a century later, Rocksteady: The Roots of Reggae serves as both a celebration of the musicians who defined the era and a reminder of the genre’s lasting contribution to Jamaica’s cultural heritage and the global music landscape.




"THIS IS LIFE" BY ZAMUNDA LANDS AS A FEEL GOOD ROOTS CUT


 

Zamunda’s “This Is The Life” lands as a feel-good roots cut with a thankful, forward-looking spirit, the kind of song that frames success as something to be grateful for rather than flexed. His delivery is warm and steady, riding a clean reggae groove that keeps the bounce light while the message stays grounded in everyday blessing and survival.



Zamunda, born Christopher Gayle in Saint Ann, has been recording for years and came up with a run of conscious reggae singles through the 2000s and 2010s. He’s long been known for a clear, melodic voice and writing that sits comfortably between uplift, love, and meditation, with releases stretching across roots sessions, culture tunes, and a few crossover-minded selections. That background gives “This Is The Life” a lived-in feel; it sounds like a singer who has spent time refining his lane rather than chasing a moment.




Digital One Music handles the production, and the label’s name is familiar in modern reggae circles for polished, digital-era productions that keep the sound crisp without sanding off the roots. The track sits in 2026, and it fits neatly into a catalogue that values clean arrangements, easy momentum, and vocals that can carry a positive message without forcing it. There’s no overstatement here, just a straightforward celebration of life, voiced with enough ease to make the sentiment land.




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






HERE'S THE WEEKLY ROUND-UP FROM VP RECORDS





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