Translate

Pageviews last month

THIS RED HOT BRAND NEW RIDDIM IS A GUARANTEE TO BE IN TOUR PLAYLISTS...


 

Stingray Records keeps doing what it has done for years: pairing roots-minded singers with a clean, modern reggae framework that still leaves room for old-school melody and weight. The UK-based label, founded in 1994 by the McLeod brothers, has long been known for conscious reggae and careful studio craft, with Carlton McLeod handling the production side that has kept the Stingray name active across albums, singles, and riddim packages.



Run Run Riddim is a 2026 set, and it lands with a plainly melodic, singer-friendly feel rather than a hard dancehall push. The title cut from George Nooks gives it its name and tone, while Luciano’s Gunman brings the most direct roots message on the project. Stevie Face’s Can’t Go Round It adds the kind of warm, tuneful phrasing he has made his calling card, and Mikey General’s Do What You Wanna Do sits comfortably in that same conscious lane. The flow stays measured and open, with enough bass weight and forward movement to keep the versions rolling without crowding the vocals.




The lineup is stronger for the mix of veteran voices. George Nooks brings the gravitas of an artist with decades behind him, Luciano adds his familiar Rastafarian conviction, and Delly Ranx appears in a more melodic mood on High Grade. Conrad Crystal and Sugar Roy’s Crisis adds a duet dynamic that gives the riddim a little extra movement, while Tenna Star’s Zion In A Vision and Debbie Gordon’s Mind Blowing help widen the palette. This is the kind of Stingray release that plays like a proper juggling set: voiced by singers who know exactly how to sit inside a groove.





STREAMING WITH YOU




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








BLAST FROM PAST: The Original Selector Jah Screw with Herb Base Function



Hare is an early-digital deejay dancehall killer featuring JAH SCREW.  


TRACK LIST

Fire Fire
Glad Say Me Come
Cry
What A Gwaan
Shocking Colour

No Stop Say So
Herb Base Function
Don't Worry Yourself
Trash And Ready
Gwaan Down Inna Ethiopia


TAP ON IMAGE TO LISTEN TO THE TRACKS


Jah Screw started in the music business in the second half of the 1970s working as a selector on the Echo Vibration, Ray Symbolic, and (U-Roy's) King Stur-Gav Hi-Fi sound systems. By 1980, he had begun working as a record producer, initially working with his friend from sound system days, Ranking Joe, and they set up the Sharp Axe label together.  The success from the label, with hots such as "Ice Cream Style" and the album Armageddon, was enough encouragement for Jah Screw to set up his own label, Time One Records.

 



“Roadside, ” A Straight-to-the-Point Dancehall Cut


 

Deep Jahi comes back in familiar form on “Roadside, ” a straight-to-the-point dancehall cut that keeps his name where it belongs: front and center, with the message doing as much work as the melody. The song fits the lane he has spent years carving out, where street pressure, survival talk and uplift sit side by side. He has long been one of those voices who can move from conscious commentary to hard-edged dancehall without losing his identity, and that balance is what has kept him relevant since his breakthrough years in Jamaica’s televised clash circuit and the run of positive records that followed.



Born Rushane Sanderson in St Mary, Deep Jahi first drew wider attention after winning Magnum Kings and Queens of the Dancehall in 2012, then reinforced that early promise with songs like “I Love JA, ” “Life Goes On” and “Motivation. ” That background matters on a track like this, because he is at his best when the writing feels lived-in rather than forced. “Roadside” sits comfortably in that tradition. The title alone suggests a familiar space in Jamaican storytelling: the corner, the stance, the watchful eye on everyday hustle and the hazards that come with it.





The production comes through Prestigious Muzik, a name that has been attached to a recent run of dancehall singles in 2026, and the release is dated to the same year. That places “Roadside” in a current stream of independent reggae and dancehall output rather than as a one-off throwback. It reads like a record made for the selector and the streaming crowd alike: concise, focused, and built for immediate replay. For Deep Jahi, that kind of song still feels natural. He has never needed to oversell the message; he just has to land it with conviction.



Yaksta – The Microphone Saved Me Album


 

Yaksta turns The Microphone Saved Me into more than a title; it plays like a personal statement from an artist who has spent the last few years moving between roots consciousness, dancehall muscle, and a more melodic, reflective space. The album arrived in 2026 through Bush Music, with Yaksta operating independently after a prior label run, and that context matters because the record feels self-directed and purpose-driven rather than assembled to chase a trend. It sits right in the lane he has been carving out since breaking wider with songs that balance uplift, social commentary, and street-level realism.




The songs trace different shades of that story. “Roar” and “The Return” have the kind of commanding energy that suits an artist reintroducing himself with force, while “It’s Okay” softens the edges with a more reassuring tone and a brighter, more accessible feel. Elsewhere, “Through It All, ” “Thankful, ” and “Life” push the album into more lived-in territory, with Yaksta sounding like someone working through struggle, faith, and survival rather than just performing slogans. “Splinters In My Heart” and “For Sale” move the project toward sharper emotional and social commentary, and “For Sale” with Silk Boss adds a harder dancehall contrast that keeps the album from settling into one mood for too long.





What gives the project its shape is Yaksta’s delivery: clean, urgent, and often written like he is talking directly to people who know the pressure he is describing. He comes out of St. Mary and has built his name as one of the more visible younger Jamaican voices mixing reggae’s message with dancehall’s bite. The Microphone Saved Me sounds like a statement of survival, but also a claim that the music itself remains the thing holding him together.






A DELIGHTFUL BRASS ATTACK - CHECK OUT THIS EARCANDY....

 



Topp Brass is a standout brass ensemble established in 2017, which brings a delightful blend of classic charm and contemporary vibes to the vibrant music scene of Jamaica. With each member infusing their own unique style, this quartet captivates audiences with their exceptional talent and dynamic performances, making every moment on stage an unforgettable experience. Led by Oshane Love on the tenor saxophone, Deshaun Fender on the alto saxophone, Randy Fletcher on the trombone, and Okiel McIntyre on the trumpet.




TAP TO GO THERE





CONQUERING LION RECORDS DROPS A RED HOT RIDDIM: VICTORY RIDDIM ... CHECK IT OUT NOW!


Conquering Lion Records has been carving out a very conscious corner of modern reggae for years, and Victory Riddim fits neatly into that lane. The label has already linked its name to releases from Hempress Sativa, Xana Romeo, Ras Malekot and others, often pairing roots-minded songwriting with sharp, digital-age clean engineering and dub-ready arrangements. Victory Riddim lands in 2026 as part of that same run of spiritually charged, message-heavy productions, with the familiar emphasis on meditation, resistance and uplift rather than throwaway party energy.



What makes the set work is the balance between singers who approach the rhythm from different angles. Xana Romeo brings the kind of commanding, militant presence that has made her one of the more reliable modern roots voices out of Jamaica, and Hotta The Battle sounds like the sort of cut that can carry a whole juggling sequence on its own. T’Jean, who comes from deep music lineage as the son of producer Mikie Bennett, has been building a reputation for soulful, conscious reggae and his Hosanna should slot naturally into the riddim’s prayerful side. Kumar Fyah, the former Raging Fyah frontman, is another strong fit; his voice has always had that warm, steady pull that makes uplift songs land without strain, which suits a title like Victory.




Jelliss and Jah Izrehl keep the message rooted in straight confrontation, with Red Eye and Babylon A Wicked sounding like classic roots phrases for calling out envy and oppression. Birdz-I adds another layer of female energy and clarity, while Jallanzo, better known as a producer, engineer and dub-minded guitarist, doubles as a voice on the project and gives the set a dub-rooted authority that many riddims miss. Quan Nelson closes things out with Burning Bridges, a title that suggests severing toxic ties rather than just chanting slogans.





This Neil Diamond Song Flopped On Release — 21 Years Later, A Reggae Band Took It To No. 1

 


Neil Diamond had a budding solo career when his album "Just for You" came out in 1967, but his hopes for a little number on the album called "Red Red Wine" were dashed when it flopped the next year, only to be transformed into a hit by the reggae band UB40 two decades later. At the time, Diamond had already penned some notable tunes for other artists, including "I'm a Believer" by the Monkees, and was eager to show the world his own music. One of the songs released from "Just for You" was "Red Red Wine," a slower, soulful ballad (and a foreshadowing of Diamond's pivot to country in the '90s) about escaping your sorrows with — you guessed it — some red, red wine.



Diamond hoped "Red Red Wine," which he wrote while working part-time in a store, would make it big on the airwaves when it was released as a single in 1968. However, the tune failed to make a big splash on the charts, only reaching No. 62 on the U.S. Billboard Hot 100. The song seemed to have run its course, and Diamond later had several songs chart much more successfully, including his smash hit "Sweet Caroline" in 1969 and "Cracklin' Rosie" in 1970. 


UB40 takes Red Red Wine to the top


"Red Red Wine" got more attention in 1983 when reggae band UB40 covered the song for their "Labour of Love" album, which features covers of some of the band's favorite reggae songs. But wait — "Red Red Wine" isn't a reggae song, so how did it end up on the album? The answer lies in a misunderstanding. UB40 thought the song was originally by reggae artist Tony Tribe, who covered "Red Red Wine" in 1969 — they didn't know about Diamond's 1967 version. The revelation of Diamond's authorship surprised the group, but didn't stop them from moving forward with the cover.



UB40's "Red Red Wine" was initially released in 1983 and topped the charts across the pond, but it failed to achieve the same success in the United States. Once again, the song wasn't quite ready to break into the mainstream. That is, until UB40 played the song at a tribute concert for Nelson Mandela's birthday at Wembley Stadium in June 1988. 


That performance, which was televised around the globe, prompted some radio airplay in the U.S., and before anyone knew it, "Red Red Wine" was spreading like wildfire. Five years after its debut, the song reached No. 1 on the Billboard Hot 100 in the United States and spread all over the world, turning a '60s flop into a smash hit.




CHECK OUT : GIVE THANKS BY Future Fambo & Sheenwrks


“Give Thanks” finds Future Fambo in the lane he has long owned best: plainspoken dancehall with a positive center and enough patter to keep it moving. The song title tells you the frame immediately, and that spirit usually works best for an artist who has spent decades balancing party records, streetwise one-liners, and feel-good messaging. Fambo, born Warren Gladstone Williams in St. Ann, came up in the 1990s as Future Troubles before settling into the Future Fambo name and carving out a durable place in Jamaican dancehall through records like “Kung Fu, ” “Rum and Red Bull, ” and “Bloodclaute Song. ” His voice has always carried a loose, charismatic swing, the kind that can handle a joke, a toast, or a blessing without sounding forced.



Pairing him with Sheenwrks gives the single a fresh edge. Sheenwrks is emerging as both vocalist and producer, and that dual identity matters here because songs like this often land hardest when the production has a modern polish but still leaves room for a veteran deejay to talk his talk. Seanizzle Records is the backdrop, which fits the release neatly: Seanizzle has spent years building a reputation for sharp, radio-ready dancehall and for turning out riddims and singles that travel well beyond Jamaica. His catalogue has already linked him with Future Fambo before, so this collaboration feels like a continuation rather than a one-off.


FUTURE FAMBO

Sonically, “Give Thanks” sits in uplifting dancehall territory, the sort of cut built for forward motion rather than aggression. The mood is thankful and reflective, but not sleepy; it should hit with the bounce and clarity that make a song easy to play in a set while still giving the lyric enough weight. That mix of gratitude, experience, and easy rhythmic glide is exactly where Future Fambo still sounds most at home.

 

SHEENWR



Burning Spear, The Movement, & Kabaka Pyramid Headline Reggae on the River 2026



Reggae on the River, the legendary proving ground for global reggae and consciousness culture, has officially unveiled its massive 2026 lineup. Returning to its historic home in Northern California from August 14 through 16, 2026, the three-day camping festival will gather an estimated 5,000 passionate music lovers along the banks of the Eel River, deep within the ancient redwood forests of Humboldt County.




Across three custom-built, high-production stages, the festival bridges the gap between foundational roots and modern genre-bending sounds. Legendary icon Burning Spear leads the charge alongside a heavyweight billing that spans contemporary roots champions, explosive dancehall acts, hip-hop icons, and global dub systems.




The complete 2026 lineup includes: Burning Spear, The Movement, Kabaka Pyramid, Don Carlos, Cham, Ding Dong and Ravers Clavers, Dezarie, Samory I, Perfect Giddimani, Jah9, Iba Mahr, Big Mountain, O.B.F x Iration Steppas, Devin the Dude, Blvk H3ro, Rik Jam, Subatomic Sound System, Mystic Marley, Prezident Brown, Junior Toots, Ka$e, Teflon Young King, Army, Mighty Mystic, SIMRIT featuring Purity Attack, Leaf of Life, Reggae Angels, Mystic Roots, Jah Bruce, Sol Horizon, Seed n Soil, Lake Anthony, Hella Mendocino, and Rising Signs.




Born out of the underground counterculture movement, Reggae on the River remains a masterclass in independent festival curation, prioritizing high-vibe community over commercial saturation. The experiential gathering is anchored by an immersive onsite ecosystem, including 24-hour camping grounds, the world-renowned Jah Mall artisan marketplace, and curated international culinary corridors.



True to its roots as a multigenerational pilgrimage, the event features a dedicated Family Zone alongside accessible entry models designed to preserve the festival's deep cultural legacy. Children under 12 receive complimentary admission, with specialized pricing tiers available for teen and senior attendees. Single-day, two-day, and full three-day passes are currently available.


Tickets, camping passes, and full festival information are available now at: https://www.reggaeontheriver.com/



Lisa Hyper Drops "All Of You"




Lisa Hyper comes into All Of You with the kind of authority that has long made her one of dancehall’s sharpest female voices. The Jamaican deejay, born Felicia Gooden and known early on as Lisa Hype, built her name in Kingston’s dancehall circuit with a bold, cutting style and years of visibility alongside some of the genre’s most talked-about names. By 2026, she is very much in the lane of an established figure who still sounds hungry, and that matters here.



All Of You is a single that lands under Lead Out Productions, a label imprint that has already been tied to a string of modern dancehall releases in the past few years. The song arrives in May 2026, and it sits neatly within the current wave of digitized, hard-edged Jamaican singles aimed squarely at selectors, streaming listeners, and dancehall radio alike. Lisa has been especially active in the recent stretch, and this release adds to a run that has kept her visible while she continues to refresh her sound.



The title suggests a song about total desire, full commitment, or the kind of emotional surrender that can sit as easily in lovers rock territory as it can in raw dancehall. Lisa Hyper is the sort of artist who can ride either mood, but her strength has always been in giving songs bite. On a record like this, you expect direct phrasing, a flirtatious edge, and a performance that carries both confidence and a little danger. That balance has always been part of her appeal.




What makes All Of You worth paying attention to is the way it folds Lisa Hyper’s history into a current, streamlined single format. She has spent years navigating dancehall’s shifting tastes, from the early Gaza-era heat to her more recent run of songs that underline her longevity. This one feels like another reminder that she still knows how to command a track without overplaying the moment.




Subscribe to: Posts (Atom)