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Kinky Music Widens Its footprint In Spanish-Language Reggae and Dancehall With : Guadalupe Riddim


 

Kinky Music keeps widening its footprint in Spanish-language reggae and dancehall, and Guadalupe Riddim lands as the next volume in that run. The label, based in Coslada, has already paired its own compilation work with artist projects from names like Chulito Camacho and Alesander, and this set folds neatly into that catalogue as a 2026 riddim release.



The rhythm has a warm, melodic pull rather than a hard bashment edge. It carries a mid-tempo bounce with enough space for hooks, and the overall feel sits closer to lovers rock and roots-leaning dancehall than to the raw, gunman side of the genre. That gives the singers room to work in Spanish with clear phrasing and emotional weight.




Hermano L opens one of the strongest lanes with “Amar Es La Llave, ” a title that already signals the romantic direction of the riddim. Chulito Camacho, long established in Spanish reggae and hip-hop circles, brings “No Llores Por Mi” with his familiar singjay delivery and a sentimental touch. Tapon, the Costa Rican voice in the set, adds regional breadth on “La Patrona, ” while Ras Boti closes with “Elijo Creer, ” which gives the project a steadier, reflective finish. Señor R, MR Karty, Bman Zerowan and Alesander fill out the lineup with cuts that keep the riddim moving without breaking its mood.


As a project, Guadalupe Riddim is less about one explosive anthem and more about a shared atmosphere: soft sway, heartfelt writing, and a Spanish-Caribbean network of voices that suits Kinky Music’s current direction.





Sokota Riddim Arrives With A Strong East African Dancehall Flavor


 

Remarkable Sound’s Sokota Riddim arrives with a strong East African dancehall flavor, and the title itself points to the rough, rolling pulse at the center of it. Jetman Dizano is credited as producer, with Remarkable Sound handling the release, and that pairing fits a project that sits between streetwise dancehall energy and a more regionally rooted sing-jay approach. The riddim circles a bouncy, percussive groove that leaves plenty of room for patois, Swahili phrasing, and melodic hooks to cut through.



The lineup is broad, but a few cuts help define the set. Joe Marley’s Humble Lion brings a smoother, conscious edge, while Doyen Rae’s Some Love and Zipporah’s What You Do push the riddim toward relationship talk and radio-friendly melody. Hardmad’s Siasa Isituvue Roho and Kiloriti’s Madharau sound like the sharper, more confrontational side of the project, carrying the kind of social commentary and attitude that keep a dancehall rhythm from becoming background music. Pinda Bwoy’s Nazi and Hobo’s Don’t Mind also keep the energy lively, with a straightforward party-to-badman balance that suits the riddim’s pace.


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Remarkable Sound also places its own voice on the project with Nikupeleke Nyumbani and the instrumental Sokota Riddim, which gives the release a fuller identity than a simple compilation of guest cuts. The result feels like a producer-led showcase with enough local character to mark it as part of the 2026 dancehall run rather than a generic juggling package.





WE FOUND THIS 1958 CALYPSO TREAT IN THE ARCHIVES... LITERALLY... LETS CHECK IT OUT !




Steelpan has always been generally well received in Jamaica. Because the pan movement started at the University, it never had the stigma of violence or any major struggle for acceptance compared to other islands. The main source of friction was and still is, that some members of the public find the sounds of the steelband’s rehearsals irritating.




Now the steelband movement in Jamaica is driven by the needs of churches, schools and the tourist industry. Most church and school steelbands have concert seasons and these are usually the creative highpoint for that band.




There is a close relationship between the bands in Kingston, especially the church bands, with members playing in several bands and borrowing equipment when needed.




George Nooks Drops a devotional reggae single ... Let's Check It Out....


 

George Nooks returns with “Reason I Live, ” a devotional reggae single that sits in the lane he has long made his own: warm, reflective roots singing with a gospel pulse. The title tells you exactly where the lyric is headed. Nooks is singing from a place of gratitude and spiritual dependence, using the kind of plainspoken phrasing that has always worked for him when he settles into a positive message.



The production comes from Big Dreams Productions and Records, a name attached here as the driving label context behind the release. On first listen, the track reads as a clean, steady piece of modern roots with a relaxed forward motion rather than anything aggressive. That gives Nooks room to stretch his phrasing, let the words breathe, and lean into the kind of soulful tone that helped turn him into one of Jamaica’s most dependable veteran voices. He first broke through in the 1970s as Prince Mohamed before later building a long solo career under his own name, with a catalogue that has stayed active across roots, lovers rock, and inspirational material.




“Reason I Live” fits that mature George Nooks lane well. It feels devotional without becoming stiff, carrying the emotional directness that has kept his music relevant to listeners who still come to reggae for uplift, comfort, and faith.





NEW FROM EASY STAR: New music out from Gentleman's Dub Club × Mungo's Hi Fi × Solo Banton

 




STREAMING WITH YOU THIS 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








Dj Mutu Entertainment keeps adding to Zimbabwe’s dancehall...


 Tsvigiri Riddim Vol. 1 produced by Dj Mutu Entertainment 2026


Dj Mutu Entertainment keeps adding to Zimbabwe’s dancehall lane with Tsvigiri Riddim Vol. 1, a 2026 project that pulls together some of the scene’s more recognisable voices and a few newer names around a bruising, street-level beat. Dj Mutu has already been active as both producer and label operator, with releases carrying the DJ Mutu Entertainment imprint across 2024 and 2026, so this riddim sits neatly inside an ongoing run rather than feeling like a one-off experiment.



The music has the rough-edged, chant-friendly energy that works best in Zimdancehall: heavy drum pressure, a lean bass line, and enough space for each singer to push a hook or warning line without getting buried. Buffalo Souljah brings the most seasoned presence here. The Bulawayo-born, South Africa-based reggae-dancehall figure has long been one of Zimbabwe’s best-known exports, and his cut gives the riddim some wider regional weight. Nox, another veteran voice from Zimbabwe’s modern dancehall and afro-fusion circuit, adds the kind of melodic delivery that can lift a juggling. Phia brings a softer, more soulful contrast, while Mr Attention SkylevelDon turns up twice, a sign of how closely this riddim is tied to his current run. His recent 2026 singles have already been landing through the same DJ Mutu/Skylevel pipeline.





The rest of the lineup — Chad Chellart, Champion Boy YL, Elcee Gweja, Ital Vybz, Jah Child, Maggikal and Nyamz — keeps the project rooted in the working artist circuit where riddims live or die on direct, repayable songs. On a project like this, that mix matters as much as the beat itself.






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