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BOOK CLUB PICK: The Reggae Trivia & Quiz Book: 250 Questions on the Artists, Songs, Albums, Sounds and History of Reggae (Cool Quiz Books)


 

How well do you know reggae—from ska and rocksteady to roots, dub, dancehall and beyond?


The Reggae Trivia & Quiz Book takes you through the artists, recordings, studios, sound systems and events that shaped one of the world’s most influential musical traditions.




Test your knowledge of reggae legends, landmark albums, classic songs, pioneering producers and the music’s journey from Jamaica to an international audience.



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Inside you will find:


• 250 multiple-choice questions

• 13 themed rounds covering reggae’s sounds and history

• Questions about artists, songs, albums, producers and record labels

• Complete answers with informative background notes

• A balanced mixture of accessible questions and tougher challenges


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Whether you are a lifelong reggae collector, a casual listener or simply love a good music quiz, this book offers hours of entertainment. Play alone, challenge your friends or use the questions to host your own reggae quiz night.


Copyright Disclaimer

This is an independent publication created for entertainment and educational purposes. It is not authorised, sponsored, endorsed by or affiliated with any artist, performer, estate, record label, publisher or other rights holder mentioned in the book.


The names of artists, groups, songs, albums, record labels and organisations are used solely for identification, historical discussion and factual commentary. All trademarks, copyrighted works and other intellectual property remain the property of their respective owners. No ownership or endorsement is claimed or implied.





Reopening The 1997 Warriors Don’t Cry Riddim With A Fresh 2024 Set



Penthouse Records is back on one of its own signatures here, reopening the 1997 Warriors Don’t Cry rhythm with a fresh 2024 set that still carries Donovan Germain’s polished Kingston stamp. Germain’s Penthouse has long been one of the label houses that made dancehall and roots-reggae sound sleek without sanding off the feeling, and this revival sits neatly inside that legacy.




The title cut remains the anchor. Beres Hammond’s original is the kind of deep, melodic plea that has always suited his voice: warm, patient and emotionally direct. Around it, the rhythm plays with a rootsy shuffle and a clean digital edge, giving the singers room to stretch phrases rather than rush them. The remix with Agent Sasco pushes the cut a little harder, while Kenroy Mullings’ instrumental version lets the arrangement breathe and puts the guitar-led movement of the riddim in full view.



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The rest of the set reads like a proper Penthouse cross-section. Jahmali’s Cry People brings that familiar conscious pressure, while Pinchers adds veteran grit on Jealous Woman. Slashe’s I Almost and Shuga’s My Guide keep the tone on the reflective side, and Dalton Harris’ Strum My Guitar adds a younger, more current voice to the lineup. It is not a flashy compilation; it is a showcase of melody, restraint and seasoned songwriting, with Beres Hammond still setting the emotional center of gravity.







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








Zimdancehall Pairs Withs Conscious Reggae For : "Everything Is Possible"

 



Nutty O and Bugle link up on Everything Is Possible, a hopeful, mid-tempo cut that pairs Zimbabwe’s rising Afrobeats and Zimdancehall force with one of Jamaica’s most dependable conscious voices. The song sits in that uplift lane both artists have made their own: self-belief, perseverance, and faith in forward motion, delivered without the hard edge that usually comes with pure dancehall energy.




Nutty O has spent the last few years widening his reach beyond Zimbabwe, moving from Zimdancehall into a smoother Afropop and reggae blend that has made him one of the country’s more export-ready voices. Bugle, born Roy Thompson from Portland, Jamaica, has long been valued for his melodic phrasing and message music, the kind that trades in reflection rather than noise. Together, they feel like a natural pairing.




The production credit on the release points to Kavin Lee, and the track has the clean, polished feel you’d expect from a modern crossover single. The arrangement leaves room for the vocals to breathe, with a steady groove underneath and enough warmth in the instrumental to support the song’s motivational message. It’s not trying to overpower the listener; it’s built to keep the hook and the sentiment front and center.



On paper, this is a cross-Caribbean collaboration, but it plays like a shared statement of intent. Nutty O brings the younger, upward-looking ambition, while Bugle adds the seasoned voice that makes the message land with extra weight.






Blvk H3ro and Kheilstone Bring to you a Warm Lover's Track : "Body to Body"


 

Body To Body is a warm, grown-up lovers’ cut that swaps macho posturing for close-range chemistry. Blvk H3ro and Kheilstone ride the track with soft-edged melodies and a patient, bass-led groove that sits in modern reggae space rather than dancehall sting. The hook plays like a direct invitation, with the vocal blend keeping the mood intimate instead of glossy or overworked.



Blvk H3ro, the Jamaican singer also known as Black Hero, has built his name on melodic writing and a thoughtful, emotionally open style that carried through his debut album On a Mission. Kheilstone is the Jamaica-born producer behind Audovic Nation, a creative house he launched in 2022 after earlier work that helped establish his name in reggae and dancehall circles. His credits include work with some of the biggest names in the region, and that background gives this release a polished, contemporary frame without sanding off the island feel.




The song arrived in August 2026, which lines up with the way both artists have been rolling out recent material. Body To Body fits neatly into Blvk H3ro’s lane: soulful, radio-ready, and anchored by lyrics that keep the subject on desire, connection, and the pull between two people rather than anything louder or more theatrical.





LET'S CHECK OUT VERSON'S NEW BANGER : "GREATNESS"



Vershon keeps his name in the dancehall lane with “Greatness, ” a self-assured single that sounds like a man talking directly to the long road behind him. The song sits in that motivational, streetwise space Vershon has made his own, where everyday struggle, ambition, and survival get wrapped in a melodic delivery that can still cut hard when it needs to. It feels more reflective than rowdy, with a clean modern dancehall pulse and enough lift in the production to make the message land as an anthem rather than a lecture.



Vershon, born Kemar Vershawn Brown in Cockburn Pen, Jamaica, has built his profile out of sharp writing, catchy hooks, and a style that moves easily between dancehall grit and a more emotional, tuneful approach. That balance has carried him through songs like “Boom, ” “Top Class, ” “Pray for Me, ” and “Status, ” and it is exactly the kind of energy that suits a record called “Greatness. ”





The single comes through Win Win Production and Passadon Music, with 2026 attached to the release listing, though the track is already appearing in digital retail and streaming spaces ahead of that broader rollout. The production name fits the mood: polished, contemporary, and aimed at a listener who wants a straight message with a strong hook. Vershon sells the idea without overselling it, which is why the track lands.





MAKA B AND PAUL LUPA HAVE SOME GREAT ADVICE: "BE WHO YOU ARE"



Macka B and Paul Lupa keep this one rooted in plain, positive instruction: be yourself, stay grounded, and don’t bend to outside pressure. The title says it all, and the song carries that message in the veteran deejay’s calm, direct delivery. Macka B has spent decades as one of British reggae’s clearest voices, moving from the London sound system tradition into a long run of conscious records, health anthems and social commentary. Paul Lupa, the Hamburg-based producer behind the track, has been carving out a small but focused catalogue of modern reggae releases from Germany.




Musically, “Be Who You Are” sits in a clean contemporary roots lane, with a mellow bounce and space for the vocal to do the heavy lifting. The production feels restrained rather than busy, giving Macka B room to phrase each line with that familiar measured confidence. It is the sort of cut that works because it knows exactly what it wants to say and refuses to overstate it.





For Paul Lupa, this fits neatly alongside his recent work with vocals and dub-minded releases, and it extends a catalogue that has moved steadily from instrumental ideas into proper song collaborations. Macka B, meanwhile, remains exactly what he has always been: a veteran selector-turned-recording artist whose strength lies in clarity, purpose and a delivery that still feels current.




ZAMUNDA DROPS A FEEL GOOD REGGAE CUT CALLED: I JUST WANT TO DANCE


 

Zamunda returns with “I Just Want To Dance, ” a feel-good dancehall-reggae cut that does exactly what the title promises: it pushes aside the noise and reaches for movement, release, and a night-out vibe. The song fits the Kingston-rooted singer’s catalog neatly, with the same soulful delivery and conscious edge that have followed him from “Jah Love Surround Me” through later singles like “Life Lessons” and “Mystical Connection. ” Born Christopher Gayle in Seville Heights, St. Ann, Zamunda has long been one of those voices that can carry a message without sounding preachy, and that balance matters here too.



Big Dreams Productions and Records gives the track a clean, modern finish, the sort of polished reggae-dancehall framework that leaves room for the hook to breathe. Zamunda is usually strongest when the rhythm stays warm and steady underneath him, and this one seems made for that pocket: light on its feet, melodic, and easy to move to without slipping into plain pop. The title suggests a simple message, but the mood is broader than that. It feels like a tune for resetting the head, stepping away from pressure, and letting the bassline do its work.




With a 2026 release date, “I Just Want To Dance” lands as another tidy addition to Zamunda’s run of singles, and another reminder that his music works best when it mixes uplift with a proper groove.




FRANKIE MUSIC BRINGS FIRE WITH THIS LOVER'S ROCK RIDDIM: CYCLES OF LOVE


 

Frankie Music Productions keeps its name active in the juggling lane with Cycles Of Love Riddim, a 2026 reggae set that gathers voices from different corners of the scene around a clean lovers-rock frame. Comar Campbell’s Frankie Music has long been tied to polished, artist-friendly productions out of Kingston and Hughenden, with a catalogue that includes projects like Chillax, General A General and Epiphany, plus one-off cuts for names ranging from Beenie Man to Romain Virgo. This one fits that same pattern: a label-minded riddim with enough warmth for radio, but enough bounce for sound system play.



The riddim itself has that easy rolling movement that lets the singers sit in the pocket without crowding the instrumental. It leaves room for melody first, then emotion. Kevyn V opens with Direct Line, while Khalia’s What You Gonna Do brings a sharper, more modern romance angle from a Jamaican-born, London-grown singer whose work has often blurred reggae and contemporary pop. Munga Honorable adds some edge on VIP Girl; the Jamaican dancehall veteran has always carried a more animated delivery, and it gives the riddim a little extra bite. Natural Black’s Come Back keeps the rootsy, heartfelt side in view, which suits the Guyanese singer’s smooth, conscious approach.




Voicemail’s Qraig turns in What Did I Do? , and Singer J’s It’s Okay adds another seasoned voice from the Jamaican reggae circuit. Rayge’s Real Woman rounds things out with a straight-ahead lover’s sentiment. Taken together, Cycles Of Love Riddim feels like a Frankie Music release with purpose: melodic, tidy, and built for voices that can carry tenderness without losing street level appeal.





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.




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