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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








God Alone Productions brings 'Clear Sight Riddim'...


 

Clear Sight Riddim – TM and God Alone Productions brings a tight, 14-track ride for 2026. The project is credited to TM and God Alone Productions, with Miguel Smith listed in some previews as the man behind the concept. The tracklist sticks to a cohesive reggae riddim feel, letting each artist put their stamp on a steady, mid-tempo groove.



Two cuts stand out for showing different angles on the same riddim. Chezidek delivers A Little More Justice with a measured voice and a clear sense of resolve, riding the rhythm in smooth, purposeful lines. Kiprich goes hard with Misery Loves Company, switching the mood to a sharper, more direct street-rooted vibe that signals a different approach to the same riddim heartbeat. Shanala’s God Is Amazing sits nearer the uplifting end, her vocal sits lightly but with a confident bounce that keeps the groove moving.




Put out by TM and God Alone Productions, Clear Sight feels like a deliberate move to spotlight a roster of varied voices on one core rhythm. It’s a solid listen for fans who want reggae that stays close to the groove while letting each artist explore their own corner of the beat. The track lineup keeps the focus on the vocal energies, from Zamunda’s Jah Mission to Faevrit’s Great God I’m Calling, without drifting into showier production flourishes.




Chino McGregor's 'Praise' Gives You that Sing-Along Feel...



Chino McGregor – Praise opens with a steady, inviting groove that feels like it wants you to nod along and sing. The track sits in that warm, mid-tempo dancehall lane, with a direct vocal hook and a vibe that keeps the mood relaxed and celebratory. It isn’t about fireworks or flashy tricks; it leans into a straightforward, singalong feel that makes the message clear from the start.



Chino McGregor is a Jamaican singer known for a global dancehall presence that blends singjay vibes with a contemporary edge. He’s the son of reggae legend Freddie McGregor, and his work over the years has carried that family legacy while pushing toward a broader audience. In 2026, news and streaming shares point to ongoing activity from him, signaling that he’s still out there making music and staying active in the scene. Praise fits into that pattern: a vocal style that stays close to the beat, and a subject matter that matches the title’s exhortation.

 





A Classic One-Drumbeat Feel With a Steady, Traditional Ragga Rhythm: " I SHALL BE RELEASED RIDDIM"


 

I Shall Be Released Riddim by Young Blood Records is a classic one-drumbeat feel with a steady, traditional Ragga rhythm that keeps the vocals upfront. The lineup here sticks to strong Jamaican voices riding the same groove, giving the riddim a tight, cohesive feel across the tracklist.



Romain Virgo opens with No Substitute, a straightforward warning in the lyrics over a steady skank and clean bass. It sits close to the beat, letting the melody breathe without pulling the rhythm away. Richie Spice looks to uplift with Free Up Di Youth's Dem, a brighter tempo and a hopeful hook that lands easy. Christopher Martin’s If You Were Mine adds a sweeter, more romantic touch, with a smoother vocal flow that still rides the riddim comfortably.




The rest of the cuts keep it rooted. Pinchers’ You Don’t Deserve pushes a sharper, more jaunty bounce, while Phalcon’s Broken Promises leans into a darker vibe without losing the steady pulse. ReniGad’s Baby Mother and Eminoxx’s Wey Me Woulda Do keep the energy gritty, and Little John’s If You Love Me closes with a confident, sing-along chorus.


Overall, the project shows Young Blood Records sticking to a familiar, reggae-forward vibe. It’s a solid set for listeners who want a ready-made riddim that carries strong voices without getting gimmicky.





RICK ROSS AND SKILLIBENG JOIN SHAGGY AND JEREMIH ON “LOTTERY 4.0”


 




BOOK CLUB PICK: Dub in Babylon: Understanding the Evolution and Significance of Dub Reggae in Jamaica and Britain from King Tubby to Post-Punk



Since the late 1980s, dub reggae and the methods linked to it have been widely used by dance and ambient music producers. But the term first referred to a remix method developed in Jamaica as early as 1967. Recording engineers made reggae tracks where the producer’s work was often more clear than the musicians’ work; these heavily worked tracks were called versions. The methods used to make versions soon grew into what is now called dub.





The term in this sense appeared in 1972 and was mostly the result of experiments by recording engineer Osbourne Ruddock, also known as King Tubby. Over the years, dub has changed, especially in the UK. In fact, much modern music, from hip hop to trance and from ambient sound to experimental electronica and drum ’n bass, owes a debt to remix culture shaped mainly by dub methods. Even so, although it is clearly an important genre, its value is rarely fully understood or recognized.


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HERE IS A SUNNY AND PLAYFUL SOCA RIDDIM: "DAIZA RIDDIM"


 

Daiza Riddim – Rich Persad Music shows up as a 2026 riddim in the Soca lane, with Rich Persad at the helm as producer and Rich Persad Music as the label. The track list for this edition sticks to four names: DeLaNoche with Sweet Darlin, Miguel Maestre on State Of Emergency, This Is Kash with One Shot, and Jaxx on Piece Ah Dat. It keeps the vibe tight and carnival-ready.



Sweet Darlin opens with DeLaNoche trading a bright vocal hook over a bouncy soca groove. The rhythm stays playful and sunny, making the song feel ready for a jump-up crowd. Miguel Maestre’s State Of Emergency leans into a punchier push, a reminder that this riddim can snap from smooth to urgent without losing the bounce.





Jaxx’s Piece Ah Dat and This Is Kash’s One Shot sit closer to the mid-tempo dancefloor side, with snappier drums and direct, concise verses that ride the groove without overcomplicating it. Across the four cuts, the riddim holds a clean, confident pulse that’s easy to sing along with and easy to dance to.


The project comes to life through a clear setup: a small, focused set of artists on a single riddim, released by Rich Persad Music in 2026. It’s a compact package meant for parties and street vibes, with two standout samples showing how different voices fit the same groove.




CHINO McGREGOR DELIVERS ON "PRAISE", A TRACK YOU WILL WANT TO SING ALONG


 

Chino McGregor - Praise opens on a steady, welcoming groove that seems designed to get heads nodding and voices joining in. It lives comfortably in that warm, mid-tempo dancehall pocket, carrying a clear vocal hook and an easygoing, celebratory energy. Rather than chasing big dramatic flourishes or showy embellishments, it settles into a direct, singalong approach that makes its message land right away.



Chino McGregor is a Jamaican singer with a worldwide dancehall profile, blending singjay flavor with a modern edge. As the son of reggae icon Freddie McGregor, he has long carried that family heritage forward while reaching toward a wider audience. In 2026, reports and streaming activity suggest he remains active, still creating music and holding his place in the scene. Praise follows that same path: vocals that ride close to the rhythm, and lyrics that reflect the encouragement suggested by the title.




LOVE SOCCA? THEN YOU'LL LOVE THIS: "SUMMER STRUM RIDDIM"


 

Summer Strum Riddim lands as a bright, guitar-led soca set from Monk Music and Battalion Music, a pairing that points to the seasonal, road-ready side of the genre. The title says plenty: this is a strumming, breezy framework made for sunshine sessions, with enough bounce to keep it moving without losing its easygoing feel. The 2026 release packages three vocal cuts, keeping the juggling neat and focused on melody rather than volume.



Mela Caribe opens with Nuh Typical Ting, a performance that plays into the warmer, lighter side of the riddim. Keshav follows with Troublemaker, bringing a sharper edge and a little more mischief in the vocal delivery. Erphaan Alves closes with Play D Music, which feels like the most direct fit for the set’s party-first mood. His name remains one of the strongest in contemporary Trinidad soca, and he gives the riddim the kind of polished, stage-ready hook that can carry a carnival season rotation.


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What ties the whole thing together is the production approach: clean, rhythmic guitar movement, a fluid soca pulse, and an arrangement that leaves room for each singer’s personality. It is less about heavy experimentation and more about giving the artists a lively, summery pocket to work in. As a riddim package, Summer Strum works because it keeps the concept simple and the energy consistent, with each cut adding a different shade to the same sunny frame.





COME LET'S CHECK MORE ZIMBABWE DANCEHALL WITH THE: "OUTSIDE RIDDIM"


Jusa Dementor keeps his name in the middle of Zimbabwe’s dancehall conversation with Outside Riddim, a 2026 juggling that sits squarely in the Zimdancehall lane. The producer has long been tied to ABRA and to a catalogue that helped shape the country’s riddim culture, moving between production, promotion, and his own artist work. This one is issued under his own name and keeps that same hands-on feel.



The rhythm is taut and forward-driving, with a dry, skanking pulse that leaves space for the vocalists to ride the pocket rather than fight it. The instrumental and Jusa’s own Tiri Panze underline the arrangement’s stripped-back approach: clipped drums, a heavy low end, and enough empty space to let the bounce do the work. It’s the kind of riddim that feels built for selectors as much as for streaming.


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The featured cuts keep the project anchored in the current Zimdancehall circle. Anesu Ibwe’s Forever adds a smoother, more melodic turn, while Dapro’s Dont Pull up comes in with a more direct street stance. Kanter the Janter’s Angelina gives the juggling another angle, leaning into the kind of personality-driven delivery that has always carried Zimbabwean dancehall. Rather than crowd the riddim with names, Outside keeps the cast tight and lets each voice mark out a different corner of the same beat.

 



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