Bermuda's God Son

Troy Anthony was born in the little island of Bermuda where his love for reggae music began to develop at the age of ten. He started out around the house listening to old greats like Bob Marley, Dennis Brown, Third World, and many others. When asked why reggae stood out to him, he replied, "reggae is the only music that I could relate to that reflects my island roots, and in my opinion, the only music that has such powerful heartfelt messages to complement the rough but sweet sound."

At the age of eighteen, his love for singing began to grow as he would practice often, experimenting with different vocal ranges and styles. At the age of 21, Troy Anthony had an experience that would change his life forever. On the night of his twenty-first birthday, he and some friends were in a terrible car crash that would claim the life of a close friend who was also celebrating his birthday that night. This tragic event pushed the ambitious singer to start writing songs expressing his inner thoughts with conscious lyrics. He went a step further and began recording and getting air play on the local stations and was approached by the island's top promoter who asked him to open a few shows featuring artist like Luciano, Morgan Heritage, Sizzla, Anthony B., and Mikey General to name a few. This experience inspired him and he knew it was his place to be a reggae artist.

But still trying to cope with the death of his friend the singer began seeking answers to questions that only God could solve. In January of 1999, his questions were answered in a little church on the same street that claimed his friend's life. Now a Christian husband and father of three, he is today more determined than ever to bring to the people good music with a strong message of encouragement, truth, love, and enlightenment.

 He has worked with the the likes of Luciano,Roger Robin and  reggae superstar, Gyptian, and is currently working with ZigeDub out of the UK on a new single which will feature on The Rudiments Riddim dropping early 2024


UK's Hidden Gem

Nyha The Conscious Artist From Wolverhampton

Name is Roger Anthony Grizzle, I was born in Wolverhampton on 03 of January 1974, making me by the 12 tribes a Naphtali, or a Capricorn in Greek mythology.

Coming from a West Indian back ground going to church as a child was something that was ingrained into our household, this is where I first honed my musical ability singing with my brothers. Whilst at church we became known as the Grizzle brothers which is something that has stayed with us through later life. we went from singing in church to progressing on to conventions all the while keeping the faith we were raised with.

 Having left singing in church at around 14 years of age (1988) I met up with a local man that had a sound called Motivate his name was Fathead Judah. In the late eighties sound clashes were something that drew my attention, I was captivated by the culture and music so decided that this was something I wanted to get involved in. Fathead gave me the opportunity to join Motivate as a Mic Man and this is where I began developing my skill set writing lyrics to everything and anything that had a beat. During my time with Fathead I gave myself the name Pupa Demus. Fathead asked me if singing was something that I could do and me being me trying to be humble I said a little. I sang for Fathead and when he heard me he said “Yuete a so yuh bad” and from then until now I haven’t stopped singing!!!!

 In my late teens 18/19 (1992/93) I had gone to the local fair at west park (Wolverhampton) with a few friends and some guys had came there looking for me. One of my friends said “Rabbit dem man over there are looking for you” (by now by sound name had changed from Pupa Demus to Roger Rabbit) next thing the group were there asking my name! Being 19 and young my first thought was they wanted trouble, little did I know that this encounter would be the start of something great. “Are you Roger Rabbit” they said again. “Yeah who wants to know!” Yes Rabbit we’ve heard you sing and want you to join us, we’re Bass Crew from Brum said Blacka Dan.

Me and Blacka became partners in crime, he released a few hit tunes in the early 90s one of his main ones was Flick Flick Flash Up Unnu Lighter.

 This connection brought on some brilliant opportunities I was introduced to Naptai who I realised many tunes with under his label Yard Beats. Additionally I released tunes under my own label World Movements.

I went to London and recorded at Soul to Soul Studio in Camden, at the studio I was introduced to people like, Jazzy B, Karen Wheeler and the rest of the Soul to Soul Family. During this time I changed my name again from Roger Rabbit to Nyha.

 It was in the Soul to Soul studio that I  voiced all of my early songs.

 Go Through and Stay Humble

Momma I’m Sorry,

Love the Children,

Markus Garvey Warn Dem,

 The tracks were built by Mafia and Fluxy in those days as well as Sylvia Tella, which to me I deemed a real privilege to have people like this around me.

 I performed in Birmingham, London, Wales, Italy and Spain, me Nyha from little Wolverhampton had the opportunity to see places I hadn’t dreamed of, doing something I loved.

Whilst at the soul to soul studio I was introduced to Mr Palmer from Jet Star, Mr Palmer said that he would like me to do an album for him, as it happens things didn’t work out this way however I did perform at his birthday with some of Jamaica’s and the UK’s finest Singers.

 After Mr Palmers birthday I decided to stop with the music for a while, I wasn’t enjoying the experience anymore, the vibe had somewhat changed there seemed to be a lot of negativity around the UK and this just wasn’t for me.

3/4 years later I was introduced to someone that brought the good musical vibe back to me and made me want to sing again, this person was Joe G from Lewisham/Peckham.

 Joe G reignited my musical instincts and wanted to work with me his energy was right and we set about getting into the studio and releasing some tracks. We released good Reggae Music like

 Woman You

One Love

In Times Like This

All Praises

To name just a few!

After working with Joe I decided to then take some time out and focus on my family and personal life.

 I have a cousin called Bullet who is an international Reggae DJ he plays all over the world. Being family and supportive Bullet would push my music  whatever platform he was on be it in a Dance, Radio Station or someone’s studio.

 By Bullet doing this it has led me on to another opportunity this time with Pekings. Myself and Bullet went down to London to meet Pekings at his house where Pekings told me he wanted to work with me. (This was yet another Privilege I had received)

We reasoned and again I had found someone who’s energy inspired me to want to sing again and come out of retirement for a second time.

I am now ready to hit the music scene again with Pekings, the energy is right the vibes are good and I’m looking forward to what the future holds. We’re not just working an album together we have many tracks coming out with myself and Pekings.

 I’ve recently  voiced from Stingray Studio with Dilly the Big Man Himself, to also voicing at one of the West Midlands finest state of the art studios in APS.

 The latest work I have collaborated on is with a new producer called ZigeDubs who again I was introduced by my family Bullet Movements. Zige is another person within the music industry that has good energy. So look out for up and coming reggae tunes from ZigeDubs Label.

Watch out for the new single entitled "Love Yourself" on the Rudiments Riddim dropping early 2024


RELEASE DATE: 03/11/2023

Ever since Jah Device has graced the music industry, he has been able to deliver gospel themes with so much flair it has caught the attention of reggae lovers outside of Nigeria and beyond.

On every release he raises the bar and when you think he has achieved his best work to date he comes out with another banger.

“Hail Up” can be classed as a reggae gospel anthem on a classic reggae riddim. The riddim is a rework of the late Eddie Fitzroys hit track “First Class Citizen” produced by The Musical Ambassador Trevor Elliot released in 1983.

Devices sound has resonated with music enthusiasts around the world and the hidden fact that his wife (Eunice) is instrumental to this with a sultry back up vocals on “Hail Up” and majority of his work to date just illustrates that it’s a family ting.

Hail up will be released by Zigedub Productions on 03/11/2023 on all digital platforms



Lyrics: Vincent Nyam

Music: Joe Bressler, Shasta Kersh

Guitar: Brody Forrester

Mixing Engineer: Robin Giorno (Friendly Fire Music)

Mastering: Zigedub

Riddim Composer: Trevor Elliot

Executive Producer: Zigedub



What are the recipes needed to develop a formula that guarantees a catalogue full of hits? Artistic skill-set, innate talent, accomplished producer or management? Is the ability to read and feel the pulse of the market (audience) so as to tailor material to satisfy what appeals to them also a needed ingredient? While a good number of artistes have deployed some or more than than the prerequisites highlighted above to release hits  and remain relevant in the Industry, most (who never bothered themselves about these things when they recorded their first half song) have toiled or continue to struggle in vain to yank off the 'One Hit Wonder' label attached to their name by pundits - even after adopting some of the perceived formula used by 'perpetual' Hit makers (Hyperbole intended). Perhaps, there is no particular formula -- or where they exist -- they are never a 'one-size-fits-all' pair of  Gideon Boots for every Ras, Banton or Rankin' to step in and trod up the Hit Parade.  

Hits! What are they anyway? Sometimes, it depends on who you talk to. We have some fans of the music (not pundits, please) who consider every song they love 'hits' (chuckling). As ridiculous as this classification is, it can stir up emotions and heated debate on semantics in a Whatsapp group or among friends. This is sad and totally unnecessary as such perception of what a hit song is, can't be farther from the truth. If a hit were one's favorite song, then Ras Shiloh would have been a Human Hit Factory in my book -  because I personally rate most of his songs. However, the truth is, the U.S based artiste escapes being labelled as a One-Hit-Wonder by a hair's breadth. Some pundits could even slap the tag on him and I won't argue because apart from 'Are you Satisfied' released in 1996, other releases have largely failed to garner similar buzz, except for 'Unto Zion' released two years later (exactly why I think he has more than one hit).


We also have a school of thought that would argue till Babylon falls and Zion calls, that a hit song is 'any' release that makes it up a chart. This is technically true but it begs the question - what chart? The Brazilian Reggae Chart, the Peruvian, Columbian or Ghanaian (if at all they have such chart in the West African country). There have been cases where artistes who have absolutely no buzz in Jamaica or in the Mainstream Airwaves brag in front of cameras about landing the top spot in Guatemala, Guadaloupe or some tiny Island you can only find on an Atlas with the aid of a magnifying lens. I am not so sure such No.1s can be passed up as 'hits'. Neither can we gift the title to songs that do appear on reputable charts only to disappear  faster than smoke from a 'Boom-Draw'. Just as we can't categorically call every random song that makes it to the charts hits, we can't also deny the fact that some bonafide hits never made it to prominent charts (topic for another day)  

Traditionally, songs that feature on compilation CDs such as Ragga Ragga Ragga by the defunct Greensleeves Records (now acquired by VP Records) and VP's Strictly The best and Reggae Gold were once widely regarded as hits. Well, that was until recently. While it is still relatively true that hits appear on Reggae Gold compilations, the inclusion of some songs lately, leaves you wondering if the songs made the cut on merit or some label promotional politics are at play. So, let's scratch compilation CDs altogether. Away from indicators that don't necessarily define a hit to the ones generally accepted (less contested) - broadly popular, widely played (even though this can be achieved through payola), duration on reputable charts and these days - significant streaming data. For some largely unknown reasons, some good artistes with good songs (a good song and a hit are often mutually exclusive) struggle to register follow-up hits. Mention some names and the 'One Hit Wonder' label sticks out like a sore thumb. Many artistes live in denial and this is quite understandable. Who would want to brag about having only one hit song after putting in the work for years? No one! Well, we are both wrong - Jah Bouks is changing that narrative. On the track aptly titled 'One Hit Wanda' from his latest album 'Long Awaiting', Jah Bouks appear to wear the label like a badge of honor. I love the song for more reasons than one. It partially inspired me to write on this phenomenon. I love the hook, the backing vocals, the nyabinghi drums (I always love Reggae songs done in this style - mystical feel and less busy). Above all, I love the song because of the courage he summoned to confront the Elephant in the room.  

'Yuh can call me One Hit Wonder...  
But -- mi nuh beg yuh no sponsor  
I'm doing great  
(I'm doing great)  
Nah eat fram yuh plate  
(Not eating from your plate)  

The song is arguably the best on the album alongside 'Jah Judgement' which was blessed by vocals from Chino McGregor and another Nyabinghi Drum-driven track - 'Gone Too Soon'. The other tracks are easily forgettable.  

Jah Bouks made a thought-provoking statement on 'One Hit Wanda' though. He said his one hit song (Angola) trumps the albums of other artistes. An outrageous claim at face value but if you let it sink in, this could be true. I feel Angola (released in 2013) was bigger (and still is) than all the songs in Anthony B's 'Tribute To Legends' album released same year. It is kind of awkward to compare a single and an album but Jah Bouks have largely toured some countries just to perform Angola while some artistes have albums and they don't know the route to an Airport (not Anthony B though). If Jah Bouks' Angola isn't convincing enough and you need another living testament to establish the fact that some artistes can successfully live off one hit song, then look no further than Sister Nancy. Is she a One Hit Wonder? Well, she scored one or two local hits before she released her eternally impactful 'Bam-Bam'. So, it is safe to say crossover-wise (Internationally) she is a One Hit Wonder while in Jamaica and to some degree, the UK, she might not be labelled as such. Bam-Bam has been sampled over 80 times by other artistes across several genres and has featured as Soundtrack in over a dozen Hollywood Motion Pictures. That one song must be paying more bills than the proceeds from the entire catalogue of Ras Ijah (Oouch!). So, maybe being a One Hit Wonder isn't necessarily as bad as being a regular Joe with zero Hits. Perhaps, what is more important is how the labelled artiste capitalizes on their one song - commercially.  

While a Sister Nancy approach or luck (if you believe in luck) is good for the artiste financially, the fans of the music deserve better - follow-up hits! It can be a bit hard or unfair from a consumer standpoint, to be denied or starved of an encore of similar releases when the appetite or cravings for more of the same (or better) is already stimulated. I would have loved to reference an analogy here but I don't want to be 'sexplicit'.  

Some artistes have completely fallen off or literally disappeared from the Reggae radar altogether. Where is VC, the 'By His Deeds' crooner? Where is Nanko who gave us that slow reggae ballad - 'Lucky You'. How unlucky that yute turned out to be. How about Erup who briefly took Dancehall by storm with 'Click Mi Finger'? What has Notch been up to after 'Nutten'? I understand the likes of Sasha with 'Dat Sexy Body' and Ms Thing who wasn't 'Regular' have since found the Lord in the Gospel circuit but what about the others? 


While the search for answers continue, one can't help but wonder why a set of artistes who scored a hit sometime in their careers have failed to get another, despite continued activity. Jah Bouks again comes to mind, so does Guinney Pepper (Lick The Chalice) and Marlon Asher (Ganja Farmer). Gully Bop is still releasing songs similar to the one that 'buss' him but nobody seems to be 'paying him no mind' anymore. His case is proof that 'style' got little or nothing to do with scoring a hit. Could it simply be a case of people having enough and moving on? This possibility bothers me and I am tempted to believe it could be a factor. Why else is it, that the likes of Sizzla, Capleton, Junior Kelly, Turbulence, Anthony B, Cham, Busy Signal, Beenieman, Bounty Killer and even Junior Reid (who did a song with Black Uhuru telling people what it takes to make a Hit record) who use to drop back to back Hits in their respective catalogues, have found it difficult to land one in recent years?  

I guess we'll never really know but one thing is as clear as daylight --  there is no particular recipe or formula that works for all. Many up and coming artistes have studied and adopted everything in the Vybz Kartel 'manual' yet can't manage a single hit. Even being a Marley does not guarantee hits. Kymani Marley doesn't have more than one (if any).  

Observers (like myself) might not be too bothered. I just want to kick back, relax and enjoy good music; whether it is classified as a hit or a miss. However, it remains a major concern for certain acts (if not most) as their chances of landing juicy record deals or bookings are hinged on the number of hits they have in their catalogue.  

After all is said and done, what should artistes do when hits are not forthcoming? Should they give up like Erup or switch up like Sasha? My counsel might not count but being labelled a 'One Hit Wonder' isn't the worst thing that can happen to an artiste. Matter of fact, I think it is more honorable to wear that badge than being labelled a quitter


By Naijamaican

The Culture Vulture Debate And Impact on Reggae Globally

You can’t eat your cake and have it, can you? Perhaps the Jamaican Reggae/Dancehall 
Industry has been trying to achieve this over the past three decades, with some difficulty along the way. 
There is no doubt whatsoever about the origin of the genre. Anyone and everyone who has ever had anything to do with Reggae, either as an artiste, producer, promoter, record executive or fan, acknowledges Jamaica as the birthplace and Mecca of Reggae.

The music has however grown and spread beyond the Cornwall, Middlesex and Surrey of the Island to other parts of the planet.

The universal appeal which was arguably boosted by the likes of Jimmy Cliff and Bob Marley in the 70s has continued to pick up so much steam such that UNESCO had to declare it an intangible cultural heritage of humanity. It is important to note that humanity is not limited to Jamaica alone. This international recognition of the genre is a good thing as the music is now indeed international. Question now is, are Jamaicans going to engender its global status or endanger it by persistently trying to keep it local or discredit practitioners outside the island as Culture Vultures? 
Since its introduction on the Grammy roster in 1985, no Non-Jamaican artiste has won a Grammy in the Reggae category; a few have been nominated. Will there be a riot or a deafening outcry when a non-native wins some day? Perhaps yes. There have been indicators over the years to nurse such fears. For instance, when Matisyahu's Youth album made the nomination list in 2006, there was a thunderous backlash from many Jamaican observers. It is almost as if other nationals doing Reggae threaten the chances of the 'owners'. 

To be fair, there have been times when outsiders look to hijack the genre for 
commercial reasons but artistes outside of the island are largely driven by the love and passion they have for Reggae. Surprisingly, while some Jamaican artistes (mostly new generation) veer off foundation and water down the music for cross-over appeal, some of these foreign artistes keep it 100% and pure yet they are rarely accepted by the generality of Jamaicans.
For reference sake, check Alborosie and Gentleman. Sometimes a foreigner who does Reggae is not even considered a Reggae artiste by Jamaicans on the basis of their non-Jamaican status. No matter how hardcore Stonebwoy from Ghana does his Dancehall and speaks his patois, Jamaicans will always see him as an Afrobeats artiste. Since when has it become a norm to classify a music based on the nationality of the artiste rather than the sound and elements of the music? Wah really a gwaan Jamaica? 
With the exception of Natasja in 2006, no foreigner has ever won a Reggae contest in Jamaica.

Rankin Pumpkin from Japan was unfairly treated in 2017 and she even 
alleged racial abuse. Snow, the Canadian artiste who recorded the Informer hit in the 
90s was reluctantly accepted at first, then discredited later as a 'Culcha Vulcha' and 
rather than address him as a deejay, some Jamaican tabloids called him a 'rapper'. 
There is even a parody video of Informer where Jim Carey portrayed Snow being 
chased by angry Jamaicans. 

Snoop wanted to become a Lion and he was forced back into his Dogg persona 
because the Jamaican Reggae Community would not embrace him.

Joss Stone once went No.1 on the Reggae Billboard chart and there was an outcry from Jamaicans. The latest episode of apathy toward Non-Jamaicans is unraveling before our very eyes with the pushback veteran selector David Rodigan is getting from a section of Jamaica over the honor recently bestowed on him for his contributions toward promoting Reggae music globally. 
Any observer with an open mind will admit there is a pattern here and agree that the 
protest is largely due to the fact that he is not Jamaican. View this alongside the 
plethora of complaints from the island whenever a Drake, Justin Bieber or Ed Sheran 
tries to incorporate Dancehall elements into their music. Will it be out of place to say 
there is a trace of xenophobia in the Jamaican Reggae Industry? Will it not do Reggae 
more good if the music is allowed to spread and be used outside of Jamaica and by 
foreigners? Does the music not preach One Love and oneness? 
There was a recent uproar about the omission of Bounty Killer and Beenieman's picture 
on a Verzuz review cover art. The fact is, Verzuz is largely about Hiphop and Bounty Vs 
Beenie clash was just added as part of extras just as you have a Stonebwoy or 
Patoranking perform as extras on Sumfest. Sould Stonebwoy appear on a review cover 
of Sumfest at the expense of Jamaican artistes based on how stellar his performance 
was? That is highly unlikely, considering the patterns highlighted for the most part of this 
article and what makes this even sadder is the fact that while Bounty and Beenie are not
Hiphop and could have been rightly left out of a Hiphop cover art, Stonebwoy is actually 
Dancehall but may not appear in a similar post-sumfest cover art because he would be 
regarded as less significant regardless of performance due to his nationality. 
This disregard for foreign Reggae Acts and the labeling of established artistes from 
other genres who try to borrow from it as 'Culture Vultures' must stop if Reggae must 
remain truly global and open. Its present localization and attempt to shut the door 
against others from having access or rights to Reggae is choking the life out of the 


By Naijamaican


Jah Device New Album - Love And Sacrifice (Stingray Records) 2021 

Following the successful release of the EP "Ray of Light" in 2019 Jah Device and Stingray Records have continued to work and are proud to announce Jah Device's Sophomore offering "Love And Sacrifice". 
Jah Device presents a well rounded 15 track album mixed with Conscious and gospel themes showcasing his musical growth based on love and rising above hardships that we all can relate to in these times. 
Singles off the album include "Give Thanks", "Friends", "A Lie Can Never Be True", "Sacrifice", which have featured on previous Stingray riddim compilations. 
On this album Device was determined to meet the high expectations of fans home and abroad.In doing so, he teamed up with veteran artists Anthony Red Rose and Michael Buckley on "Love Signal" and "Sacrifice" and also included is his duet with Natty King "Ships of Tarshish"which featured on his EP "Ray of Light" that got  rave reviews. 
The album features 10 brand new tracks which will definetly quench the thirst of reggae lovers who want to hear new material from Device. 
Born Vincent Kaweng Nyam a.k.a. Jah Device or Device of AHAYAH (Hebrew word: I AM THAT I AM) is a Nigerian Reggae Musician, songwriter, and producer who is currently based in Jos (Nigeria). His rise to prominence came with the critically acclaimed Revive Justice song which was well received by the general public. This drew the attention of Germany’s Goethe Institute prompting his involvement in its Ten Cities Project. This collaborative effort gave birth to another hit song "Work" which featured renowned Nigerian percussionist Wura Samba and produced by legendary British producer Rob Smith. His versatility and crossover appeal was quite evident when the song became an instant hit in Europe and featured prominently on various European Dance Music charts. 
Device’s style of reggae is often compared to that of the late great reggae music icon, Dennis Emmanuel Brown and perhaps the song that encapsulates that feel the most is "Enough Is Enough". This classic in the making marked the coming of age of Device. The songs thought provoking lyrical content mixed with melodic, harmonious lines, laced over pulsating live beats showcased what many have optimistically welcomed as the dawning of a new era for reggae music on the continent. It is also the lead song to the sound track of the Chibok Girls adoption documentary. 

"Love And Sacrifice" Is a body of work  that encapsulates the beliefs and the musical direction of Jah Device.

Device says "The love of The Most High is all we should seek in these times. And a sacrifice for the sanctity of the family cannot be over emphasised because the scripture says in Jeremiah 30:7... These are the days of Jacob's trouble". 


Release date: 19th March 2021





Track Listing:

1. Tamed Slave

2. Friends

3. Let It Rain

4. Sacrifice feat Michael Buckley

5. Comfort ye

6. Love Signal feat Anthony Red Rose

7. A Lie Can Never Be True

8. Signs Of The Times

9. Bye Bye Babylon

10. Give Thanks

11. We Will Overcome

12. Trumpet Sound

13. Ships Of Tarshish feat Natty King

14. Outta Fire

15. Welcome

Jah Device Feat Eunice - My KIng My Queen (ShartyB Production) 

Dennis Brown's "Angel in Disquise" was released in 2020 courtesy of ShartyB Production, on hearing the track Jah Device was moved by it. 
Being a Dennis Brown fan and admirier of his legacy he felt he needed to write a follow up to this beautiful song. 

He wrote and recorded a demo track which was heard by ShartyB (Laughton Davidson) and he was more than impressed with Device's take on the riddim track and proceeded to Tuff Gong Studio in Jamaica to get it mixed and subsequenty mastered at Anchor Studios. 
"My King My Queen" features Eunice who is Jah Device's wife who has been instrumental to his sound as she does all the harmonies on his songs.
Device says "As you know I'm a big promoter of the family as a unit of the kingdom, so my queen and I thought we should share the formula in a song"

Executive Producer: Laughton Davidson 
Recorded at: Jah Device Studios,Jos, Plateau State,Nigeria 
Mixed at Tuff Gong Jamaica 
Mastered: Anchor Studios Jamaica 
Label: ShartyB Records 
Produced by: Jah Device 
Published: ShartyB Production

The song was released on all digital platforms on 28th Dec.2020 .


La La Riddim Compilation EP 2021 (Stingray Records) 

When you listen to this riddim you will be reminded of either Teena Marie who did the original "Ooh La La" in 1988 or Dennis Brown's cover from 1999. Stingray Records UK have a history of revamping classic riddim tracks and bringing it forth to a new generation of reggae listeners. 
The first time I heard the "relick" of the riddim was Norrisman's "Sweet Thing" which featured on his album "Emerge" which was released in 2020 . There was a inner feeling that I hadnt heard the last of this riddim track and here we are. 

The 5 track riddim compilation EP starts off with the Big Ship Captain Freddie "Ever Ready" Mcgregor with a beautiful track entitled "Thats the way its supposed to be". A smooth delivery from Freddie as we have become so accustomed too from the veteran singer. 

Next up we have what I can only describe as the new skool meets the old skool or Nigeria meets Jamaica. Jah Device & Michael Buckley put together a powerful song entitled "Sacrifice"and it zones in on the importance of family values.

Then comes the aforementioned "Sweet Thing" by Norrisman who never disappoints on lovers rock themes. 

I was told that Maurice "Stingray" Mcleod asked if anyone had done a rendition of the actual "ooh La La" when he heard the riddim track and the answer was "No". Yashema Mcleod steps up and does a beautiful rendition and I have to say she nailed it. The song also features on her debut album "Awakening"

The final entry is an interesting one by upcoming sensation out of Jamaica 1Mr.Smooth with a song called "Missing You". 1Mr.Smooth caught peoples attention with his song "Russian Roulette" which did the rounds in 2020. Currently working on his debut album so we are sure to hear more from this brother. 

The La La Riddim is here and will be released on the 15th January 2021 on all digital platforms distributed by Zojakworldwide.

Dennis Brown Is Back With New Single  


Dennis Brown is arguably the most imitated Jamaican vocalist, so revered are his vocal talents. artists like Luciano, Frankie Paul, Bushman, George Nooks, Natty King just to name a few have fallen from the Dennis Brown vocal tree. 
His smooth baritone has not only endeared him to a wide international audience but has attracted a fan base including the legendary Bob Marley who listed the Reggae balladeer as his favourite artiste. 
With over  80 albums to his name (excluding compilation albums) you would think that every Dennis Brown song is already out there for fans to love and enjoy. 
But 21 years after his passing a brand new Dennis Brown  single has been released courtesy of Laughton Davidson of Sharty B Productions out of Canada entitled "Angels in Disquise". 

Dennis laid the vocals down at Mixing Lab studios while the instrumentaion was recorded at Gussie Clarkes Anchor Studios, the Mixing was done at Tuff Gong Studios all in Jamaica.
Dennis delivers a beautiful vocal and I have to say I loved it from the first time I heard it, whether its due to  nostagic reasons or to the mere fact that its just a great song I'm not sure. 
I can only suggest that you take a listen for yourselves and draw your own conclusions, released August 28th  2020 and available on all digital platforms


Since the inception of the internet the "culture of freeness" has grown to levels that no one could have anticpipated, this is not to say that people dont buy music anymore but the "cop for free" attitude heavily outweighs the attitude to buy and own music especially when it relates to a marginalised genre like reggae and dancehall reggae. 

Back in the day moving units was the way to determine if an album was doing well but now the dynamic has changed and its all about hype and streaming stats whether it be Youtube views or Spotify numbers. 
Bottomline music doesnt sell the way it use to and when you check the sales figures for Reggae albums its pretty much embarrasing when compared to other genres. This begs the question why reggae artists or artists in general still put out albums? 

1. More Mileage Over singles: 
A single gives you temporary hype and is mainly used to keep fans satisfied inbetween projects, but when it comes to media placements and radio play nothing beats an album. 
When a on air personality is presented with a body of work it makes his/her life much easier as you have a variety of songs to choose from. 

2. Many Moods of an Artiste 
An album allows an artist to be more creative and delve into avenues he wouldnt usually do. Usually a single covers one mood either it be a love song or a conscious song but when doing an album it leaves room for an artist to express himself more so you end up with a much more rounded theme. 
Listeners these days may have playlists or mixtapes they listen too daily but a true music fan turns to albums to capture the essence of an artist by expiriencing different moods of an artist in one place.

3. Bookings. 
Its much easier to book an artist who has an album over an artist who is littered with singles, an artist with an album seems to be more of a serious artist over an artist with singles (this might not always be the case). Perception is a hell of a thing! 
Promoters looking for talent to fill a 30 min spot will get a better idea of what they are going to get from an artist when they listen to albums. This arguement although can be countered by the fact that some promoters these days have no clue about the artists catalog and the only driving factor they are interested in is the hype around the individual...."Oh Well" 

At the end of the day an artist will do what works for them but bear in mind in the long run an artist is judged by his/her body of work and the best way to present a body of work is in the form of an album whether it sells or not