THE DEBATE ABOUT SELECTORS AND DJS!!!!!
DJ vs Selector: What’s the Difference?
If you’ve spent any time around music culture—whether in clubs, festivals, or underground scenes—you’ve probably heard the terms DJ and selector used, sometimes interchangeably. While they share similarities, they come from different traditions and emphasize different skills. Understanding the distinction offers a deeper appreciation of how music is presented and experienced.
What Is a DJ?
A DJ, or disc jockey, is someone who plays recorded music for an audience. In modern settings, this usually involves mixing tracks together to create a seamless listening experience. DJs are often associated with clubs, electronic music festivals, radio shows, and private events.
Their craft typically includes:
Beatmatching tracks to keep a consistent rhythm
Blending songs smoothly through transitions
Using effects, loops, and samples to enhance a set
Reading the crowd and adjusting energy levels in real time
In genres like electronic dance music or hip-hop, the DJ is often seen as a performer, shaping the overall sound and flow of an event.
What Is a Selector?
The term selector originates from Jamaican sound system culture, where music is played through powerful mobile speaker setups at street parties and dances. In this context, the selector’s role is less about technical mixing and more about choosing the right records to create a vibe.
A selector typically:
Curates and plays tracks based on mood, message, and audience response
Digs deep for rare, exclusive, or culturally significant music. Whether its a 45 or dubplate.
Works alongside an MC or toaster, who interacts with the crowd or in some cases adopts the MC role as well.
Focuses on speech and storytelling through song choices rather than transitions
Selectors are highly respected for their musical knowledge and taste. Their skill lies in knowing what to play and when, often drawing from a deep understanding of genre history and the culture.
Key Differences
At a glance, the distinction comes down to emphasis:
A DJ prioritizes mixing, technique, and performance
A selector prioritizes selection, curation, and not relying on a fixed playlist, playing in the moment is a selectors realm
That said, the line between the two has blurred over time. Many modern DJs are excellent selectors, and some selectors incorporate DJ techniques into their sets, Especially selectors that juggle.
In today’s global music scene, it’s common to find someone who embodies both roles.
So the question now is which one are you?
Why It Matters
Recognizing the difference isn’t just about terminology—it’s about respecting the roots of musical traditions. The concept of the selector highlights the importance of taste, knowledge, and storytelling in music, while the DJ represents innovation, technical skill, and performance energy.
Whether behind turntables or curating a playlist, both roles share a common goal: connecting people through sound.
My final Thoughts
In the end, DJing and selecting are two sides of the same coin. One leans toward technical mastery, the other toward musical intuition. The best ones often balance both, crafting sets that not only sound good, but feel meaningful.
So next time you’re in the dance, consider not just how the music is being played, but how it’s being selected. That’s where the real magic happens.
The DJ Identity Crisis: Selector vs Producer in the Modern Scene
There’s a quiet tension running through today’s DJ culture—one that’s been building ever since technology made the craft more accessible. At its core, it’s a question of identity: what actually defines a DJ in 2026?
Not long ago, DJing was rooted in selection. The best DJs weren’t necessarily the ones making music—they were the ones finding it. Digging through crates, uncovering obscure records, and stitching them together into something meaningful. A great set wasn’t just a playlist; it was a story.
Then everything changed.
When DJing Got Easier
The shift from vinyl to digital didn’t just modernize DJing—it democratized it. Suddenly, the technical barrier dropped. You didn’t need years of practice to beatmatch by ear or a rare record collection to stand out. More people entered the space, and naturally, competition intensified.
That’s when production stepped in as the new differentiator.
Making your own music became the fastest way to get noticed. Promoters began favoring artists with recognizable tracks, and audiences started expecting DJs to play their own material. Over time, producing music went from being a bonus skill to something closer to a requirement.
The Rise of the Producer-DJ
Today, many DJs are booked not just for how they play—but for what they’ve made. Sets often revolve around an artist’s own releases, especially their biggest hits. It makes sense from a branding perspective: people want to hear what they know.
But there’s a tradeoff.
When DJs are expected to play their own catalog, it can narrow the scope of a set. Instead of exploring new sounds or taking risks, there’s pressure to deliver familiar moments. The result? A scene that can start to feel repetitive, even when the talent is undeniable.
You see the same names, playing the same tracks, to the same reactions.
The Risk of a Monoculture
This shift has sparked concern about a growing “monoculture” in electronic music. Fewer artists dominate lineups, and their sets can blur together over time. After seeing a DJ a couple of times, you might feel like you’ve already experienced what they have to offer.
That’s not universally true—but it’s a pattern people are starting to notice.
And in that environment, something gets lost: discovery.
The Case for the Selector
There’s still a different kind of DJ out there—the selector. These are the artists who prioritize curation over creation. They dig deeper, take more risks, and build sets around mood and narrative rather than recognition.
A selector DJ might play tracks you’ve never heard before—and that’s the point.
Their sets are less predictable, more personal, and often more memorable because of it. Instead of delivering hits, they create moments.
So Where Do We Go From Here?
This isn’t about choosing sides. Plenty of DJs balance both worlds—producing original music while still crafting thoughtful, dynamic sets. The issue isn’t individuals; it’s the expectation.
Right now, the industry leans heavily toward production as the marker of success. But if that becomes the only path, DJing risks losing part of what made it special in the first place.
Because at its best, DJing isn’t just about playing music.
It’s about taking people somewhere they didn’t expect to go.
Sabrina Diva Shines at Reggae Pon Top
On 6th September 2025, The Jago, Dalston was set ablaze with pure reggae energy as Sabrina Diva headlined Reggae Pon Top in spectacular fashion.
A Historic Performance
This marked the first time Sabrina Diva performed with a LIVE band since returning to the UK and she owned every moment. Backed by the legendary Delroy Murray Band, her performance was a seamless blend of passion, power, and stage mastery. She thrilled the audience with hit songs including “Key To Your Heart”, “Close To You”, “Shady”, “Ital Love”, “Reggae Ready”, and more.
Reggae Pon Top is an event that was put on by the Diva showcasing her promotional skills
The Supporting Acts
The night opened with Gaven Creary, who warmed up the crowd with a smooth mix of R&B and reggae, setting a soulful tone.
Next up, Kirk Welsh raised the energy, delivering a rootical fire that had the audience fully engaged and ready for the main event.
The Diva Takes the Stage
When Sabrina hit the stage, she immediately captivated the crowd. Her commanding presence and flawless vocals proved why she’s regarded as one of the rising stars of the reggae scene. Song after song, she kept the vibes high, and by the end of the night, the audience was left in awe of a truly unforgettable performance.
Introducing Fyah B
A Voice From Bermuda Rooted in Reggae
Fyah B, born Allen Brown on March 30, 1978, hails from the beautiful island of Bermuda. From a young age, he was immersed in a vibrant cultural landscape, one that sparked his deep and lasting connection to music. Growing up, Fyah B was surrounded by the rich sounds of the Caribbean, but it was his Jamaican heritage that played a pivotal role in shaping his artistic identity. With reggae, dancehall, and the pulse of sound system culture coursing through his veins, he found a natural calling in the world of music.
His journey began early—at just 13 years old, Fyah B stepped into the recording studio for the first time. That session marked the beginning of what would become a lifelong passion and dedication to the art form. Over the years, he has honed his craft, developing a sound that blends conscious lyrics with infectious rhythms, creating music that speaks to both the heart and the dancefloor.
Fyah B has contributed to numerous projects across the reggae and dancehall scenes, steadily building a name for himself as both a recording artist and a performer. His authenticity and lyrical honesty have earned him respect from fans and peers alike, while his energetic stage presence continues to light up venues wherever he performs.
Most recently, Fyah B has returned to the spotlight with a new single titled "No Love," featured on the compilation album Waiting in Pain Riddim released by Zige Dub. The track is a soulful and powerful expression of the struggles faced in love and society, showcasing his growth as a storyteller and artist. With its heavy basslines and thought-provoking lyrics, “No Love” resonates deeply with listeners and is a testament to Fyah B's continued relevance in the ever-evolving reggae landscape.
As Fyah B looks ahead, he remains grounded in his roots while pushing boundaries musically. His journey is far from over, and with each release, he adds another chapter to the rich legacy of reggae music. Keep your eyes—and ears—on Fyah B. This is only the beginning.
INTRODUCING TROY ANTHONY
Bermuda's God Son
Introducing Troy Anthony: Bermuda's God Son
The Rise of a Reggae Voice with Purpose
Troy Anthony, born on the picturesque island of Bermuda, has emerged as one of reggae's most promising voices. His passion for music ignited at just ten years old, when he first discovered the timeless sounds of reggae legends like Bob Marley, Dennis Brown, and Third World. In reflecting on why reggae resonated with him, Troy shared, “Reggae is the only music that I could relate to, as it reflects my island roots. To me, it’s the genre that carries the most powerful and heartfelt messages to complement its rough but sweet sound.”
A Journey of Growth and Tragedy
At the age of 18, Troy’s love for singing blossomed as he began experimenting with different vocal ranges and musical styles. But it was at 21, during a life-altering event, that his journey took a dramatic turn. On the night of his twenty-first birthday, Troy and his friends were involved in a devastating car crash. The accident tragically claimed the life of his close friend, who was also celebrating his birthday that evening.
This loss deeply affected Troy, pushing him to explore his emotions through music. He began writing songs with conscious lyrics, capturing the grief and introspection he felt in the wake of the tragedy. He recorded these songs and found his music played on local radio stations, catching the attention of some of Bermuda's top promoters. This led to Troy opening for reggae heavyweights such as Luciano, Morgan Heritage, Sizzla, Anthony B, and Mikey General. His performances on stage solidified his belief that he was meant to be a reggae artist.
Faith and Transformation
Still coping with the loss of his friend, Troy sought spiritual answers to life’s deepest questions. In January of 1999, in a small church on the same street where his friend had tragically passed, Troy found the answers he was searching for. It was a transformative experience that led him to embrace Christianity. Today, as a devoted husband and father of three, Troy is more determined than ever to use his music to spread messages of love, truth, encouragement, and enlightenment.
Collaborations and Rising Success
Troy Anthony’s career has blossomed with collaborations that showcase his musical versatility and commitment to spreading positivity. He has worked alongside notable artists such as Luciano, Roger Robin, and reggae superstar Gyptian. His collaborations extend internationally, having worked with ZigeDub out of the UK, contributing to singles featured on The Rudiments Riddim and the UK Bubblers Riddim.
Troy continues to evolve as an artist, committed to delivering music that speaks to the soul and uplifts the spirit. As he puts it, “Reggae isn’t just a genre, it’s a way of life — a message to the world.”
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
BRAND NEW SINGLE BY JAH DEVICE
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
Credits:
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
ONE HIT WONDERS: 21 QUESTIONS
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.
Hook:
'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