I have been trying to compile a list of my favourite reggae tunes for you all but to tell the truth I think I am on mission impossible with that one. My laptop is completely full with reggae music from all over the world and it would take me more than the rest of my life to listen to it.

What I am doing for you though is narrowing my list down so I can at least introduce you to some more new stuff soon. In doing so I came across a tune that would certainly figure in my top 5 reggae tunes of all time, it’s called ‘one good spliff’ by none other than Ziggy Marley.

I posted recently about songs that stick with you through summer and this track reminds me of happy summer days lazing around in the park.  I dedicate this to Stacy White, Shaun Alexis, Luis Oreamuno and all the guys at Cottons Rum Shack as they put up with me playing this continually!

Enjoy one good spliff!

Part of the Reggae Road Block tour, Prophet Benjamin has established himself on his reggae journey with his most popular tune, ‘Field of Weed. Defining his excalibur authority chanting tunes on the ever-touchy subject of marijuana smoking.

Hailing from rural south Trinidad, Prophet Benjamin belts out heart felt melodies on a wide array of subjects, from women attracted to ‘pretty boys’, love and the HIV virus…in the hit, Delilah.

Delilah, a quite controversial song; but a reality in today’s world that is rampant with the AIDS virus. Each lyrical sentence warns people about not getting carried away with the physical, when we must also consider the diseases that exist.

Dubbed as a ‘real congo bongo’, Prophet Benjamin has injected the reggae vibe into the Caribbean, sharing stages with Marlon Asher, Gyptian and the Reggae Road Block team. Capturing crowds with his sensational voice, he is living his musical dream by entertaining crowds and captivating stageshows.

His musical style is, however, not the typical laid-back reggae, but more of an upbeat vibe…that exudes hyped-up vibe. A part of the reggae all-stars, he continued to captivate audiences worldwide.

Written by Jamie Jaggernauth.

Known to the world as the Calypso King, the Mighty Sparrow is still enjoying his musical career that has spanned over 40 years. Known to his family in Grenada and Trinidad as Slinger Fransisco, he has made them proud by defeating every competitor to his musician’s throne.

Beginning the journey St. Patrick’s Catholic Church Boys’ Choir, this is where his initial involvement into the world of music began. Influenced by a broad spectrum of jazz musicians and early calypsonians, he emerged at the age of 20 with his all too famous hit, Jean and Dinah- an entertaining melody which sprouted from the 1956 vocals of Harry Belafonte, the Yankees Gone. Over the years, Sparrow introduced a diverse, new-aged culture for the Trinidad and Tobago mas. It was from this tune that the Carnival Development Committee was born, endorsed by Dr. Eric Williams.

Creating the foundation for Trinidad carnival, Sparrow continued on his journey; also becoming famous in 1958 for winning the Road March( Carnival Parade Music Contest) Competition three times in the same year.

Some of the more popular hits include Federation (1959), May May (1960) and Congo Man (1965)- which can be heard in Caribbean fetes throughout the world to this day.

From 1966 to 1996, he continued to prove his reign as the Calypso King, paving the way for many a generation of younger artists- becoming a true inspiration to Caribbean artists. Especially with his 1976 hit, Saltfish; a song which still wafts through many kitchens on a Sunday morning. With an award collection spanning almost 50 years, Sparrow continued to climb the ladder of success while becoming the most popular caypsonian of all time. He demonstrated year after year, with his social commentaries that the calypsonian is really the eyes and ears of the people. Sparrow continued to define the true meaning of “The Calypso King of the World. In 1992 with Both of Them, Crown Heights Justice and Man will Survive. All making a big impact in the Caribbean and the United States.

Now in 2008, The Mighty Sparrow, continues to rule the Calypso/Soca world with his voice, lyrics and melodies. He is demonstrating once more that he is the King. Perhaps passing his crown to the newer generation voice, Machel Montano, who has done a modern day cover of Congo Man, and has also shared a stage with the King.

Written by Jamie Jaggernauth.

Many might wonder how an island closer to Venezuela than to Jamaica can have such a shocking surge of reggae culture, as opposed to a greater influence of Latin American music. Trinidadian reggae artists are often remarked as lesser to Jamaican reggae artists, but the plight is all the same.

It is indeed hard to ignore (Trinidadian-born) Mr. King’s, “Laventille”, but most people gravitate towards the more renown likes of Damian Marley’s “Welcome to Jamrock”.

Poverty is indeed a problem on this island republic, and most of the local reggae artists have covered this topic in many of their songs. Especially with focus on Laventille; an area in north Trinidad which hails the most drug and gang related crime in the country. These reggae melodies usually plead to the young people to put down their guns and unite.

Both Jamaica and Trinidad are going through the same crisis and reggae provides a good format to express feelings as a struggling person who feels like every move is being taken under surveillance.

There is no doubt that music speaks to people and entertainers have the power to make a difference and now more than ever that difference is needed.

Studio 53 is a trio of young producers from La Horquetta who are responsible for the beats behind the hits from Isasha and Million Voice. As a mini-record label stepping out of obscurity late last year, the three Jabari Charles, Kwesi Robinson and Roberito Angelo Pantin have signed nine up-and-coming reggae artistes whom they said would take T&T by storm by 2009.

Written by Jamie Jaggernauth.

Just a quick post today to share something with you all that I found just last week.

I don’t know about you but I always seem to find a couple of really, really great tunes that define my summers. There is something about the sunshine of summer that goes hand in hand with reggae music. A few cold beers, maybe a little herb, some good tunes and some good times; this is what my memories of summer are all about. Well just the other day I hit upon a song that I think will be one for the summer of 2008, its called ‘Thanks’ by yet another fantastic Trini reggae artist, Zan. Yeah I know, what is it with Trinis and Reggae music right now? I don’t know much about Zan myself so I am about to go diggin around to bring you some news but for now, just check out what I anticipate is going to be a big tune this summer. What say you?

Thanks to Trinisocajunkie for sharing this one!! Perhaps any Trinis out there can let us know more about Zan??? Drop some comments below!

Hearing King in this Jungle for the first time, I knew that this culturally minded youth would emerge as a reggae landmark for Jamaica. Growing up in Montego Bay, Jamaica, this talented youth was dubbed ‘Jah Cure’ by the infamous Capleton.

Ascending into the world of reggae at 18 years old, Jah Cure was cut off the music scene for some time serving in prison. However, his entry into the reggae scene was monumental, as his first hit was melodically coupled with Sizzla and produced by Beres Hammond.

This is where Jah Cure gained his inspiration as an artist; musically from Hammond and spiritually from Sizzla- who introduced him into the lifestyle of the Rastafarian. Mostly produced by Hammond, Jah Cure then began to spit out tune after tune in a steady stream, but the climb to fame was curbed in 1998 when Jamaican police stopped Jah Cure and was imprisoned on rape and armed robbery charges the following year.

Serving a 15-year sentence, Jah Cure has always stood his ground that he had been innocent. But solace is an elevating time for an individual; and in his seemingly darkest moments, Cure wrote and released his most infamous music. This was encouraged by a groundswell of support amongst reggae fans throughout the Caribbean- embellishing Cure as a reggae hero.

From this sentence, stemmed compilations like ‘Free Jah’s Cure’ and ‘Ghetto Life’; which kept the musician on the charts, and his fame spread through the Caribbean and Europe. At the Tower Street Adult Correctional Centre, Cure had access to a digital recording studio, and made use of his time exploring his musical talent. It was there Cure recorded some new tracks, which would appear next to his old hits on ‘Freedom Blues’, released by the VP label in 2005.

Jah Cure was released from prison in July 2007 and executed an astounding performance in Trinidad upon his release.

Written by Jamie Jaggernauth.

From early in the decade, Trinidad and Tobago has held a strong presence in the reggae industry with artists such as Jamelody, Isasha, Million Voice, Prophet Benjamin and Marlon Asher stepping heavy onto the scene.

Whether in be in the uptown club vibe, the downtown mellow party scene, or the quarterly reggae sound system gathering, Trinidad and Tobago has a heavy vibe for roots reggae.

With musical influences such as Steel Pulse, Toots and Bob Marley, Sizzla and Buju Banton these young men have emerged from various locations throughout the island, singing songs of love, liberation and without much neglect, the smoking of marijuana. Finding solice as well as spirituality through their song.

Jamelody has gotten a positive response from the Trinidadian audience and is seeking to establish himself on the international front. Well respected in Trinidad, his crowd response differs from the likes of Jamaican reggae lovers.

Isasha, the Trinidadian reggae song-writer and performer has always viewed conscious reggae music as nothing new, but always a means for the youth to express positivity.

Million Voice, writer and performer of the roots reggae song One Family shares similar opinions on the subject of young Trinidadians expressing their frustration and outlooks. As brothers, Isasha and Million Voice share the stage in unifying Trinidadian youths and covering topics such as poverty, crime, love and solution to retribution.

Prophet Benjamin seeks out more of a dubbed reggae style of music, and has shared the stage with all of the above mentioned. Like many other emerging artists, Prophet Benjamin has indeed begun to put Trinidad on the map for reggae music.

However, Marlon Asher has begun the trend of Trinidadian reggae musicians with his hit, “Ganja Planter”. This tune is guaranteed to flow heavy vibes into any crowd, as most youths in the audience just smile and dance to the music. Trinidad is known for marijuana cultivation, and this song not only appeals to marijuana smokers, but also to the struggling youths who seek cultivating as well as selling the herb.

Regardless of age and ethnicity, Trinidad and Tobago seeks to develop is reggae talent. However, most of the emerging musicians have agreed that the reggae and conscience style was always a way of life in Trinidad- it is one of the many things that unify different cultures on this island of multifarious ethnicity.

Written by Jamie Jaggernauth.

I have to give a shout out to this man, Mark Hull aka YT, and I promise that you will be seeing a whole lot more from him. On hearing some of the tunes on this album you would be forgiven for thinking that YT was as Jamaican as Jamaican can be, but truth be told, he hails from Ipswich, Great Britain and yes……he is whiter than white.

His debut album of 2006, Straight Outta Britain, offers the world a glimpse at the reggae scene in the UK. His tunes offer something for everyone, be that reggae, dancehall, roots or pop, and his lyrics are not only sublime but also in keeping with the positive message that reggae portrays. He is a versatile artist and looks to me like someone who can upset the stereotype of ‘If it’s not Jamaican, it’s not Reggae’; the Slim Shady of the reggae world if you will.

It has been a while since we heard anything new from YT and, given that this album was said to have been three years in the making, I think we are about due something new.

His voice distinctly patois, his background far from the Caribbean and his lyrics so fresh and poignant. Check out the voice here on a song titled ‘Wicked Act’, a serious dedication to the victims of the London bombings of 2005.

For anyone in Europe ‘Whitey’ can be found at the following venues on his upcoming tour.

20,000 surges of pure energy; 20,000 vibrations throughout your body; 20,000 people in one stadium. Why?

All brought together to witness the ultimate soca performer executing a high energy, high impact and indeed, a high definition performance. Without a doubt, this show was an alternative concept to Trinidad and an alternative concept to carnival.

I have been a concert/party go-er for almost ten years now, and I must admit that AC 3+3 really displayed value for money. I got to the Stadium a bit early. But this was a good thing, as I got there early enough to get some drinks and mark my territory very close to the stage.

Showing the symptoms of a successful concert from the start, Machel Montano HD pumped the crowd with anticipation by turning on the heat with Patrice Roberts and Macka Diamond, David Rudder and Sparrow. The eagerness of the crowd was felt in heart, as the entire crowd seemed drunk with joy. Not to mention that HD was introduced in such an avant-garde manner by a helicopter and a free-fall jump from the city’s atmosphere to a landing ground in the stadium.

These prelude performances were incomparable to the adrenaline overload in Port of Spain when the Miami superstar, Pitbull came onto the stage. “Defense” seemed to have injected every soul with the uncontrollably urge to dance. Personally, this alternative concept experience was very eye-opening to the fact that a baseline, rhythm and reggaeton artist can literally make you feel as though you were going mad. At this point, I was in the thick of the crowd, but moved further back into the stands to get a view of the crowd.

What I saw was phenomenal. Each person’s head seemed like a dot, multicolor waving (flags, rags, bandanas, cups…what have you…) in the air. By now, the performance was coming to an end, but winding down is far from the choice of words that I should use. “The heat….aaaaahhh….the heat”…the whole crowd chanted, before Montano recited his mission to “Blaze d Trail”. From back in the stands, the rapture of the massive audience is indescribable. All I can say is that the pulsation and chanting seemed almost demonic.

When HD’s presentation came to an end, this chunk of followers seemed almost stunned that the show was, in reality, over.

With no reservations, Montano has clearly illustrated the true definition of an artist.

Written by Jamie Jaggernauth

Reggae and dancehall purists will argue all day and all night about different ‘riddims’ with you but I won’t spend much time on the subject today. Essentially a ‘riddim’, or rhythm in non patois, is the beat to which a particular track is set to.  What used to be associated with the bassline and drum beat - back in the day of Sly & Robbies ‘Bam Bam’ riddim - has now been more widely used to refer to the entire backing track. As to the number of riddims out there today I could not even hazard a guess but I did find a database with 886 and counting over at Reggae Riddims.

Moving on though I wanted to just give you that intro before I announced one riddim that I am really into right now, it’s called the Rub A Dub riddim. I dug up a few tracks by some of my favourite reggae artists that use the Rub A Dub riddim and here are three of the best examples.

Anthony B - Striving

Richie Spice - The Plane Land

Morgan Heritage - Nothing To Smile About