Thursday, October 9, 2025

Sean Paul continues to climb with Ginger

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Dancehall artiste Sean Paul continues to climb the Billboard Rhythmic Top 40 Airplay chart as Ginger bolts from #16 to #14.

Ginger is Sean Paul’s 24th entry on the chart, two of which went to #1. The chart-toppers were Baby Boy with Beyonce, which started its seven-week run on September 27, 2003.

Get Busy, which is featured on producer Steven “Lenky” Marsden’s Diwali rhythm, ruled the roost for one week on May 10, 2003.

(When You Gonna) Give it Up to Me with Keyshia Cole and Temperature both reached #2, Gimme The Light stalled at #4, Cheap Thrills with Sia got as far as #7, while We Be Burnin stalled at #8.

Both 2003’s Like Glue and 2010’s Do You Remember (with Jay Sean and Lil Jon) unpacked their travelling bags at #10.

Still on the Rhythmic Top 40 Airplay chart, Sugar Sweet by Mariah Carey, featuring Shenseea and Kehlani, moves up from #33 to #1 in its 4th week on the chart.

Over on the Billboard Reggae Albums chart, clinching a 297th week at #1 is Legend: The Best of Bob Marley and the Wailers, while Best of Shaggy: The Boombastic Collection by Shaggy remains at #2.

The Trinity by Sean Paul, World on Fire by Stick Figure and Greatest Hits by UB40 are #3, #4 and #5 respectively.

Dutty Rock by Sean Paul remains at #6, Wisdom and Set in Stone by Stick Figure are #7 and #8, while Collection: 50th State of Mind by Fiji the Artiste re-enters at #9.

Welcome to Jamrock by Damian Marley dips to #10.

Meanwhile, How Dem Fi Fight Reggae Music by Sizzla and Bounty Killer spends a second week at #1 on the Foundation Radio Network (New York) Reggae chart.

Hustling in My Blood by Cham, Stephen and Damian Marley steps up from #14 to #12, while Third Time is a Charm by Kennin Blessin improves from #23 to #20.

This week’s new entries are Special Lady by Richie Stephens (#27), To All the Girls I’ve Loved Before by Leroy Sibbles and Andrew Cassanova (#29), and Sherell Rosegreen’s cover of Come Jesus Come steps in at #30.

Khago’s 2 Time tops the South Florida Reggae chart for a second week, while a cover of A House is Not a Home by Hopeton Lindo and Marcia Griffiths moves up from #11 to #7.

Ghetto Girl by The Fantells enters at #22, while Love Story by Beres Hammond and Tanya Stephens is new at #24.

Pressure by Gisto spends a third week at #1 on the Rebel Vibez Top Ten Canadian Reggae chart. Ready or Not by Jurney Star is #2, while Evil Alters by Glen Washington is #3. Meds by Chizzy Bashment featuring Kris Gee is at #4 and So Long by Neto Yute, featuring Anthony B, holds the #5 position.

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eNGee Dadon pushes social commentary

KINGSTON, Jamaica — Dancehall artiste eNGee Dadon has been creating more momentum with the tracks Crocodile Masicka and Is Masicka A Nanny?.

The entertainer, who was formerly known as Pickney, explained that these songs are social commentary based on observations in the industry.

“Crocodile Masicka” came from a review on the present Dancehall situation. The fans [have] been talking about Masicka’s sidekick who got whipped by Devin Di Doctor and Masicka didn’t defend his bro — that was the spark. I didn’t jump in to throw shade, I just analysed the conversation through music. Dancehall is commentary, so I put the narrative in melody form. It’s social reflection mixed with lyrical observation. The crocodile in the story represent fear and pride hiding behind silence,” eNGee Dadon said.

Crocodile Masicka was released on August 9 and has since earned thousands of streams. The other release made its debut at the beginning of October, and has upped the ante on discourse among music fans and analysts.

Reiterating that there is no bad blood between him and Masicka, the deejay anticipates that listeners will be able to appreciate music artistry and its link between current happenings.

“My hope is that Crocodile Masicka open people eyes to how powerful Dancehall still is when it mirror the culture. I want it to show that you can address current issues without losing creativity. If it sparks more artistes to go lyrical again, mission complete. And if it cross over to international audience, even better—because the world love truth told with rhythm,” he explained.

As for the second track, eNGee Dadon noted that some listeners have found the title bold, while some have found humour and others appreciate the literary devices in the lyrics.

“That one came straight from curiosity and cultural debate. Everybody was calling themselves GOATs (greatest of all time) in dancehall, and mi just flip it. If the goat is a female, is the goat a nanny? It’s satire mixed with wordplay. The title itself is a question — not an insult, but a mirror to how titles and ego move in the game. It’s dancehall theatre; intelligent provocation with humour,” he explained.

Amidst the new releases, eNGee Dadon is also celebrating his second place ranking on the Brando Music Review Show’s weekly chart for the track Dancehall Jealousy.

“It’s a blessing and a big acknowledgment of the work I’ve been putting in. Brando Music Review is respected, so being number two shows that independent artistes like me can move the space without major label push. It’s fuel for the fire. I appreciate the recognition but I’m still aiming for that number one spot. It also validate the fans who been supporting eNGee Dadon from day one,” he said.

The deejay is currently pushing multiple projects under New Generation Music Entertainment including: Venus Inna Vans, Christian Girl Gone, and Thanks You.

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