Bringing generations of artistes together while contributing to the continued development of Jamaican music is at the heart of two new compilation projects from VIS Records and its production partners.

Some Like It Redhot

rhythm and Mad Black Panther rhythm bring together established and emerging voices across reggae and dancehall, reflecting a shared commitment to creating opportunities for artistes while contributing to the island’s musical legacy.

The projects see VIS Records partnering with Starrgate Recording Studio on the 16-track Some Like It Redhot rhythm while Mad Black Panther rhythm, a 10-track compilation, is presented by VIS Records and Vouch Enterprise.

Both projects are distributed by VPAL Music and available on major digital streaming and download platforms.

For Opal Gowdie of VIS Records, the inspiration behind the compilations was rooted in the desire to unite artistes at different stages of their careers and deliver music with a positive impact.

“The rhythms came about from the idea of bringing artistes together, both seasoned and up-and-coming artistes. I want these projects to impact listeners in positive ways,” Gowdie explained.

Beyond assembling a collection of songs, however, the projects also reflect the importance of creating spaces where established artistes can share a musical platform with those still finding their footing in the industry.

James Brewster of Starrgate Recording Studio sees this as an important part of sustaining the music business and helping new talent realise its potential.

“It is very important to me to contribute to the longevity and development of the music industry, so I always want to give new artistes opportunities to reach their goals and have their voices heard,” Brewster said.

That commitment comes against the backdrop of an industry in which producing and releasing music can require considerable investment, patience, and persistence. For independent producers, bringing a project to fruition involves more than identifying a promising musical direction; it also requires navigating the practical challenges of recording and coordinating artistes.

Gowdie acknowledged that the process is not without its difficulties, particularly when it comes to production expenses and securing artistes’ availability for recording sessions.

“As a producer, you will find challenges in the making of the music, including the expenses that come with production and waiting on artistes to make themselves available to record. But the love for music keeps me going,” he said.

That enduring passion is particularly important in a musical landscape where reggae and dancehall continue to evolve, creating opportunities for new voices while placing an ongoing responsibility on producers to recognise the foundations on which the genres were built.

On Mad Black Panther rhythm, the inclusion of established reggae artistes such as Luciano, Warrior King, Lutan Fyah, and Admiral Tibet brings experienced voices to the project, while Some Like It Redhot rhythm offers a different combination of voices and styles.

For Brewster, the relationship between generations is central to the music’s continued relevance. While the industry must make room for new talent, he believes the next generation has a responsibility to carry the culture forward.

“At the end of the day, the new generation will continue carrying the baton from where the legends left off,” he said.

It is a perspective that places the two compilations within a wider conversation about continuity in Jamaican music. As established artistes continue to contribute to the genre, opportunities for emerging performers to share the same musical space can help ensure that the culture remains active and continues to develop.

For independent producers, the hope is that such work will also receive recognition beyond the immediate release cycle. While individual songs may find their own audiences, the collective contribution of the people behind the music is another important part of the story.

Gowdie hopes the projects will help bring greater attention to the role independent producers play in maintaining the quality and reach of Jamaican music.

“I hope the projects will make a statement and that people will recognise our contribution to the quality of music coming out of Jamaica,” he said.

That ambition extends beyond commercial performance. Streaming numbers and industry recognition can offer useful measures of a project’s reach, but the opportunities created for artistes and the contribution made to the culture also carry significant weight.

For Brewster, the most meaningful outcome would be knowing that the work has helped others move forward while leaving something of lasting value to Jamaican music.

“The best success would be that I created opportunities for artistes and that we contributed something lasting to the culture,” he said.

With Some Like It Redhot rhythm and Mad Black Panther rhythm, the producers are looking beyond the release of two compilations. Their aim is to bring artistes together, create room for emerging talent and contribute to a musical tradition whose future depends on the generations willing to carry it forward.

GOWDIE…I hope the projects will make a statement and that people will recognise our contribution to the quality of music coming out of Jamaica