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The Half Way Tree record shop and label run by the Chin brothers, and one of the key retail and production hubs of the 1970s and 80s uptown scene — a shop that also pressed and produced, in the pattern common to the Jamaican trade.

The Caribbean curation arm of Audiomack, an on-demand streaming and discovery platform widely used by Jamaican artists and fans; it maintains dancehall and 'Next Gen Reggae' playlists and publishes most-streamed rankings (Skillibeng topped its 2021 reggae/dancehall list). Frequently cited as the platform most actively courting Jamaican artists.

Downtown Brooklyn record store at 494 Fulton Street, across from Albee Square Mall, that from the 1980s into 2006 was one of New York's great vinyl meccas for hip-hop and reggae heads — a gathering place for DJs, selectors and collectors that fell to the digital-download era.

Contemporary builder of hand-made dub sirens and outboard sound-system effects for selectors, continuing the tradition of purpose-built dance electronics for the modern roots scene.

Hedley Jones's radio, electronics and record shop on King Street, Kingston; the amplifier Jones built in 1947 to play records outside the shop is credited as the first purpose-built sound-system amplifier in Jamaica.

Hedley Jones's Kingston record store, where he played jazz and Cuban records through the high-fidelity amplifiers he built in the late 1940s, an early node connecting record retail, electronics and the dawning sound-system culture.

Early Bronx reggae record shop that served the borough's growing Jamaican community and trained the retailer who went on to found Moodies Records — a first-generation node of New York's Caribbean record trade.

Bed-Stuy, Brooklyn record store opened by Tobago-born Rawlston 'Charlie' Charles in 1972, primarily a calypso and soca hub but also a supplier of island music to reggae DJs and selectors; its upstairs Rawlston Recording Studio later hosted Jimmy Cliff and early hip-hop acts.

One of the clothing labels that grew out of reggae rather than being attached to it afterwards — merchandise as an extension of the culture, worn by an audience that treated the music as an identity. It belongs to the commercial side of the story that rarely gets recorded: what the music sold besides records.

Clement 'Coxsone' Dodd's Kingston record shop, sited on Orange Street at the corner of Charles Street, which distributed his output across imprints including Coxsone, Downbeat, All Stars and Muzik City. The multiple labels helped spread Studio One's prolific output and reportedly confounded radio DJs. Source note: Tallawah 'Orange Street Remembrance' and United Reggae.

London reggae shop opened in October 1975 in the Soho district by Steve Barrow and Keith Stone (Daddy Kool), a regular stop for visiting Jamaican singers, producers and DJs. It also issued a handful of records, including Prince Far I's 'Cry Tuff Dub Encounter Chapter III', before closing in 2003. Source note: British Record Shop Archive and The Black Music Record Shop history.

Long-running Kingston record shop started by singer-producer Derrick Harriott in 1966 at 125 King Street on an offer from Neville Foo-Loy, then moved uptown in 1973 to Shop 36, Twin Gates Plaza on Constant Spring Road, where it still trades oldies, LPs and 45s to collectors from Europe and Japan.

Pioneering Brixton record shop at 55 Atlantic Road, widely cited as the first Black-owned record shop in the area; a Saturday gathering point for imported soul, reggae and soca that also became a flashpoint of 1960s-70s race politics before closing in 1989.

Tokyo shop and reissue operation that became one of the world's most exacting custodians of Jamaican vinyl: original-artwork reissues of Kingston singles, deep catalogue retail through ReggaeRecord.com, and a standard of discographical care that reflects how seriously Japan collects this music.

The London reggae shop founded in 1976, first at Ladbroke Grove and later at Clapham Junction, and for decades the place British reggae bought its records. It was a hub rather than only a counter: the Fashion Records label grew out of it, and the shop's pre-release imports shaped what UK sounds could play.