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Lady Sovereign

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Guest R@ndomH3ro
hahaha, i always love what mero has to say....

...but 50 and all his gats says sooo much about the state of US rap and even general culture. i no longer give a flying fuck about how many guns you have...what can your fists do?

and soul killler, we've been jocking you? whose language have you been crucifying for the last couple hundred years?

 

 

We dont speak English dude...we speak American.....jock that.

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Guest R@ndomH3ro

Anyways...I did some research (thanks ABC) and downloaded a Grime mixtape.....dude

 

really, how do you guys stand that, that shit is gay.

 

You cant dance to it, you cant chill to it, sure as hell cant get girls with it.

 

I threw that cd out the window and continued to bang the Skrew.

 

I would rather listen to Gayarea hyphy then that load of crap.

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Guest R@ndomH3ro
Grime is def.

You just have shit ears.

 

 

Whatever helps you sleep at night :rolleyes:

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Check where Slick Rick and MF Doom are from...fucking idiot

 

UK hip-hop well early UK hip-hop is all ragga influenced, completely differnet sound to he U.S and its supposed to be..It`s different, different is good! Take ur head out the sand man, don`t be ignorant to things you know nothing about..

 

Hip-hop was massive here in 80`s check names like Hijack,London Posse, Demon Boyz,Monie Love,Hardnoise etc...Fucking wicked..

 

Our DJ`s 2nd to none, Cut Master Swift, Pogo,Dj Bizness, Dj Supreme..check these names

 

1979-85

 

It was the late seventies and I was just a kid discovering music. Up till that point I hadn't really been interested by the Classical music of my parents or the disco-pop that was in the charts and on the radio. But then I stared to hear these new sounds which enthralled me. The likes of Herbie Hancock, Average White Band and Kraftwerk had records that stood out and I also became aware of artists who had been putting it down for years, James Brown, Curtis Mayfield, Bob James etc. Shortly after that tapes started appearing from the Bronx, New York with tracks from the B-Boys, the Funky 4+1, Cold Crush Brothers and various others. Then as we all know in 1979 Sylvia Robinson's Sugarhill Gang dropped the bomb 'Rappers Delight'. My ears were now open. Shortly after that Grandmaster Flash & the Furious Five released the 'Message' and Afrika Bambaataa had a major hit with the Electro anthem 'Planet Rock'. Hip Hop had landed, but there was just a bubbling interest over here. However Britain was ripe for Hip Hop to take hold. This was coming on the end of the winter of discontent and the landslide victory of the Conservatives and Margaret Thatcher. Things were about to become very much worse for the inner cities and the youth of the major conurbations.

 

As with so much of Hip Hop's early history, as well as what was happening in New York the developing scene in the UK was and remains undocumented. Records weren't really released, it was all about the live show and rocking parties and nobody thought to detail al that was evolving. In London, Ladbroke Grove was one epicentre and graf was really burgeoning out after Futura's visit with the Clash in 1981. The first generation of writers included: 1up, Pride, Mode 2, Spraysaint, Fly44, Zakki Dee, Scribler, Snake, 3Dee, Koolrock, Paradox, Demo (Kade / Crame), Chase, Jev, Rade, Loose. Other writers who were up later were second generation and included: Cast, Ganja, Foam, Scandal, Angel, Grace, Fury (rip), Kosh, Kool 88, Tence, Ectacy, Race, Crime and Set3. Crews included: THR (Hellraisers), IGA (Incredible Grove Artist), Chrome Angels and TCS, painting at venues across London including: Ladbroke Grove, Stamford Brook, Sundance in Hammersmith, under the Westway and later from '84 in Covent Garden, on Steel mainly the Big Met Line and track sides at Kings Cross. Also in the West in the '80's was the Mad Ethnikz consisting of Skam One, Carbee, Hate, Rio (Justice / Ink 27, Coma, Kis 42, Seize, and Foam 2 etc...

 

Other elements were evolving too, breakdancing and homegrown music. The DJ Newtrament and his band Krew were starting to make noise and Newtrament would go on to gain the credit for releasing the first official UK rap record - London Bridge in 1984. Newtrament and the Krew used to plaster all the walls and train stations around West London from about 1981 to '84 with the KREW Logo and a B52 above it.

 

DJ Mr Mixx of the 2 Live Crew was an original member of the Krew before he moved back to the USA in 84/85 to form the 2 Live Crew down in Miami. The Krew was representing all the elements and within their numbers could count the original body popper. Yes, the first body poppers in the UK were from the Krew and all originally came from LA. Sket, Mr Mixx and Sir Drew were all poppin' in Ladbroke grove as early as 1979/80. The breakers from the Krew were Tony Tone, Argee, Kool KD, Bboy Wez, Sir Drew, SC, and Skam One.

 

At this time Dizzy Heights was also a member of the Krew and together they started the jams at Titanic, Gossips and the Embassy Club to name a few venues and also claim to have started the warehouse party from the Dome to all the Old Street Jams. Later around 84 the Krew would run a London-Bristol link up with the Wild Bunch. The Krew would go up to Bristol to jam and they would in return come down to London. The Krew breakers would often jam with the Wild Bunch in the early days.

 

Other forerunners include Sir Drew, Flex One and Dolby - The Mighty Ethnics, Daddy Speedo, D Rap and the Known To Be Down Crew from Lay Low. Rap Attack along with Tim Westwood who was putting on jams as early as 1982 and was on air from 1984 and whose influence can not be underestimated also deserve acknowledgement.

 

Those of us that would go on to beat dig learnt our skills in this period, scouring the independent shops for the 1 or 2 imported copies of Hip Hop records that managed to make it up north (Jumbo in Leeds and Spin Offs in Manchester). Sometimes it was easier to order the tracks yourself or go on shopping trips to the big smoke (Groove in Soho, London) where slightly more records made it to the shops.

 

However youth in the UK had a whole separate set of influences to draw upon, apart from those emanating from New York, Miami and Los Angeles. Soul and Funk were deeply embedded in our society and Punk was the anger music of the time. Quite often it seemed as though Reggae and Dancehall from the Caribbean was more relevant. Because of these different influences UK artists would go on to pioneer original styles like Ragga/Hip Hop.

 

Hip Hop's magnetism was nevertheless extremely attractive and soon these sounds could be heard in clubs, on the streets and in school yards on boom boxes. Hop Hop, although always constantly developing had been through its embryonic stage, and had become a credible art form in its own right. In a few short years Hip Hop had developed and refined four core elements which British kids were beginning to incorporate into their lives. I spent the next few years listening to US Hip Hop, tagging up and bunking of lessons to go breakin' in the school hall, but some others were more productive.

 

The first records I remember that came out of the UK that were accepted by heads in the Hip Hop circle, although not 100% Hip Hop were 'Duck Rock' and 'Buffalo Gals' by Malcolm McClaren and 'Beat Box' by the Art of Noise from 1983 (later used as the beat for one of Ice T's tracks in the film Breakdance). Another early and obscure record was Ricky & The Mutations obscure early rap tune from circa 1983 with lots of "Ms Thatcher Snippets" and vocoded lyrics. Also in terms of being some of the first released music from this side of the pond was Steve Ignorant who released a 7" called 'Rat Rap Rock' and The Evasions' 'Wikka Wrap' - a weird funk jam with an Alan Whicker-soundalike rapping over it, both from 1981. There were quite a few UK rap tunes back then, however many were not to be considered authentic mainly due to their novelty nature. Demonstrating this the first Brits to hit the mainstream airwaves rapping were artists like Adam Ant - 'Ant Rap', George Michael in Wham and Captain Sensible. Like the earlier Ian Dury & The Blockheads who occasionally dropped in a rap style like on 'Hit Me With Your Rhythm Stick' these artists were adopting a new style rather than helping to originate it, but, at least they got out there and paved the way for others to follow.

 

Crews were forming and looking up to bands like Captain Rock, the Cold Crush Brothers, Kurtis Blow, Marley Marl, Spoonie Gee, UTFO and Whodini, writers like Seen and Scheme, and breakers like the NYC Breakers and the Rock Steady Crew. Along with the New school exploding in America with artists like Run DMC, Kings of Pressure and Boogie Down Productions etc. it was time for the UK to represent for itself and talk to its own people. At this stage thanks must be given to the Street Sounds Record label which released the 'Electro' Hip Hop compilations from 1983. Morgan Kahn's Street Sounds, I feel were instrumental in making this music more accessible and helped immensely to promote it by releasing the UK-Electro LP in 1984. Early UK artists on this record were: Zer-O, Syncbeat, Broken Glass (who featured Kermit, an MC who would later form the Ruthless Rap Assassins with other members of another crew - Dangerous 2), Forevereaction and the Rapologists. Streets Ahead were also on this LP and they would later go on to produce a lot of soundtrack music for television programmes. These tracks were mostly on the Electro/Electronic music tip, which shows the UK's propensity towards this type of music and the potential future lure of House music and later Jungle/Drum and Bass for budding Hip Hop producers and rappers.

 

Everything had been pretty much underground and live until 1984 when a few records began seeping into the market place. Broken Glass' 'Style Of The Street' from the UK Electro LP was released as a 12" on Streetwave, The Rapologists who were also on the UK Electro LP with 'Hip Hop Beat', released their 'Kids Rap' / 'Party Rap' 12" on Billy Boy records and as well as Newtrament's 'London Bridge Is Falling Down' and Team 3 B with their 'Closer To You' / 'Machine Rap' / 'Murderation Style (Dub Mix)' 12" on Elite and that was about it!

 

1985 only saw another handful of records released, Birmingham's Jump with 'Feel It', DJ Richie Rich made his first appearance with 'Don't Be Flash' a 12" released on Manchester's Spin Offs label. Elite continued breaking ground and showing themselves to be an important early factor in the genres development with the release of D.S.M.'s 'Warriors Groove' a 12" for which the label linked with major affiliated Ten for a bigger push. Dizzi Heights from the Krew was one of the first major label signees and with his Dizzi Heights Quartet dropped 'The Gospel! (tell it like it is)' for Parlophone. Although he had a few releases he is fondly remembered for the Electro Rock video, again one of the first from this country and something that helped propel him to be one of the best known acts of the time. Other artists releasing records back in 1985 included the City Limits Crew who had 'Fresher Than Ever' released on Survival. Their main MC was Pretty Boy G who went on to become an accomplished actor and even played Eastenders’ Paul Newman for a number of years.

 

One of the pioneering UK crews was the Family Quest who along with the Mixmasters and the Syndicate used to play regularly at Spats in Covent Garden in Westwood’s days back when Kofi would host / MC. This was the early days of Hip Hop’s development in this country, so anyone performing or participating in the genre was very influential and helped form the scene. With out them things would not have turned out the way they did. These artists are responsible in part for the meteoric growth in the popularity of Hip Hop over here.

 

The Family Quest crew were comprised of Chico MC, Emix, Dirty Harry and Mystery MC. Their first appearance on wax was a featured appearance on the 1984 released Outer Space ’84 Rap by Automation (2) on Jungle Rhythm Records. However The Family Quest were most known for their single Sleepwalking released on Morgan Kahn’s Streetsounds label in 1986. The track was the only UK track to appear on Steetsounds Electro 13 and was co-produced by none other than David Toop who went on to write the worthy tome on Hip Hop - Rap Attack. Amongst The Family Quest’s accomplishments, they performed at the massive UK Fresh '86 event which was one of the most influential concerts ever, with over 16,000 people crammed into Wembley Arena to watch the likes of Afrika Bambaataa, Grandmaster Flash, Mantronix and many other legends of Hip Hop.

 

Chico MC is still performing to this day and was so respected and renowned in his time that he had the title of Daddy Hip Hop. Emix is currently hosting shows in Austria, but has a wealth of credits to his name and some not recognised. For example he wrote Feel Free and received no credit and was additionally an occasional MC for Soul II Soul. Whilst Jazzie B (Beresford) is credited with much of the success of Soul To Soul it was the likes of producer / engineer Nellie Hooper that were the real driving forces behind the sound system.

 

One MC that paved the way for live Hip Hop performance was Jive Junior, but people have said that he was a bit of a biter and wouldn’t always drop original lyrics. The Family Quest had links with Bristol’s Wild Bunch who later mutated into the world famous Massive Attack and other artists making moves at the time included Freshski, who it is generally felt did not receive the recognition he deserved. Dave Cash C was the original white MC to gain respect and along with Pretty Boy G, Freshski, Dizzi Heights and Chico MC he was considered to be a good rapper at the time.

 

Other artists who were starting to emerge at this time also included: Junior Gee and the A Team, MC Westrock and Dynamic Three. Other DJs of the time were the Imperial Mixers, a very young Cutmaster Swift and Newtrament of course was running his Rock Box jams in West London. The Electro's were initially mixed by Mastermind, and it seems that UK DJs were the first to show their skills and fully embrace what Hip Hop stands for.

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hahaha, i always love what mero has to say....

...but 50 and all his gats says sooo much about the state of US rap and even general culture. i no longer give a flying fuck about how many guns you have...what can your fists do?

and soul killler, we've been jocking you? whose language have you been crucifying for the last couple hundred years?

IT is called a joke. what you could read the funnyness between the lines???

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Check where Slick Rick and MF Doom are from...fucking idiot

 

UK hip-hop well early UK hip-hop is all ragga influenced, completely differnet sound to he U.S and its supposed to be..It`s different, different is good! Take ur head out the sand man, don`t be ignorant to things you know nothing about..

 

Hip-hop was massive here in 80`s check names like Hijack,London Posse, Demon Boyz,Monie Love,Hardnoise etc...Fucking wicked..

 

Our DJ`s 2nd to none, Cut Master Swift, Pogo,Dj Bizness, Dj Supreme..check these names

 

 

taken from http://www.low-life.fsnet.co.uk/ukhiphop/story/early_doors.htm.

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wow.. all those "hip hop" "artists" you described are not "hip-hop" nor "artists" .. they are all that is commercial, cooperate and terrible. If you are basing American Hip Hop off of those MTV Jocks, you're missing it.

 

i agree.. beats and rhymes are not a "US" thing or a "UK" thing.. it should be an international thing.

 

 

i named one, you fucking douche and if you think biggie is terrible than i dont want to know what you like. all i did was mention one legendary rapper and you act like i sit around all day waching mtv.

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Check where Slick Rick and MF Doom are from...fucking idiot

 

UK hip-hop well early UK hip-hop is all ragga influenced, completely differnet sound to he U.S and its supposed to be..It`s different, different is good! Take ur head out the sand man, don`t be ignorant to things you know nothing about..

 

Hip-hop was massive here in 80`s check names like Hijack,London Posse, Demon Boyz,Monie Love,Hardnoise etc...Fucking wicked..

 

Our DJ`s 2nd to none, Cut Master Swift, Pogo,Dj Bizness, Dj Supreme..check these names

 

1979-85

 

It was the late seventies and I was just a kid discovering music. Up till that point I hadn't really been interested by the Classical music of my parents or the disco-pop that was in the charts and on the radio. But then I stared to hear....

 

 

blah

 

blah

 

blah

 

blah blah blah blah blah blah blah

 

 

cliff_notes.jpg

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Nelly, Chingy, Lil Jon (YEAHHHHHHHH!!!), Paul Wall, Chamillionaire

 

USHH is weak. isnt 50 the biggest selling rapper?.

 

i named one, you fucking douche and if you think biggie is terrible than i dont want to know what you like. all i did was mention one legendary rapper and you act like i sit around all day waching mtv.

 

calm down emo penis.. all i said was that the examples homie decided to use as American Hip Hop are poor examples.. Demigodz, Biggie or Jedi Mind are better examples.. like Lady Sovereign is a good example of UK.

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buckfifty mate. im from the uk. and to be honest. grime.is.shat. sorry. just my personal opinion, each to their own. quita a bit of our 'real' hip hop doesnt compare though. but we no doubt have many who definitely could stack up. such as jehst and phi life cypher etc. eh don't limit yourselves though, listen to it all. uk, us. it doesn't matter. if it's good. fuckin listen to it. you lot need to untwist yout panties.

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calm down emo penis.. all i said was that the examples homie decided to use as American Hip Hop are poor examples.. Demigodz, Biggie or Jedi Mind are better examples.. like Lady Sovereign is a good example of UK.

 

nah man, i dont think so.

50 and co are fine examples of what is wrong with USHH.

 

they kicked off a trend a few years back, where by it became cool to brag about how g you are.

 

selling crack aint cool.

robbing heads aint cool.

killing people aint cool.

 

i really dont want to listen to this when i listen to music. is there absolutely nothing else they can rap about??? is every waking second of their day-to-day life spent dedicated to being a law breaking badman? i doubt it.

 

off the top of my head i can name (bear in mind i stopped listening to current USHH a while back): 50, lloyd banks, tony yayo ("hey guys i know, ill use a slang word for cocaine as my stage name!! itll show people how bad i am!!!"), young jeezy (the whole snowman concept was stupid, how his record company let him get away with it i dont know), dipset (if i never hear a dipset song again i will die a happy man. anyone heard camron crucify marvin gayes lets get it on?) and fat joe (joey crack - how bait do you want to be??).

 

im not saying all USHH is weak. as i type im listening to a gangstarr beat. i just played "the world is yours" by nas. it seems to be anything from this millenium is weak.

 

ahem, akon.

 

Granted, UKHH is the same. its not 100% on form either. but im willing to bet again that a lot of the heads who are criticising it do not know shit about UK stuff. we seem to go over this again and again in this forum, when a Uk act gets some exposure in the states. 12oz had it when dizzee did it, then the streets, now sov.

 

none of these artists are hip hop. they are grime. US heads just assume that cos they are rapping, its rap. grime is different to HH and personally im not that big a fan of it....

 

its just that i dont like seeing UK stuff being picked on when it shouldnt be.

 

rrrrrrrrrrraaaaaaaaarrrrrrrrrrrggggggggghhhhhhhh, rant over.

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