Just a quick thanks to all that voted, ChickenKormaPilauandNaan came 86th out of the Best Music Blog's Top 100 at the BT Digital Music Awards.
To check the results, click here
Below are videos taken from Kano's 140 Grime Street album launch party at the O2 Arena in London. Many have commented that this is a historic moment in Grime as Kano, Ghetto, Wiley, Skepta, Tinchy Stryder and JME all blessed the stage in one huge performance. If Grime is to blow as expected, we need more collaborations such as this. Then watch the scene grow...
[Double click the videos to watch in High Quality]
Kano Feat. Ghetto - Hunting We Will Go
Kano Feat. Skepta - These MC's
Kano's 140 Grime Street was delivered to me today. Having had a quick listen through, the initial thought was that this could be one of Grime's greatest ever releases. A reviews in the pipeline so be sure to check back soon.
How will it stand up against such classics as Boy In The Corner/Treddin On Thin Ice? Will this be held with the same esteem as these albums? Only time will tell...
One thing however, as the title of this post suggests, Kano's back - and with one hell of a bang.
Great new video from Ghetto for his latest offering Sing For Me, which includes an impressive electro remix.
Click to download the full track and the remix
Currently on rotation and taken from the new album Head Gone.
Another Grime/(insert music genre here) crossover. A further example of how flexible it can be when artists choose to experiment.
We've had indie, electro and now rock, what's next?
Roll Deep - Return Of The Big Money Sound released 6 October 2008
Wiley - I See Clear released 27 October 2008
Kano - 140 Grime Street released 29 September 2008
Low Deep - Unsung out now
Ironik - No Point In Wasting Tears released 29 September 2008
Sway - The Signature LP released 6 October 2008
Chicken Korma Pilau And Naan recommends...
Fuda Guy - Head Gone out now
This is an article I stumbled upon from November 2006 regarding the unfairly reported link that Grime and Violence share. It's an interesting piece by Guardian blogger Jamie Collinson.
"While MC Crazy Titch's shooting of producer Richard Holmes is unforgivable, grime is a lot less violent than its predecessor, UK garage. Rather, it's a sonically exciting music which must re-ignite its spark.
Boy in da corner. Grime's shining hope Dizzee Rascal.
It's a popular complaint amongst the legion of grime fans, artists, promoters and generally interested parties that much of the mainstream coverage the genre receives tends to connect it with violence. In my experience as a sometime grime promoter and now as label manager to the grime artist Wiley, I would argue that, largely, these complaints should be upheld.
I would certainly dispute Ned Beauman's assertion that grime is more violent than its 'sexy' predecessor, 2-Step garage. In general, the garage explosion in the late 90's was notable for its slightly older and far more glamorous, moneyed audience; champagne, bling and dressed-up girls all being features. Grime nights are usually a polar opposite. It's hard enough to keep the clubs' bars happy with the minimal takings they get from an audience of keen, if impoverished teens. Grime is grimy, dirty, admittedly aggressive lyrically, but gangsters prefer glamour.
Crazy Titch's shooting of another young man is unforgivable, but I'd wager that grime had little to do with it in the end. Insiders like Logan Sama claim that the dispute had escalated far beyond song lyrics, and Crazy had extremely heated lyrical battles with fellow MCs Dizzee Rascal and Bruza that never led to horrific crimes like this. The crime appears more related to the worrying, wider obsession with respect.
To my knowledge there have now been three significant examples of violence rumoured to have a connection to grime. The stabbing of Dizzee Rascal in Ayia Napa, the beating of a journalist by a crew at Plastic People's dubstep night FWD, and now Crazy Titch's shooting of Richard Holmes.
That's three too many, especially in the short three years since the term 'grime' was coined. It's important to point out, however, that only the latter is directly related to a 'lyrical beef.' Outside of a few of the genre's inner core, no-one really knows why Dizzee was stabbed, and the crew at FWD reacted violently to being asked to pay for an advert they'd run in the journalist's magazine. Since that happened, most of the grime artists and community members I've spoken to have shunned the crew in question.
Ned Beauman is right to raise the recent dispute between Razorlight and The Kooks; an example, if a contrived one, of rock's chequered history of violence. Punk and its aftermath saw blood spilled by the gallon as right-wingers and rednecks clashed with their rage-filled foes. The Jesus and Mary Chain spent as much time fighting and running as they did playing at their early shows, and The Pistols and The Clash suffered similar scenes on their infamous 'Anarchy' tour. All this has become the stuff of legend and seductive myth. Of course, shooting someone down in cold blood is vastly different, but luckily it hasn't been a regular feature in grime, unlike UK Garage.
At its best, which often it hasn't been of late, grime is the most sonically exciting, highly evolved movement in black music in a very long time. What worries me more than violence is the lack of interest it's been inspiring recently. The police have never shut down my grime nights, but their turnouts have decreased over the last 12 months. Dizzee Rascal's debut album Boy in da Corner was one of the very best black records this country has ever produced, but its excellent sales were partly down to it becoming a hyped, 'must-have' purchase. Now it languishes on the shelves of many as something they'd rather display than listen to. Let's face it, most people would rather be comforted than challenged by music.
With a bit of luck, this is all set to change. Next year will see full-length releases from Wiley, Dizzee Rascal, Kano and Lethal Bizzle, some of the brightest stars in the genre. It's shaping up to be a stellar year, lets just hope that the spark is re-ignited, and that a tremendous musical scene manages to ensure that its violent episodes remain few and far between."
Video for Wiley's impending release 'Summertime' making good use of a certain Daft Punk sample. This is taken from the forthcoming album 'I See Clear'. Good video, reminiscent of 80's comedy series House Party (Kid n Play anyone?). With this, alongside Wearin My Rolex, I See Clear is shaping up to be promising album.
Can Wiley make the desired impact in the album charts though? This will undoubtedly shift units but whether he's expanded his buying fan base with his timepiece orientated electro, remains to be seen.
Here's a taste of things to come from Kano's forthcoming mixtape
'140 Grime Street' which includes the new single 'Hustler' and features collaborations with artists such as Wiley and Skepta.
Mr Robinson also released samplers of this mixtape to the press in a surprisingly original way.
140 Grime Street will be available from all good independent retailers from 29 September 2008.
Roll Deep's third studio album is due for release on 6 October 2008 which includes the new single 'Do Me Wrong' feat. Janee and the superb Flowdan driven 'Nightlife'. This is a first glimpse of the cover artwork although this isn't a representation of the finished product.
New track from Roll Deep featuring Manga, J2K and Flowdan. Great track but cant help feeling the entourage are taking a step in a new musical direction?
I guess we'll find out when thier new album 'Return Of The Big Money Sound ' is released on 6 October 2008.
www.myspace.com/rolldeepofficial
New video from Sway taken from his upcoming album 'The Signiture LP'. Although this isn't grime, I thought I'd post it as it's still a great track.
The Signiture LP is out in September and is shaping up to be a great album. For more details, visit www.myspace.com/swaydasafo.
New video by Tinie produced by Davinche titled 'Tears'. Great looking piece which is sure to grab the attention of the mainstream if given the chance. As the title suggests, I feel that if provided the opportunity, Tinie could go on to bigger and better things, especially if he 'brings grime back to the clubs' as he says at the start.
Whilst on topic, I have to mention that quality of Davinche's productions. He has to be the most consistent hit making grime producer out there. Although his work outside of the scene is well documented, here's hoping he remains so that he provides more great sounding music. His importance in the scene can't be underestimated.
A little reminder of Tinies previous work...
Head over to www.myspace.com/tinielegend to hear an exclusive acoustic version of 'Tears'.
As I said in my previous post, I intended to review JME's debut album Famous? as soon as I bought it. I got hold of this about a week after release but due to other commitments, I haven't been able to find the time to break it down. However, here goes...
Firstly, I'm not going to review or even refer to the tracks included which should already be classified as Grime staples. This means that AWOH, 1,2,3, Shh Hut Yuh Muh & Serious have been omitted. For simplicities (and laziness') sake, I'm simply giving each track a mark out of 5:
Standard - 3.5/5 Heavy beat, the use of the sample is reminiscent of Wiley's 'Gangster's' or Jammers 'Marksman' and is a successful tried and tested formula within the scene.
Show - 4/5
P - 5/5 This is purely for the beat and bassline, heavy.
Go On My Own - 4/5 Great bassline and hypnotic synths. Strong message regarding doing things for yourself which is exactly what JME's done up to this point.
Punch In The Face - 4/5 A decent track reflecting on the state of 'urban' Britain today.
Road Runner - 4/5
Ghetto Superstar - 4/5
Famous - 4/5
Power - 3/5 Great beat (previously torn apart by Durrty Goods) but bringing Westwood in for the intro is simply embarrassing. Nonetheless, JME's confident flow/swagger does make it a fun track.
Boogiedown Bass - 1/5 I just cant get on with this track full stop, the beat and lyrics don't seem to fit together too well.
Sun, Sea & Sand - 5/5 This, in my opinion, is the best track on the album. Great tale of holidaying abroad which obviously, can bring back lots of good memories for the listener. Although I have to add that the tune itself does sound like a ropey late night quiz show.
Overall, this is an impressive and confident debut album from Jamie Adenuga which is sure to expand his ever increasing fanbase. Credit also has to be given to him for producing a high quality album without any major label backing. This now show's that Grime artists can 'go on thier own' if they put the time/money/effort in which puts paid to the genral understanding that you need a deal to forge a career. For this, JME should be seen as an example and role model for young up and coming artists to aspire to.
Overall Score - 8/10
JME releases his first album today which has been stocked in HMV and Zavvi amongst others. This is his first official album after hugely successful mixtapes such as Shut Ya Muh and Poomplex. I haven't got round to getting a copy yet, but when I do I'll post a full review.
The tracks I'm most interested to hear are Go On My Own, Ghetto Superstar and Sun, Sea and Sand.
You can buy this from all major record stores but if you purchase this directly from ukrecordshop, you'll also get a free bonus cd as part of the bargain.
After performing at Glastonbury, Download, O2 (as well as filling in for Dizzee Rascal at Zoo8), Lethal brings Grime to a small town just outside of Southampton. It was a good performance with the Bizzle giving a decent showing in his 45 minute set. The only downside were the mic levels (which he obviously can't be blamed for) as at times, it was difficult to hear his lyrics.
Tracks performed were Mr, Bizzle Bizzle, Police On My Back, Pow!, It's a Shame and his take on the Grime/electro movement, Keys To My Bentley.
*Apologies for the quality of the video
Big collaboration, need I say more?
Regardless of what happened with his record label 679, it's great to see Kano back on Grime beats at last. This video is taken from a recent appearance on Logan Sama's show on Kiss FM (Monday nights 11 to 1am) and seems as if he has regained that hunger that once made him one of the UK's brightest new mc talents.
He reportedly lost a lot of hardcore Grime fans by being accused of 'leaving' the scene behind and reaching out to the mainstream. Can he regain the respect and enthusiasm of these fans? One for you to decide.
Click here to visit Kano's new blogspot (which is promoting his new mixtape 140 Grime Street) to watch the remainder of his appearance on Kiss.
1.Wanna Be Free
2.Miscommunication
3.What's A Girl To Do?
4.Blondie
5.Looking At Me
6.Enjoy Ya'self
7.Caught Me (Anything)
8.In Love With A Jamaican
9.Poison Ivy
10.Breathe Slow
11.Haterade
12.Female Hustler
13.Just Wanna Be Me
14.P.S
As mentioned in the previous blonde related post, this album was delayed by six months but having had a good listen since release, it seems to have been worth the wait...
The first thing that hits you is how professionally produced this album is. This is not to say you were to expect anything less but you feel this is something you could comfortably offer a non grime fan and be confident that they would enjoy it. However, it would be unfair to say this was purely a grime album with such songs as 'Poison Ivy' and the infectious 'Female Hustler' as the former gives you an impression that it would be welcome in a smokey Manhattan blues bar. On the whole, the music itself covers a range of genres which shows Ms Mason's versatility as an artist and provides the promise of someone who could potentially work outside the genre if chosen.
The style and perspective of the lyrics used are also a talking point with Mason not compromising her Essex heritage, which gives a distinctive sound and edge differing from similar female artists who are known to vocal grime music.
The viewpoint and attitude of Mason's music is also a plus with her showing herself as both confident and determined. It's to be applauded that she has kept her personality and not tread the path of the American R&B style singing which so many aspiring artists seem to follow these days.
Keepin It Blonde may not be to everyone's tastes, but offers a different style and stance within the grime scene. Due to the variety of music on offer this is without doubt something that could be offered to the mainstream. This point is justified given the public's current appetite for music of this kind (think Lilly Allen, Kate Nash, Adele etc).
Overall, this is a very strong first release for an artist who has been around for little more than a year. My only criticism would be that 'Don't Cry' and 'Hold Me' weren't included a possibly bonus tracks(?) as, along with 'Wanna be free' were generally the tracks that had people wanting to get their hands on. On a personal note, I would have liked to have seen the Drum n Bass orientated 'Sexy Boy' added as I feel this would have gone down nicely as a good summer/holiday song.
Tracks to look out for:
*Wanna Be Free feat. Wiley
*Haterade
*What's A Girl To Do?
Stand Out Track - Female Hustler
Keepin It Blonde is out now and available to buy via iTunes
After a six month delay, Keepin It Blonde was finally released on Monday via Itunes. Surprisingly, she's considered a love or hate artist despite her obvious talent with critics expressing that in spite of her claims, she isn't 'real' grime. However, what people tend to forget is that grime is a predominantly male orientated scene in need of a more diverse artist base which then leads to a scene built that is stronger and more vibrant.
So I ask, if a female vocalist with a passion for grime comes along and wants to get involved in the scene, why reject or slate her? Surely she should be supported and encouraged. People moan that the scene isn't progressing or getting the attention/respect it deserves so could this be the attitude that is holding it back?
Something to think about.
As a fan of the whole scene, I've bought this in support so look out for a review of Keepin It Blonde soon.
www.myspace.com/laurenmason1
Whilst on the subject of the Adenuga brothers, take a quick a look and his myspace and you'll find a decent re-hash of MC Hammers 'classic' 'You Can't Touch This' nicely titled 'Fuck Dis Shit'. Good fun track leading up to his impending album release 'Famous' released on 14 July 2008.
To listen to the track go to:
http://www.myspace.com/jmeserious
SKEPTA - ROLEX SWEEP
Whatever Wiley can do, Skepta feels he can equal, he's even got the man to him to help him out with the vocals. Anyways, good video which should be welcomed with open arms by the mainstream. Check out cameo's from Jay Sean, 1xtra's Mistajam and of course JME and unofficial Boy Better Know member Jammer.
Rolex Sweep is released digitally on 15 September 2008 and physically on 22 September 2008. Bit of a strange time for this release as you would assume that the rolex hype would have died down by then. However, you can't underestimate the power of holiday season.
In other Sweep related news, Coldplay's Chris Martin has jumped on the bandwagon with thier own version. To have a listen, visit www.myspace.com/skepta
Over the past few months I've been looking at redesigning and furthering chickenkormapilauandnaan. Unfortunatley, my website design knowledge only takes me so far. So, if anyone out there wants to help, comment on this post and I'll get back to you, all help and suggestions are welcome.
Also in the pipeline is a new section - Featured Artist. This will be a monthly article on an artist who is currently catching the attention of the grime industry, be it for good or bad reasons.
Look out for this soon and thanks for reading.
The self proclaimed 'King Of Radio 1' collaborates with electropop band Hot Chip to perform his smash Wearing My Rolex. Although the tune's not strictly grime, its a good look for the godfather.
Click here to watch.
This video also includes a performance from Dizzee Rascal performing his new track 'Dance With Me' and an up and coming rapper from New York called Jay Z, he looks alright.
Yeah I know just another video link, I'll put together some articles when I can find the time. Anyways, another video from Tinchy who's definitely putting the work in right now.
J2K, Vortex, FlowDan & Alex Mills - Things That We Do
0 comments Posted by grime = dirty, filthy, unclean,New video from the Roll Deep members and affiliates. Look out for Alex Mills (who recently performed with Tricky on Later...with Jools Holland) as she is definitely one to watch.
Taken from MTV.co.uk.....
"Reggae star passes away after second stroke.
UK Garage and Reggae star, Tubby T has died.
After suffering a stroke in 2004 Tubby, real name Anthony Robinson, suffered a relapse and a second stroke.
His manager has told how he was hospitalised for seven months, but never fully recovered.
Tubby first came onto the scene in early 2000, when he teamed up Sticky to record “Tales of Da Hood”. Soon after he signed a deal with Virgin Records.
In 2005 Tubby T was awarded a UMA for most inspirational artist.
At this sad time, the thoughts of MTV go out to his Family."
To leave your condolences, visit www.myspace.com/tubbytiz
Get yourself over to Grimestore.com for massive bargains on big grime albums/mixtapes.
Dizzee Rascal - Maths & English £2.99
Kano - London Town £1.99
Swindle - 140 Mixtape £1.99
Wretch 32 - Teachers Training Day £1.99
The image above says it all.
Just watch, hilarious.
Wiley's latest offering is now on sale at www.avalanchemusichut.com. This is sure shift units off the back of his and Bless Beats' smash Wearin My Rolex.
Tracklisting:
1. Grime Wave ft Messy + Desperado
2. Local Lad
3. If Your Going Out Im Going Out To
4. Grime Kid
5. Its A Par ft Flo Dan/Tinchy Stryder/Messy
6. Badman Talking ft Flo Dan
7. Where You Gonna Run To
8. Real Life Not A Show ft Natalie White
9. Living In London ft Messy + Desperado
10. Fire Is Burning
11. Sky Is Falling ft Jookie Mundo
12. Its Only Right ft Flo Dan
Stand Out Tracks - If Your Going Out Im Going Out To & Sky Is Falling
Go get this.
If you haven't already seen the Wearing My Rolex video, click
here. Stay locked for the follow up 'Rolex Sweep'featuring Skepta out
23 June 2008.
It's been a while I know but came across this piece today, is this an accurate reflection of grime? Decide for yourself.
Grime is a sub-genre of urban music which first emerged in London, England in the early 2000s, primarily a development of UK garage, dancehall, and hip hop.
Musical style
Grime music is typified by sparse and minimalist 2-step breakbeats, generally around 130 beats per minute. Stylistically, grime takes from many genres including UK Garage, dancehall and hip hop. It is often simplified as a type of convergence of speed and garage, and then slowed down. The lyrics and music combine futuristic electronic elements and dark, guttural bass lines, and are intriguing because they incorporate not only biographical but socio- and political commentary lyrics to the pumping base line. The rapped lyrics will often contain jabs at other musicians, and concerts are often organized as battles between competing performers, rather than simply performances. This dichotomy is also evidenced in other parts of the music, such as the freestyle rapping. Due to its experimental nature and diverse stylistic influences, artists involved in the grime scene initially resisted attempts to classify or pigeonhole the style, resulting in a range of different labels, including sublow, 8bar, and eskibeat. Grime is sometimes associated with dubstep, a similar but largely instrumental genre which also evolved from the early 2000s UK garage scene. According to Sasha Frere-Jones, writer for The New Yorker, grime has developed a fierce sound by "distilling" rhythms to a minimal style resulting in a choppy, off-center sound. Whereas hip hop is inherently dance music, the writer argues that "grime sounds as if it had been made for a boxing gym, one where the fighters have a lot of punching to do but not much room to move." Frere-Jones also states that grime has maintained a style unique from American hip-hop, with clear Jamaican and West Indies influences. Writer Hattie Collins supports Frere-Jones' s analysis by asserting that grime is "an amalgamation of UK Garage with a bit of drum'n'bass, a splash of punk and a touch of hip-hop thrown in for good measure."
Origins and development
Roll Deep, a well known British grime crew, performs at the 2006 Love Music Hate Racism festival.Grime emerged from the rave culture in the late 1990s. It exists largely in an informal economy: artists make their debuts on homemade DVDs on which they compete with other MCs. In many cases, rappers in the genre are teenagers living in areas around and near Bow, East London. The emergence of grime is intrinsically connected to its origins on UK pirate radio, with many performers honing their skills and achieving underground success before approaching the mainstream. This indicated the movement of UK Garage away from its house influences towards darker themes and sounds. Among the first tracks to be recognised as grime were "Eskimo" by Wiley and "Pulse X" by Musical Mob. Grime has been a way to get noticed for the poor multicultural inner city youths of the UK but with Gang culture always associated with it alot of society has not taken to it.Some grime recordings are produced independently, for example homemade DVDs of rap battles. Many such DVDs are recorded at the home of producer Jammer, head of record label Jahmek the World; homemade debut recordings are sold in record stores and barber shops and played by independent radio stations . An online profile of a Jammer mix album bills it as "a UK assault on hip-hop" and emphasizes its global appeal. Dizzee Rascal and Wiley, former and current members of Roll Deep respectively, were among the first to bring the genre to the attention of the mainstream media in 2003, with their albums Boy in Da Corner and Treddin' On Thin Ice respectively.
Dizzee Rascal particularly garnered broad critical and commercial acclaim, with Boy in Da Corner eventually winning the 2003 Mercury Music Prize. Grime has received a lot of exposure from television stations including Channel U, Logan Sama's show on London station Kiss FM and the BBC's youth oriented digital radio station 1Xtra.Grime however is still in many respects considered to be underground music. It exists in an informal economy where most artists make their debut's on DVDs that, like mixtapes are sold out of barbershops and make their way around the city. These artists also receive a lot of help from pirate radio stations which keep the public up to date with the music. Even though grime is very popular in the UK, many recording labels have yet acknowledge its presence as a genre that can compete in the global market. DJ Semtex, an A&R for Def Jam Recordings and also Dizzee Rascal's DJ, says that "the biggest conflict I have is with major labels because they still don’t get it." He says that they just don't understand the value of grime, and more so UK music a a whole as other countries do.As with many similar scenes around the world, the Grime scene has encountered some criticism, especially from government officials like Home Secretary David Blunkett who in 2003 called rap lyrics "appalling," or former Culture Secretary Kim Howells statement that grime artists were helping to create a culture "where killing is almost a fashion accessory." Howells went even deeper into the issue, making comments that many found to be "deeply racist," referring to popular artists and crews as "boasting macho idiot rappers." While the government offers one point of view, the artists and listeners offer another. In an article by Jeff Chang in The Village Voice, Dizzee Rascal’s often violent and sexual lyrics are heralded as “capturing, encapsulating, and preserving” the life that he and his peers live on the streets every day.
Hip Hop Crossover
Some argue that Grime, although related to hip hop is very different and British in its ways and content to avoid seeming parasitical . Some media labeled Black British Grime artist such as U.K. duo S.A.S. (Streets All Salute) have philosophically tied their struggle to that of African Americans in order to claim hip hop as their own since hip hop is seen as music that grew out of the struggle of urban African Americans. Using this philosophical ideal as a stage they have attempted to crossover into mainstream hip hop and attempt to access the U.S. hip hop market. Such artist self identify as hip hop/rap artist when dealing with the U.S. market although the media labeled them as Grime artist just by the mere fact that they are U.K. based. These artists thus have strayed from rapping over Grime beat patterns and preferred to rap over distinctly American hip hop beats. In this context they risk being labeled as sellouts in their home land of the U.K. At the same time, there are many connections between grime music and dancehall reggae, especially because reggae and hip hop are so interconnected. Because of England's position as a former colonial power, controlling much of the West Indies including Jamaica, and the long relationship between the U.K. and the U.S. it seems inevitable that through pre- and post-colonial migration patterns many of the producers and consumers of black music in London would be of Caribbean descent, or at least exposed to the culture as it has been transferred to the neighborhoods of London. Jeff Chang writes that U.K. music critic Kodwo Eshun felt black music had been "shackled," a clear reference to the legacy of colonialism and slavery that informs much of reggae, hip hop, and now even grime. This attests to the interconnection of all three styles of music, due to patterns of migration, forced or otherwise, and attempts at localization and authenticity. New York Times music critic Kelefa Sanneh notes that at many grime shows, MC's will interrupt tracks, asking the DJ to rewind the backing track or to go on to the next one. Sanneh notes, "This is a grime tradition borrowed from dancehall reggae" . On one grime blog, the author goes from critiquing grime artists to dancehall artists in the same page, crossing between British slang and Jamaican patois. When discussing grime artist Jammer, he notes "I love all these little fleeting connections between grime and reggae. When Goodz or Trim just drop a line into their lyrics about their Dads doing stuff with soundsystems or whatever it just reinforces the links which are self evident. “Lyric Maker, from England not Jamaica” indeed…" . These connections between grime, reggae, and hip hop are part and parcel of the historical connection between the U.K., U.S., and the West Indies. Musicians are slipping bits of history into the pot, and mixing up new and old.
International growth
Dizzee Rascal was the first grime artist to gain international acclaim after winning the Mercury Music Prize, though he received as much notice for his stab wounds as he did for his debut, Boy In Da Corner. It wasn't until the release of his third album, 2007's Maths + English, that Dizzee experienced the same kind of international acclaim. Dizzee was nominated for the Mercury Music Prize again, and despite the fact that the album wasn't released in the United States in 2007, it received high praise from international music critics, magazines, websites, and blogs, including Pitchfork Media, Rolling Stone, NME, and Rock Sound. The 2005 release of 679 Recordings' Run the Road compilation, showcased some of the most popular grime releases to that point, increasing the popularity and fame of grime and grime artists internationally. A particularly notable grime artist who has had success overseas is Lady Sovereign, who reached #1 on MTV's TRL, appeared on Late Show with David Letterman, and is now signed to Jay-Z's Roc-A-Fella Records, though her music has departed considerably from her early output on pirate radio stations, and she does not define herself as a grime artist.[citation needed]Although grime is known as a truly unique musical style, it is not solely the beats that contribute to the sound and the international appeal. It is important to note that the MCs producing current grime music are overwhelmingly young as a group. The most well known names in the industry such as Dizzee Rascal, Kano, and Lady Sovereign began recording at twenty, sixteen, and seventeen years old respectively. This age bracket is important in the international growth of this musical style because it is youth making music for youth. There are more and more concerns as grime becomes more popular about it "selling out" and becoming too mainstream of a genre. It is a legit concern that its roots in immigrant and under-privileged struggle origins will be lost to corporate power, as some are beginning to see with the great success of popular artists such as Lady Sovereign and Dizzee Rascal. "I've seen a lot of people at the top end of music who have no idea what's going on in the street," says Lady Sovereign, expressing her concern that grime will lose its authenticity with its popularity.
Style
A very important artist in Grime music is Wiley. The producer and MC considers himself the Godfather of Grime. He was an important figure in the growth and exposure of Grime music. He released a pair of strong albums during the early 2000s -- 2004's "Treddin' on Thin Ice (XL)" and 2007's "Playtime Is Over (Big Dada)." The most famous artist of grime is Dizzee Rascal. Dizzee was the first of the emerging grime merchants to release an album in America. So far, Dizzee is the most successful Grime artist. Songs like "Fix Up, Look Sharp" and "Dream" make Dizzee Grimes first real star. Lady Sovereign is the Queen of Grime music. She is the first non-American female rapper to be signed to Def Jam and that is a huge accomplishment, not only for Lady Sovereign but for Grime music. Her first single "Love Me or Hate Me" became the first video by a British artist to reach number one on America's MTV Total Request Live. Lethal Bizzle (also known as Lethal B) has also made a large impact most notably for it's international success. '“Pow,” a song by Lethal B, and grime’s biggest hit to date, has made its way to New York, where it is currently being played on Hot 97 by the influential d.j. Funkmaster Flex. The American m.c.s Stat Quo and Pitbull have already recorded new verses for the track." Lethal B has a particularly interesting perspective on Grime and what has really attracted him to the genre and the movement. "It's also about freedom of speech - one of those genres where you say what you think, talking about real-life situations. And there was no rules - anybody could do it."
Female Artists in Grime
In addition to Lady Soverign--the internationally known Grime and Hip Hop artist (and incidentally the only white female artist to gain popularity in Grime)--there are several other female artists making a name for themselves in this genre, which like hip hop, has often been dominated by men. Other female artists include: Lady Fury, No Lay and producer, Mizz Beats. Lady Fury began her music career at the age of 16, and became famous for her "murk dem riddim." Now at age 19, she works with youth, encouraging the creativity of young MC's while continuing to perform and record her own music.
Sets & Clashes
In addition to the grime scene some of the artists sometimes made bars (lyrics) up about another artist. The artist will probably mention the barz in a Set or a clash. The artist who is provoked by the barz will reply to the one who provoked with a 'Slew Track' or just a ordinary set freestyle. If the artists agree they will have a clash and will spit barz about each other until one of them wins. Theres also wifey riddems where grime artists make tracks about the girls they love.
Massive video by Skepta, spot the cameo appearances....
Here are some of the best grime videos from 2007 for your viewing pleasure. Grime needs to up it's video levels for 2008.
Ghetto - Top 3 Selected
Wretch 32 - Punctuation
Jammer, Slimting, Gritz, Double O, Badness - It's Alot
Lethal B - Bizzle Bizzle
Lethal B - Mr
Bless Beats created himself a huge buzz when Wiley snapped up his track '16 Bar Rally' for his Tunnel Vision mixtape. Since then, he has produced tracks for Wileys own album 'Playtime Is Over' as well as Soulfood 1 & 3 and Frisco's 'Peng Food'. After initial problems with the pressing plant, the long awaited mixtape is out now. Includes collaborations with Wiley, Jammer, Flowdan and a couple of massive tracks by Lauren Mason (album coming soon). Stand out tracks are 'L Stone to E3, 'P.S', 'Spirit in the Beat' and 'Lemon Ting'.
Go buy this at www.avalanchemusichut.com
www.myspace.com/blessbeatsuk
It's been under development for sometime and has been discussed at length on the RWD forum but finally, the Grime Wikipedia'Grimepedia' is up and running. This is a great resource for the uninitiated and also provides information and backgrounds on Grime artists, DJ's and Producers. It's plain to see that this site has a very big future, check it out at www.grimegenre.com or click the link below.
