![]() The 1990s: The Bronze Age of UK Rap and Hip-Hop There were a number of record labels also emerging that gave UK rappers a home, such as Positive Beat Records from Ladbroke Grove Low Life Records based in Leeds Music of Life which Derek B was signed to along with acts such as Demon Boyz, MC Duke, and, much later, Asher D. ![]() The late Derek B would be one of the first UK rappers to achieve chart success through hits such as “Goodgroves” and “Bad Young Brother,” both released in 1988. Before the 1990s, most UK rappers were adopting American accents, with the hope that would help build their profiles. On the traditional hip-hop side, it’s difficult to talk about the 1980s without recognizing the trailblazers: The Wild Bunch (who later became Massive Attack), London Posse, and Rodney P. The l ikes of Peter King, Tippa Irie, Ragga Twins, and Smiley Culture spit using the traditional format of toasting but they did so utilizing electronic methods and sounds ushering a new era for dancehall, while signaling the birth of a rap style that would lead to garage, drum and bass, jungle and grime less than a decade later. In the 1980s, a wave of descendants of the Windrush Generation found themselves leading the UK sound system scene. The 1980s: Sound systems and the birth of UK hip-hop However, its relationship with rap couldn’t be more intrinsically linked despite those clear distinctions. As UK rap began to rise through the mid to late aughts, British hip-hop has been pushed further underground. While the labeling doesn’t suggest much difference between the two at first glance, each had their own unique cultures and practices, which made the distinction much more visible. UK rap and British hip-hop are two different strands of the same artform. Through the art of toasting, it’s more accurate to say that both genres exist as genealogical cousins. Reggae is the tree from which hip-hop and grime both emerged as Sweetie Irie once said. It was never safe to label garage or grime as rap due to the heavy influence the traditions of toasting have had on both genres. ![]() It’s reflective of the nature of Black British-led sounds that dates back to when dancehall became heavily influenced by electronic sounds in the 1980s. Throughout its history, UK rap has always cross-pollinated with other sounds such as garage, funky house, grime, and - more recently - afrobeats, trap, and drill. Also, rap’s history within the UK has never quite made it to the mainstream until very recently, save for a handful of artists over the years such as Roots Manuva, Rodney P, Skepta, and Giggs. With the majority of Britain’s Black working-class residing in the North and Midlands, many have been left out of important conversations regarding rap in the UK. ![]() It reflects the wider attitude held towards regions of the UK beyond the Southeast. Artists from outside of London have historically struggled to gain a foothold in music media. It’s a complicated affair attempting to record the history of UK rap and hip-hop. From the sound system scene in the ’80s to the rise of UK Drill in the ’10s UK rap and have had a long journey. ![]()
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