UK rap

Origins[edit]

As in the US, British hip hop emerged as a scene from graffiti and breakdancing, and then through to DJing and rapping live at parties and club nights, with its supporters predominantly listening to and influenced by US hip hop. Unlike in the US, the British hip hop scene was cross-racial from the beginning, as diverse ethnic groups in Britain tend not to live in segregated areas, even in areas with a high percentage of non-white individuals. Such places allow youth to share culture with one another, including musical genres such as hip hop.^[14]


Cross pollination through migrating West Indians helped develop a community interested in the music. The integration of sound systems represent a distinct British Caribbean influence. Sound systems allowed for powerful syncopated bass runs and the ability to bring this sound to other venues creating a club culture.^[15] There were, however, British tunes starting to appear. There are an abundance of records that are often credited with being the first British hip hop release, "Christmas Rapping" by Dizzy Heights (Polydor, 1982), is often credited as such, as well as the slightly later released "London Bridge" by Newtrament (Jive Records, 1983).^[16] Dizzy Heights was the first MC to be signed to a major label.^[17] Two singles from 1980 precede both of these however, namely Allen & Blewitt's novelty record "Chip Shop Wrapping", released in 1980, a parody of The Sugarhill Gang's "Rapper's Delight", and Bo Kool's "Money (No Love)". The instrumental for "Money (No Love)" was produced by Funk Masters member Tony Williams, and would turn out to be an influential release in its own right, going on to inspire DJ's from New York to employ influences from dub music.^[18][19]


In Scotland, actor and stand-up comedian Johnny Beattie released "The Glasgow Rap" in 1983, receiving some chart success at the time. He later claimed to be "Scotland's first rap star".^[20][21]


There were also early pop records which dabbled with rap – such as Adam and the Ants' "Ant Rap" (CBS, 1981) and Wham!'s "Wham Rap! (Enjoy What You Do)" (Inner Vision, 1982) — but these are often considered pop appropriations of US rap.^[22] Punk band the Clash had earlier dabbled with rap on the single "The Magnificent Seven" from their album Sandinista! (CBS, 1980), and a later single "This Is Radio Clash" (1981).^[23] Even earlier than this, in 1979, Ian Dury and the Blockheads released "Reasons to Be Cheerful (Part 3)", another record with influences from hip hop.^[24]


Then Sex Pistols manager Malcolm McLaren's "Buffalo Gals" (Charisma, 1982), featuring the New York hip hop group World's Famous Supreme Team, was the breakthrough hit that introduced the genre to the United Kingdom^[25] — McLaren's Duck Rock album as a whole experimented with many musical styles from around the world. "Buffalo Gals" and another track from the album, "World's Famous" which also featured the group, used techniques which have been established in hip hop in the United States, such as sampling and scratching. McLaren even included a song referencing the 'Double Dutch' dance that was popular among breakdancing crews in New York at the time.^[26]


Over the next few years, more UK hip hop and electro music was released: Street Sounds Electro UK (Street Sounds, 1984), which was produced by Greg Wilson and featured an early appearance from MC Kermit, who later went on to form the Wilson produced Ruthless Rap Assassins; The Rapologists' "Kids Rap/Party Rap" (Billy Boy, 1984) and Grandmaster Richie Rich's "Don't Be Flash" (Spin Offs, 1985).^[27] Releases were still few and far between, and the scene remained predominantly underground.