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Harking back to an era when hip hop meant an infinite horizon of possibilities rather than the blind alley of predictability, 22-year-old London rapper Kingslee Daley (aka Akala) has made what could be a landmark album. On a mission to steal the genre away from its corporate paymasters, this self-released disc fizzles with raw energy and outrageous talent.

Opener and unity anthem “Stand Up” sets his stall out to maximum effect -filthy guitars clashing with a righteous ’state of the nation’ address. The Clash are sampled on “This Is London”, which swipes the opening bars to “London Calling”, but the sets highlight is “The Edge” -a Hendrix-inspired fist of fury featuring power-house guest vocals from Niara.

Elsewhere, Daley tackles everything from the congestion charge to inheritance tax, but there’s flashes of humour too (”…got more lines than Whitney’s nostrils”).

Along with Sway’s This Is My Demo and C-Mone’s The Butterfly Effect, It’s Not A Rumour should be on the shopping list of any right-minded music fan this summer. The UK Urban brand has another name to add to its growing list of majortalent.

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At the age of 15, young North London MC Chipmunk had already released 2 mixtapes on the underground Grime circuit. It was this work rate which led to Godfather of Grime, Wiley, taking Chipmunk under his wing as his new protege. This accolade has led to success in the past with such notable working relationships between and a 16 year old Tinchy Stryder (album Star In The Hood out now) and a certain Bow boy by the name of Dizzee Rascal. By the response from such DJs as Westwood, Shortee Blitz and Logan Sama, Chipmunk is well on his way to making it a hat trick of success stories from the king of Eski Beat. Having exploded onto the underground Grime scene in 2006 touring across the UK and beyond, Chipmunk has impressed all who have not only heard his evident lyrical talent, but also witnessed his exuberant performances in person. With an open invitation back to the Westwood show, Big Ted and Shortee Blitz as well as Logan Sama, his radio exposure is set to be huge. The production line up is as tight as you would expect for an MC who has access to Wiley’s A&Ring talents. Working with equally as exciting young producing talent such as Maniac & Bless Beats (both have productions featured on Wiley’s album ‘Playtime Is Over’), along with stalwarts Wiley, Danny Weed and DVA ensures the music matches the quality of young Chipmunk’s lyrical delivery.

This album is by all means a must buy.

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Grime in the mainstream has often seemed like a square peg in a round hole, and few artists exemplify this like Kano. Two major-label albums into his career, grime’s smoothest MC had made limited headway into the middle of the road – but not enough for former label 679, with whom he parted ways in March. Meanwhile, ill-advised collaborations with acts such as Kate Nash drew accusations that he had turned his back on the scene which made him. Starting with its neon signpost of a title, though, the self-released 140 Grime St does its best to redress matters. Throughout, Kano reaffirms his commitment to the grime community over brooding synth hits and portentous drums, sounding angrier and more vital than he has in years. Wiley contribution Anywhere We Go is one of the tracks of the year, showcasing two artists at the top of their game over clattering beats and a brilliant, twisting flute melody. Elsewhere, Hunting We Will Go is both impish and menacing. 140 Grime St is flawed – its monochrome aesthetic can drag, and Kano’s metaphors are sometimes tenuous – but nonetheless tremendously heartening, the sound of an artist back on the right path.

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Review

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:

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He may have only just arrived back from Napa, but Junior Adenuga is taking care of business.

Enlisting the help of his sister,  Skepta made sure a fresh copy of his brand new – and first – album Greatest Hits was put directly into RWD’s grubby mitts.

We particularly love I Spy, Average Joe and In A Corner. It’s a lot! Anyway, here’s a little review by Danny ‘The Dep’ Walker:

Not waiting for any major labels to halla, Joseph Junior Adenuga grabbed his beats and stayed true to his long-held pledge:, “I’m not putting out a mixtape, I’m putting out an album.” Musically and lyrically, it’s as grimy as they come, with a confident Skepta boasting of international bookings (”Gatwick knows about me”), making money and being “Triple heavy like base.” It’s good to hear a whole LP from Skeppy and this is chock-a-block with his [see title] making it a must for BBK fans and beyond. Love the lyrics, “I called my album cos all of my old music is better than your latest sh*t,” love the concepts and love the beats. It’s alright, still? Go on then!!!4/5Track to Check: I Spy Ft. Jammer (DW)

Say hello to the Ballyface gang who are most known for stacking clumps of money, starting successful business and running their area, which is predominately Woolwich South East London.

Firstly Minature had just come out of prison late 2007 when here recorded this effort. His brother had just died and been buried on the same day he was born, an event which most of the area cohorts showed up for to pay homage to a truly unique human being who lost his life so young and unexpectedly.

Ballyface being the name of the gang and Minature being the artist with the vision, determination, and action to start the most spoke of street gang and music group in deep Southeast London.

BE ALERT; The intro of the mixtape gives you a little insight into what Mini’ may have been through in prison and how he might have survived next to killers, robbers, and dealers etc etc. Mini raps “I laugh at man that think they’re to grimey to get murked, slipping all the time, I like my life and I’ll protect it, cos it ain’t anything for man to take it if I’m wreckless; Never that.”

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Review

Leona Lewis’s long-awaited debut LP ‘Spirit’ comes nearly a year after her first single, ‘A MomentLike This’. Preceded by ‘Bleeding Love’, this release sees Lewis collaborating with a wealth of different producers andwriters (as well as the ubiquitous Simon Cowell as executive producer) including Damon Dash and Ne-Yo. The sound rangesfrom slick R&B pop to power ballads, finding room as well for a delicate version of Ewan Macoll’s ‘The First Time Ever I Saw Your Face’. Lewis herself was heavily involved in the writing process, sharing credits on several of the songs on ‘Spirit’.

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Review

Until a couple of weeks ago, Estelle Swaray seemed destined to remain the critical darling who never quite broke into the mainstream. She attracted plenty of hype back in 2004, especially when the nostalgic, Mel and Kim-referencing ‘1980′ became a moderate hit, but her 18th Day album failed to tempt the record-buying public, stalling at #35. Even after she signed to John Legend’s HomeSchool Records, relocated to the States and cut a single with Will.i.am, chart success proved elusive, with the stuttering, horn-driven ‘Wait A Minute’ peaking outside the top 100 back in November. Then, just in the nick of time, came ‘American Boy’. A first-rate piece of discofied urban pop, featuring Kanye West rapping about “WAGS” and rhyming “bespoke” with “London bloke”, it’s currently the UK’s number one single.

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- Year: 2005
- Label: Altered Ego

Baby Blue’s music is fresh and has a crazy vibe as there’s amazing beats and tunes tied with hip hop, but it’s also got the uniqueness that UK hip hop always has. She also has a good flow and well written lyrics and raps with passion. The artist is not that well known, but the album is worth listening to since it’s good and different. If you’re a fan of Kano or Sway, you would love this.

I’d go ***1/2.

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– Year: 2006
- Label: Illastate

Akala is one of the most talented British urban artist out there and is also the most underated artist in the UK with his wicked styles, rhymes and deep lyrics. This album is PHAT~! and is excellently produced. If you haven’t heard of Akala, then it may take awhile to get use to his sound, as he partly taps into the niche market that is the unique fusion of guitar and hip-hop sound, but it is amazing.

Hip hop as a whole is totally commercialised nowadays. Hip hop is supposed to represent urban street life, which is simply not shown anymore, especially in lyrics and videos as all they seem to care about is how much your chains cost, or your guns, or what you think of women, but Akala keeps it old school and raps from the heart. The thing I have found about this album is the more you listen to it the more you can relate to it as his lyrics are full of meaning and references to contemporary London culture. It’s simply an excellent debut from Ms Dynamite’s little brother and not only is it a brilliant album, but it’s probably the best British hip hop album around.

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– Year: 2007
- Label: Illastate

This album is just sheer quality. There’s only be 10 tracks, but don’t let the shortness put you off as it’s all gold and not a single filler as there are never any lows on this album, it’s just high after high, quality from the moment you press play. If you have his debut album and haven’t gotten this album yet, then what the hell is wrong with you?! Although this release is more mature than his debut album as he mixes it up a little more, with more slower tracks and some gentler themes, but don’t be put off as he also raps at the speed of light. Musically many bases are covered, with creative use of samples and a variety of backings including piano, rock guitar and even violins.

Akala’s lyrics are full of social commentary, humour, sincerity, and a little splattering of ego (about his confidence to out rap his peers). Simply put, he’s a Hip Hop master-class. This album is brilliant in terms of musically, lyrically and presentation. Akala doesn’t learn about social issues from the latest Hollywood blockbuster – he’s well read and knows his history.

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– Year: 2003
- Label: XL

This comes from 18 year old MC Dizzee Rascal aka Dylan Mills from South London, before his nomination for the prestigous Mercury Music Prize, he was completely unknown outside of the underground UK Garage MC where he formed part of the Roll Deep Crew.

The album is fresh, unique and it is real. The songs are easy on the ear but if you listen more closely, the lyrics are witty and a smart commentary on various aspects of modern life and you get a strong sense of anger and rage in this album. His style is completely unique and a world away from the ‘bling bling’ commercial hip hop of overated US stars like 50 Cent and Jay Z. Dizzee’s style should appeal to almost anyone that might happen to hear it. This debut album is a perfect introduction to Dizzee’s musical flavours.

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– Year: 2004
- Label: XL

“Showtime” is a hard-hitting follow up to 2003’s Mercury Prize winner “Boy In Da Corner“. The East London Grime legend is back this time reflecting on his success in the past 12 months, making a more light hearted listen than “Boy In Da Corner“, since “Boy In Da Corner” was an underground album that happened to go mainstream and this felt more like a mainstream rap album.

Dizzee puts some really heavy lyrics down, which make sense and aren’t just about general grimey life, when Dizzee speaks, it sounds truthful, unlike some American rappers e.g. Fabolous, Fat Joe, Ja Rule etc. He’s so positive and uplifting, I would seriously compare him to 2pac. Dizzee talks about how hard things can be and talks about the struggle, but he is filled with positivity and hope, since he has proven that anyone can be a success from any background and with hard work anything is possible. This is definitely not Boy In Da Corner Part 2 as it’s less grimey and more towards the hip-hop side of things. I would definitely recommend this to any garage/hip-hop lover.

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– Year: 2007
- Label: XL

What’s Lily Allen doing on here? She’s fine in herself and I enjoyed her album but her track sounds out of place. I don’t really understand the Arctic Monkeys track either – seems like they went out of their way to do something together, rather than it being a good opportunity in itself. Plus working with these artists just reeks of Dizzee going “mainstream”.

Of course there are still those old “gang violence” references in full flow but the juxtaposition of these references and lyrics such as “Pull your trousers up!… Read a book!… Find a pretty girl and settle!” There are elements of humour in “Maths & English” that help to lighten some of the heavier lyrics. If you’re looking for true big clash grime, with pure hate lyrics you may well be disappointed.

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– Year: 2005
- Label: All City

Baby J provides the listener with a wide raft of styles and collaborators. The album has an intoxicating blend of street, smooth, raw, politik and a touch of experimental science. This album relates….. it has a direct connection with the street, it’s power comes from it’s variety of sound that references the past but shows the future.

Fun Fact: F.T.P. means For The People

I’d go ***.

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