10b_DENNIS BOVELL Row Row Row 70s
20cSteelPulse - Soldiers 70s
30dThe Cool Notes - My Tune 70s
40eYoung Soul Rebels Doc - Film 1991 by - Director Isaac Julien and Valentine Nonyela in ref to funk 1977
52Linton Kwesi Johnson Dread Beat An Blood 01 Dread Beat An Blood 1980 vibes b4 1980
64Imagination - Music and Lights 1982
75Billy Ocean - Caribbean Queen 1984
86Papa Levi - Mi God Mi King 1984
98The Cool Notes- Never to young 1984
109Keni Stevens - Night Moves 1985
1110Loose Ends -Hangin On A String 1985
1211MERCY MERCY - Colin Young - what are we gonna do about it.1986
1312 Black Heritage Original Rapper Derek B No Porsche for Derek B W i A Documentary 1988
1514Glen Goldsmith - Dreaming 1988
1615Rick Clarke -I ll See You Along The Way 1988
1716Slick Rick - Hey Young World 1988
1817The Wee Papa Girl Rappers - Wee Rule 1988
1918Overlord_x -_weapon is my lyric 1988
2019Silver Bullet - 20 Seconds To Comply 1989
2121Caron Wheeler - Livin In The Light Def Club 1990
2223Cookie Crew - Secret Of Success 1991
2325Omar - There s Nothing Like This 1991
2426Rebel MC feat. Barrington Levy Tenor Fly Tribal Base 1991
2527D'Influence - Good Lover 1992
2628London Posse - How's Life in London 1993
2729MR.45 ACTION - RADFORD 1993
2830Ex Press - Bud Makes Me Wiser 1993
2931Katch 22. 22 Steps Ahead. 1994
3032M Beat feat - General Levy 1994
3133Don-e fakin the funk 1995
3234Shy Fx - Original Nuttah 1995
3335Lynden David Hall - Do I Qualify 1997
3436Mark.Morrison - Return of the Mack 1997
3537SO Solid Crew 21 Seconds 2001
3638_Booo! (feat. Ms Dynamite) (Original Dirty Mix)
3739Blak twang feat jahmali - so rotton 2002
3840Phi Life Cypher-Slaves Revenge 2003
3941Estelle - 1980 2004
4042Genesis Elijah Falling.2004
4143Klashnekoff - Son Of Niah 2005
4245Melanin9 - Generation 2007
4346Ty - Emotions 2010
4447Life MC - Haters Chill 2010
4548Tinie Tempah - Pass Out 2010
4750Selah ft. Sadie Ama Mz Bratt Prod. DaVinChe Womans World- 2010
4851Kyza Smirnoff - Black Maybe 2011
4952Cyrus Malachi Feat. Kyza Smirnoff - Slang Blades (Ancient Future) 2011
5053Dot Rotten Underestimated Prod. By Dot Rotten 2012
5154Onoe Caponoe Ft Jehst - Narnia On Pluto 2013


The hip-hop Sound System like a awesome swirling black hole, engulfing & combined cordially with the previous dimensions Blues, R&B, Jazz, Rock, funk, Reggae and New wave to emerge Hip Pop, a powerful new over arching vibe and sound dynamic. All musical dimensions, are where the souls traveled, so not to be damaged by the suffering endured by the body i.e. chattel slavery, the brutality of racism, oppression and economic impoverishment.

From were did Hip Hop emerge? is a question quite different from the question of power: what was hip hop created to do? However, in order to attempt to understand the second question, a coherent understanding of hip hop origins is to be understood.

To delve more into understanding hip hop’s origins, we need to first get transported back to observe the dynamic make shift culture that Africans fused together on the shores of America, and in the black church, which Dubois observed was characterised by three things “the preacher, the Music and the Frenzy”. Dubois writes that “the music of the Negro religion is that plaintive rhythmic melody with its touching minor cadences, which, despite caricature and defilement, still remains the most original and beautiful expression of human life and longing yet born on American soil.” Dubois was clear that the music has “sprung from the African forests, where its counterpart can still be heard, it was adapted, changed and intensified by the tragic soul-life of the slave, until, under the stress of law and whip, it became the one true expression of a people’s sorrow, despair and hope.” In support of this, Nas, in the song, bridging the gap, raps that hip hop developed from Jazz, which in turn came from the blues. Blues itself was an entity of the black church, coming from soul and gospel, of the church.

If preaching is the paramount element of a dynamic black worship service, music is a close second. The black church could not exist or long endure without excellently performed music of various types. The black church has given birth to all the forms of music associated with African American culture, including spirituals, gospel, blues, jazz and hip-hop. [p.176]
Andrew Billingsley

The most original music on American soil, some of the most beautiful music that has ever came fourth sometimes; it emerges in sorrow songs but it has some gentle signs and glad thunders at times that touched the soul and it gave people hope, it touched them… [the] Negro spiritual… that has come into being out of the black people and out of the suffering and the agony of the black people in this country
Martin Luther King

As it can then be seen, with the role of the preacher interchangeable with the modern role of the emcee, and the frenzy. The result of what happens when the preachers or ‘masters of ceremony (MC) manage to ‘move the crowd’ (MC). To those able to follow the development of hip hop, it is somewhat evident that its basics elements still exist. However, Hip hop was more than just steady and stable development for it was born out of mass discontent.

Beginning in 1946 and ending in 1963 the construction of the cross box express way ripped the Bronx in half. Urban planners and developers lead by Robert Moses showed little concern for people who lived in the borough and displaced thousands of residents and small business owners leaving in its wake a poor devastated community with little outside help from politicians.
The culture and the energy that came from that was a very improvisational energy a very reclaiming energy that young folks through dance, through rapping and dj and so forth, that’s how the culture took hold. It was a willed response to systematic violence in the community. And when I say violence I mean like destroying homes. Imagine someone putting a high way through your neighbourhood, then you can understand hip-hop.
Dr James Peterson, Hip Hop Scholar,

“… a boy last week he was 16 in San Francisco told … he said I got no country I got no flag… they were tearing down his house because San Francisco is engaging as most urban cities now are engaging in, something called urban renewal, it means moving the negroes out it means negro removal that is what it means and the federal government is an accomplice to his fact… we’re talking about human beings, we’re not just talking about… some abstraction called a negro problem, these are Negro boys and girls who at 16 and seventeen don’t believe the country means anything it says don’t feel they have any place here on the basis of the performance of the entire country. Am I exaggerating… we were trying to keep alive we were trying to survive… [but] the negro has never been happy in this place… you can only survive so many beatings, so much humiliation, so much despair, so many broken promises”

“What happened following generations of repressive Jim crow laws ending in 1965, carried over to form the discriminative remnants that continued driving neighbourhood ethnic divisions and resistance, in the form of the black movements very prominent in the 50’s 60’s and early 70’s, including the Nation of Islam, NAACP, Black Panthers, plus NYC street youth organisations like the Black Spades along with a forming Afro-centric scholarly movement etc. At the same time, there was the Vietnam War which mobilised students. The United States government went to work in accordance with COINTEL Pro assassinated black leaders, imprisoned prominent group members to withdrawal these movements, until they were disbanded or abandoned. Although the black experience remained much the same. Nevertheless, the talk of the revolution was continued in music forms like jazz, soul, R & B and especially the blaxpoitation songs in the style of the Last Poets and Gil Scott Heron, right on! into the mid 70’s. It was this presence of revolutionary jibe, when vocalised would strengthen the social outcry and seep into street gang culture transforming the energy rising in the youth to emerge Hip Hop crews.

At this point, it should be noted that whilst it was the sound system that would generate the rise of hip hop, the DJ catering to the energy plus style of the b-boy alongside graffiti would initially fashion its emergence. Hip Hop the culture would start to add value when it combined with the 2 other elements in the early 80’s. The phenomena of the Emcee lyricist and the infusion of knowledge, these two elements combined to reinforce and also affirm the spiritual material and intellectual identity of Hip Hop, it would also become affected (or tested) by crack cocaine drugs, being flooded into black neighbourhoods around 1984 – 85 by political mafia culture which purposefully infiltrated and subsequently began to spread unsociably within impoverished black housing projects.

In 1980, Brother “D”, with the collective effort, released “How we Gonna make the black nation rise?” – an early hip hop song with a message of uplifting and a call to progress, however, it was Melle Mel’s the message produced by Sugar Hill label founder and CEO Sylvia Vanderpool Robbins the Mother of HipHop that would forever change the essence of Hip Hop, revolutionising it when with the Furious Five, he dropped “The Message”; a song narrative of critical reflection, a rebellion against social conditions that gave rise to the states of “nothingness hopelessness lifelessness” that Jeru the Damaja rapped of. After this came RUN DMC’s Hard times, which was to also explore the theme of black exclusion, which as scholar Norman Kelly noted, are” conditions [that] remain virtually unchanged [as] Black and Latino people are still disenfranchised politically, economically disadvantaged, and socially marginalised.

By the late 80’s & emerging 90’s, Hip Hop was ready to become of age, notably Public Enemy. Affected by a synthesis of the movements of there time, like the Zulunation 5%er’s on the corner, informed the Hip Hop consciousness, as did the Nation of Islam, and the Afro-centric Movement, for, each of these movements was reflected and had a Hip Hop representative, in the form of Big Daddy Kane (5% Nation) Rakim (Nation of Islam) BDP/KRS One, Queen Latifah, (Afro-centrism/contributionism).\In addition to this, there was the Nawaubian Nation as represented by Jaz O and somewhat later, Prodigy, of Mobb Deep The Hip Hop New School had arrived to propagating the 5th Element.

The Alias KRS One, stands as an acronym for “knowledge reigns supreme over nearly everyone”, whilst in the name Big Daddy Kane, Kane stands for ‘King Asiatic Nobody Equals’. AZ has been seen before to extend his name to be AZiatic.

Peace to the nation of Islam – the R. Rap is Rhythm And Poetry – follow the leader.
AZ “we were beginners in a hood of 5%’er’s” “this world is controlled by secret societies”
Prodigy “Illuminati have my mind soul and body”

While black scholars seem to be asleep at the wheel, some whites are at least cognizant of the issue of commercialisation and exploitation of music and its creators… this absence of scrutiny by black intellectuals of the political economy of black music allowed hip hop to be treated as another “black problem” or something that needs to be contained through efforts by moral commissars. How the music industry is structured, and the role of blacks within it, was never openly questioned or subjected to debate or critical inquiry.

Hip Hop’s expansion into the global marketplace, coupled with its phenomenal profitability, is tantamount to a ripple effect in a disturbed pond. Although our voice has been signalled across the world and our presence has been announced, our conditions remain virtually unchanged. Black and Latino people still experience being disenfranchised politically, economically disadvantaged, and socially marginalised.
Rhythm and business: the political economy of Black Music. Edited by Norman Kelly. (2002)