11. London Posse - How's Life in London (1993)
22. Blak Twang feat Jahmali - So Rotton
33. Cyrus Malachi Feat. Kyza Smirnoff - Slang Blades (Ancient Future)
44. Foreign Beggars - Black Hole Prophecies
55. Kingpin Feat Kyza, Manage, Stig of the Dump, Dubbledge - Fire (Remix)
66. Genesis Elijah Falling
77. Kyza Smirnoff - Black Maybe
88. Life MC - Haters Chill
99. M9 - Generation Gap
1010. Onoe Caponoe Ft Jehst - Narnia On Pluto
1111. Klashnekoff - Son Of Niah
1212. Phi Life Cypher-Slaves Revenge
1414. Ty - Emotions

Heralding 50 years of the HipHop Sound System 1973 – 2024 UK DJ Playlist

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)