I just couldn't leave it alone could I? I just had to have another crack didn't I?

I thought the best way to illustrate my point that: the Reggae influence on Hardcore was greatly overstated; that Reggae, when it worked best, was largely a "flavour" a "sample-source"; and that when Jungle (eventually) became too literal about aping dub or in using actual dancehall MCs it lost its way - was not in becoming argumentative, but by making a mix.

This way one can actually hear, and pretty clearly I think, that UK Hip-Hop was the chassis upon which Hardcore was built. It's not always a pleasurable experience - but I guess that's the way with these protean things. I suppose too that because Brit-Hop was occasionally ugly and a bit silly is another reason why people are in a rush to forget it...

See, I remember in 1990 desperately wanting to hear more Reggae than Hardcore would allow. And that's why I ended up getting into Dancehall.


Mantronix: King of the Beats (White Label 1990)
Public Enemy: Show Em Watcha Got (Def Jam 1988)

The source.

Depth Charge: Bounty Killers (Vinyl Solution 1989)
Phuture Assasins: Phuture Assasins Theme (Boogie Times 1990)

I couldn't resist putting Depth Charge in there. Sped up to +8 that'd sound like a nutty Hardcore tune. But I drew the line at Eon and Renegade Soundwave. Though they're still Hardcorey - but like a big-beat Electro.

"Phuture Assasins Theme", off the first Boogie Times release, is a gift for my argument.

London Posse: How’s life in London? (E1 1993)
MC Duke: I’m Riffin' (English Rasta) (Music Of Life 1989) 
Hijack: The Syndicate Out of Jail (Warner 1991)

Probably should have cut straight to these. Proper UK Hip-Hop entirely in thrall to Public Enemy. Check the "can't beat the system - go with the flow" sample from "I'm Riffin'". Left out Gunshot.

Hardnoise: Untitled (Music of Life 1990)
Criminal Minds: Prepare for The Holocaust (TCM 1991)
Blapps Posse: Don’t Hold Back (Tribe 1991)
Shut Up And Dance: Rap’s my occupation (SUAD 1989)
Code 071: Stand Together Yo Breakthrough (Reinforced 1992)
Rebel MC: Wickedest Sound (Desire 1990)

On the other hand these six, though they sound identical to the previous 3 (more PE clones) are all within the 'nuum. The Hardnoise "Untitled" instrumental was caned on the pirates. Criminal Minds from their seminal second EP. Almost exactly "Baptised in Dub" - but with MCs. Blapps Posse ressiued on the Rebel MCs label. SUAD, make no mistake, this is 100% Hip-Hop. Code 071 from the same EP as a "London Sumtin'".

Demon Rocka: Hard Drugs (Unity 1988)
The Ragga Twins: Ragga Trip (SUAD 1991)
Ninjaman and Flourgon: Zig It Up (Main Attraction Remix) (Jet Star 1990)
Smith & Mighty: Killa (Three Stripe 1988)
Dee Patten: Who’s the Badman (Hard Hands 1991)

Yes. Certainly. Here is Reggae.

Barring the Demon Rocka track however I would argue that it's firmly from the prism of Hip-Hop. Like Busta Rhymes' bits of chat with L.O.T.N.S. or the bits of Tribe Called Quest. Fu-Schickens. Mad Lion. Not really Ragga. The remix of "Zig It Up" by Nookie (later of Reinforced) falls squarely in this camp.

Smith and Mighty and Dee Patten show how the dalliance with Reggae is frequently just one with very deep jeep beats. Apache in effect on "Who's The Badman".

Tek 9: Kingdom of Dub (Reinforced 1991)
Code 071: A London Sumtin’(Reinforced 1992)

The roots of Jungle. "Kingdom of Dub" with almost no Reggae whatsoever in it. It's 100% Public Enemy really.

"A London Sumtin'" - again more Public Enemy. Could the fragile bass line be described as dub-like? In fairness to detractors I think it is probably supposed to be reggae-ish but perhaps owing to lack of production skills it isn't thick or prominent enough. And let's face it - Hip-Hop had plenty bass.

Bang The Party: Rubbadubb (Warriors Dance 1990)
The Black Dog: The Weight (Black Dog Productions 1989)

So far however, barring 2 Bad Mice, breaks were used quite faithfully. These two tracks were from outside the 'nuum, but were arguably influential within it.

Without the MCs there was a big hole in the music and polybreaks were one of the first to fill the hole.

DJ SS & EQ: The Beat (Formation 1992)
Dance Conspiracy: Dub War (Metamorphosis 1992)
Sonz of a loop da loop era: Calmdownizm (Suburban Base 1992)
DJ Crystl: Warprdive (Dee Jay 1994)

The first a persy. Dance Conspiracy with the "Darkest Light" sample via Public Enemy. Unabashed Hip-Hop from Danny Breaks with "Calmdownizm". Finally, a leap forward in time, to former Brotherhood member DJ Crystl's "Warpdrive" which would seem to owe something to the absent Eon.