GRIME- breaking news, gossip, slander, lies etc

Sectionfive said:

Top 10 crrrrazy prices fools have paid on discogs

Serious Thugz €125.26 (Roughly £100/ $160)
Ghetto Kyote €125.25
Functions on the Low €112.74
Rhythm & Gash €112.74
Weedman €100.21
Misty Cold €93.95
Strings Ho €93.93
I Can C U €93.77
Pied Piper €75.16
Destruction remix €68.89

Most of those now have bigger tags on them again now, median being half that. All the good Wiley, Jammer, Ruff Squad, Oddz, General L.O.K, Big-E-D starts hitting around €50 with Slew Dem, Black Op below that again. Crazy money exchanging hands for teenagers music no one wanted ten years ago.

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I wanted Weedman for years but it never came up for sale. One popped up for £80 but it was too much for me (I have a £30 limit for records). Really wanted it though so I offered the seller £50 but got turned down. Waited and waited and finally got it for £30 a couple of weeks ago.

£25-30 is fair enough for the Wiley and Ruff Sqwad records imo, shit loads got pressed. I know nobody wants to part with their copy of Functions but I was chatting to XTC and he said they pressed 1000 copies of that so there are loads out there.

Treble Clef was flogging loads of original 12"s for £25-30 http://kyoteguy.bandcamp.com/album/ghetto-kyote

It would be interesting to know who's buying these. Whether it's young cats who were too young for them the first time, or old dudes filling in there collections.

On a side note, I always thought the rare record market is a great place for small time dealers to launder money, because you can practically make up prices and no one would really notice.

Also take into consideration that quite a lot of those records will be in shit condition.

I've had some good value Black Ops purchases, suggests they were pressed up in higher quantities than most.

Trillhouse said:

It would be interesting to know who's buying these. Whether it's young cats who were too young for them the first time, or old dudes filling in there collections.

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Lots of the sought after Anthill Mob/Confetti records were being bought up around 08/09. Enchanted Rhythms and the sort that had sat on discogs with a three figure tag for years. I presumed it was maybe a 'dubstep dividend', as DJs were starting to do four gigs a week and travel. You often come across 'famous' DJs on discogs willing to shell out for "a good clean copy" of some rare thing from 1993. Garage was going through a revival in general thanks to Brackles, Oneman & co but I think the pros are they only ones who could live with some those prices tbh

There's definitely a market out there for mint or good quality Grime vinyls. I've sold a fair few of the more well known tunes for some really good money. Considering the relative rarity of the music on vinyl and it's influence, the prices they are going for are explainable. I haven't minded selling what I have due to 1. people are now prepared to pay the money they are actually worth and 2. it still leaves me with all the less well known stuff to play a unique set with. As far as who is buying them; from my experience it is varied, from collectors in Australia to girlfriends buying their boyfriends presents. I've even had Four Tet buy a Bossman vinyl off me:

Interesting. Are people still buying them to dj with or is it more for the collection? Most of the sets I see on utube & ITRW don't seem to involve any vinyl.

I've got a couple of old Dizzee white labels and a few other 12s but I don't think I want to sell them. I remember getting rid of nearly all my jungle / dnb vinyl because I just didn't really have space for it anymore, I can't say I really miss it, but I sometimes wish I'd taken the time to rip it all to digital first.

I hope someone will digitally catalogue the rarer grime stuff so it doesn't just slip out of existence. If there's such a demand for OGs, I guess there's also a market for reissues or rare compilations.

I expect the Spookys, Samas and Spyros of this world have serious hard drives but everyone else is left chasing white labels to get rips and Grime probably has disproportionate amount of labels that popped up disappeared after one or two releases, before mixtapes almost supplanted records altogether. Plenty of limewire finds played in clubs over the years ha.

Waifer, Charmzy and others have all popped up on bandcamp or soundcloud with bits so enough of the original files are probably still around. We're still only talking about stuff that was released too. Probably fourfold on radio sets that never seen the light of day.

owengriffiths said:

Also take into consideration that quite a lot of those records will be in shit condition.

I've had some good value Black Ops purchases, suggests they were pressed up in higher quantities than most.

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Jon E and Larner always made sure there were healthy runs of Black Ops vinyl.

Trillhouse said:

It would be interesting to know who's buying these. Whether it's young cats who were too young for them the first time, or old dudes filling in there collections.

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I don't know but I am sure to some degree it has to be people who missed them the first time round, but not necessarily younger people.

With these old grime classics, they would have been rinsed between 03 and 07. on radio and to some extent raves. Then for years you would only hear them in niche places - rarely at raves and only underground DJs on Underground stations

Around 2012 it blew up again, now whether its Khan and Neek + crew for mixmag, or Oneman on Boiler Room with Newham Gens...these tracks are being played often and on mainstream outlets.

I personally know people older than me, who stuck their noses up at Grime when it was in it's peak, now they are these people spunking silly money up the wall for classic grime vinyl.

I think for some people 10+ roadman rammed into a a room in a high rise was not easy to stomach and was very easy to disregard as bad music, but there was a revolution in thinking about Grime on the past few years, which I THINK has occurred as a result of Butterz, the 130 eski knock offs, Khan and Neek pressing gully grime riddims with hand-stamped labels etc.

I have mad respect for Butterz and what they did for Grime, similarly I rate Khan and Neeks beats and sets - but Grime in 2014 doesn't have a touch on, what it was even in 09.
The strange thing here is that I remember for YEARS on GrimeForum people talked about Grime blowing-up and now that it has - they talk about it being dead.

Something to remember for all those in the Deep Tech thread who seem frustrated that the music is not being talked about in mainstream outlets

Eh, forums have been saying it’s dead for years. RWD was, GF definitely was in 09, there were threads on UTZ and all that as well. Just the reality of negative internet.

I don’t think the calibre of radio sets are what they were in 2009 when there was definitely quite a resurgence in MCs etc but there are a lot more raves now than there were then and they’re a lot more lively too. In ’09 you only had the beginnings of Butterz and the odd Chockablock (which was deeply underrated when I think about it now) whereas there are loads again now.

There are so many great beats about right now too, but each to their own. I know it’s quite easy to just dismiss it and say “oh eski ripoffs” but tbh they’re really few and far between.

slackk said:

There are so many great beats about right now too, but each to their own. I know it’s quite easy to just dismiss it and say “oh eski ripoffs” but tbh they’re really few and far between.

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Don't get me wrong I'm not hating on you or any of these other new wave producers, I love your music and have bought it in the past but I find these sort of beats are not as conducive to the side of grime which i love the most, whether it be raves, radio or even an SBTV style vid - for me personally it's more music for listening, maybe having a mix in your house etc.

slackk said:

Eh, forums have been saying it’s dead for years. RWD was, GF definitely was in 09, there were threads on UTZ and all that as well. Just the reality of negative internet.

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I don't personally think it is dead, but has fallen off in the past few years (which I find odd because it's following seems to have grown).

However, I would urge anyone who thinks that Grime is dead to listen to Spooky's Grimey Mondays show on De Ja Vu great music by producers new and old

but this is kind of my point - Grime to me is a DJ like Spooky on radio tearing through loads of sick beats by an array of producers, from the big guys down to 17year olds in their bedroom, that have been sent to him that week, MC's passing through - that's what it is about for me not a Logos or Mumdance set.

Would be a lot better if you had a better new producer to new MC ratio.

K9 is not good enough yet, Novelist is getting fast-tracked way too quick, who else is even being frequently hyped? (I know The Circle is a whole crew of MCs, but like... I don't hear enough new young people vocal tunes getting big upped.)

I don't want to hear Rapid again. I don't want to hear Riko again. I certainly don't want to hear how terrible D Double E has become. Where is youth?

One of the things I love about that 2001ish era of grime is how eccentric the styles were - MCs like Terminator, D Double, Trim, Bruza etc. Seemed like at a certain point it became about rapid/double time flows more with "proper lyrics". I'd love to know how that stylistic weirdness first came about in grime and why it seemed to die out a little bit. DISCLAIMER: I haven't paid attention to grime for years. Novelist is good but lacks distinctiveness to my ears.

Definitely haven't paid as much attention as I could have recently, but beats I've been feeling the most this year:

Wiley 'Don Mills'
Kid D 'Don't Forget'
K1 'Cream'
K1 'Deliverance'
Darx 'Cold'
Spooky 'Since You've Been Away'
Slackk 'Intercept'

but yeah agree with what people are saying about a lack of new MCs its a shame

The scene is in a much better state than it was in 2009.

Yes it needs new MCs. I was saying that back in 2009 too, hence the focus on getting the music into a state were it wasn't basically essential to hear MCs on top to enjoy it.

There aren't many ways to cultivate and showcase new talent on a regular basis and even keep good MCs from moving onto the pop world where they may make some actual money.

It's taken a while to get to a point where you can get a good balance of all of these positive things:

Grime at festivals: see Outlook, Bestival, Ceremony this weekend.

Tracks Charting: German Whip, That's Not Me, Rari Workout

NTS giving Grime another radio options. Shows by Slimzee, Slackk, Last Japan etc on there.

Regular club nights of different sizes: Butterz, Boxed and a lot more representation of the music on line ups across the country.

Well known producers from outside London: Kahn & Neek, Preditah, Royal-T, Flava D

Producers DJing around the country and world regularly

Top MCs on tracks together: Sitting Here, That's Not Me Remixes, Flow Of The Year etc

Acts on top labels: Flowdan & Terror Danjah on Hyperdub, Elijah & Skilliam on Fabric

Boiler Room producing great shows: Lord Of The Mics set & Behind The Scenes, Boxed, Butterz, Newham Generals....

The Grime Show on Rinse FM by Spyro - Weekly MC guests with over 40 videos from sets up on Youtube

You don't have to enjoy or even attempt to consume all elements. Just pick and choose something every week and you will have a lot of choice.

lack of mc's is wider than grime. Were there any funky mc's that didn't originally come from uk garage? Seems like there's been no new MCs at all in the last 8 years or so.

msoes said:

lack of mc's is wider than grime. Were there any funky mc's that didn't originally come from uk garage? Seems like there's been no new MCs at all in the last 8 years or so.

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UK Rap...

Funny I've been listening to Spyro's show alot, and thinking that grime is healthier than it's been for years.

what do we blame for the lack of new mc's in grime?

is it deep tech? uk rap? or pop?

benw said:

what do we blame for the lack of new mc's in grime?

is it deep tech? uk rap? or pop?

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Kids are still MCing up and down the country I've seen it. Believe it or not they are not all sitting alone making House music.

It's just it's a lot harder to get heard then it was before.