Ms Dynamite LP
- Thread starter Woebot
- Start date
Diggedy Derek
Stray Dog
It's funny the way the advertising campaign for her album says "featuring the controversial 'Father'". I've heard more controversy over a McFly single.
Both the tracks I've heard from the new album have been total and utter rubbish.
Both the tracks I've heard from the new album have been total and utter rubbish.
baboon2004
Darned cockwombles.
Badmarsh said:
There was that 'Tes' Dis' track, which was pretty awesome, as I recall.
Blackdown said:
or you could do a Rebel MC - score a UK chart hit in 1989 and then mutate into a pioneer of the jungle sound a few years later!
Rebel MC was with Double Trouble for the tune 'Street Tuff', a group that also included Karl 'Tuff Enuff' Brown of later UK Garage fame...
Logan Sama
BestThereIsAtWhatIDo
Blackdown said:
Name an MC not called Craig David who has sold units going the "other" route though?
Estelle flopped. Dynamite's first album didn't sell that many either.
i swear ms dyna wud fair better if she came raw...she's more suited to it...all this pseudo back to africa look of her's is just fake...she's not from that frame of mind...come real...be yourself...and she's a properly good mc when she gets going.its her singin thats wack - plus now with some supposed mainstream faction accepting grime...she'd be good for it now.
DJ Lioness
Well-known member
Blackdown said:
Dont know about that, Monie Love seems to have done pretty well
Logan Sama
BestThereIsAtWhatIDo
lol
I just think it will take a few years of solid graft and some SERIOUS re-organisation before grime or any other UK mc based music becomes commercially viable.
It is the same as the Southern rap stuff. The rest of America's hip hop was so polished and well marketed that they had no chance to compete, until they built up such a strong base of support in atlanta and the southern states that they were actually a commercially viable entity without trying to take sales away from the East and West coast rappers.
Until Grime acts are touring regularily, releasing tracks independantly with some sort of schedule and doing all the things they should be doing as a signed act but off their own backs, I can't see the music being a success. Leaving it down to clueless A&Rs and marketing depts who have no grasp on how to entice these kids to part with their money in exchange for CDs is doomed to failure.
I just think it will take a few years of solid graft and some SERIOUS re-organisation before grime or any other UK mc based music becomes commercially viable.
It is the same as the Southern rap stuff. The rest of America's hip hop was so polished and well marketed that they had no chance to compete, until they built up such a strong base of support in atlanta and the southern states that they were actually a commercially viable entity without trying to take sales away from the East and West coast rappers.
Until Grime acts are touring regularily, releasing tracks independantly with some sort of schedule and doing all the things they should be doing as a signed act but off their own backs, I can't see the music being a success. Leaving it down to clueless A&Rs and marketing depts who have no grasp on how to entice these kids to part with their money in exchange for CDs is doomed to failure.
Agree with what you say Logan.
Grime right now is most exciting and forward on a live set whether that is on radio, live or in a studio. The Rinse Sessions Vol. 1 pack is proof of that. Crews and DJs need to get out and perform how they do on radio in a live situation as much as possible imo. This is where the real energy and excitement is at the moment from the music which is leaps and bounds ahead of everything else given the right context.
Miss Dynamite needs to get back to the Forward nights and start again. She has the potential to be massive if she stays true to herself.
Grime right now is most exciting and forward on a live set whether that is on radio, live or in a studio. The Rinse Sessions Vol. 1 pack is proof of that. Crews and DJs need to get out and perform how they do on radio in a live situation as much as possible imo. This is where the real energy and excitement is at the moment from the music which is leaps and bounds ahead of everything else given the right context.
Miss Dynamite needs to get back to the Forward nights and start again. She has the potential to be massive if she stays true to herself.
sorry but its not just MCs, what major black-music artists have sustained a substantial career in the UK? i cant think of many. i mean, there's people that are still going, but theyre not on a major scale. not that i see anything wrong with the likes of don-e, omar, carleen anderson et al making a living outside the mainstream, im happy theyre still going, but theyre barely visible unless youre into that sort of music from the start. for the most part, the majors in this country dont seem to know what to do with artists who dont make pop/rock. i think people in grime need to stop expecting things from the majors if they actually want to make the music they want to make.
C
captain easychord
Guest
Logan Sama said:
OTM
the thing about the southern rap analogy though is that there is a reasonably large, local, regional consumer base with enough buying power, and above all, interest in what master p, cash money et al were doing to actually go out and buy it. of course, yeah, master p and his like made sure their albums were in all the shops locally, and promoted it through local radio stations, and did the hard graft on a street level, but a lot of that stuff was just big through word of mouth as well. the other difference is that in the south, a lot of rap from other regions obviously does get filtered in, but theyve had their own self sufficient/enclosed scene and sound for quite a long time. from what ive heard/read, a lot of people in the south dont really pay that much attention to stuff from outside their area.
gumdrops said:
This also extends to anyone from 'the great unwashed' - not since Oasis anyway (not that I'm looking back at them fondly). Watching CD UK the other day I realised that all of the artists were middle class, many of them upper middle class (James frigging Blunt case in point). Pop is well and truly gentrified now - no rrom for the lower classes
arent most members of pop groups like girls aloud working class? i know sugababes are, so were atomic kitten i think, same for big brovaz. obviously charlie from busted is quite posh, but i dont think hes the norm. but anyway, if its the case that the middle classes arent letting working class people in anymore, where are all the black middle class artists?
Logan Sama said:
i think it's very sad how few grime MCs are where they want to be in the game after the hype the scene's had in the last two years and i'm happy to allocate a sizable portion of blame with wasteA&Rs but grime MCs do have to take some responsibility if they want to explain why most of them haven't made it big yet. the issues with grime are that ...
1) the MCs have no sense of collective community. they're often all too busy slewing each other to collaborate and build an internal infrastructure - look how everyone in d&b now has their own stable, international DJ dates, websites, mailouts, international fanbases etc.
the MCs also dont want to wait for that infrastructure to reap rewards. everyone wants a six figure major deal right now or nothing, which is why the vast majority of MCs are unsigned.
2) loads of the MCs dont understand a professional work ethic - how to work with the industry's mechanisms not against it. which is why the relationships with A&Rs have proven mostly disfunctional. for example, i got an email from a very well known US download service today asking about selling grime downloads. but how would you even go about doing that without spending the rest of your life ringing MCs 24-7?
3) all the MCs look to the US, but the market in the UK doesnt seem to be comparable - and this creates an illusion. the fanbase for grime or even hip hop in the UK is tiny compared to the US's for hip hop. changing that wont be easy - lets face it most young music buyers in the UK seem to like indie, pop or r&b. grime wouldnt even make the top 10 genres!
i'm not trying to critizise grime MCs - i'd fucking love to see Wiley's 'Second Phaze' sell 500,000 copies - but the rest of the scene doesnt do itself any favours sometimes.
does anyone else think that through boy in da corner/dizzee, maybe grime was hyped too early on? its created a lot of high expectations for something maybe a little too prematurely. after what happened to ukg, i know a lot of people were cautious about not letting grime go the same way, and while it hasnt had the hits, its almost like it has, considering the amount of column inches its generated. and its not even in just the music press, its all the broadsheets and mainstream press.