i know it was over 15 years ago, but did public enemy need a less abrasive sound to have widespread appeal?Logan Sama said:Grime can be moved into an album format but you need a handful of tracks with a far less abrasive sound and therefore a more widespread appeal.
It is a softly softly process.
Mind if you tell me who you saw say that?gumdrops said:i read interviews with various grime artists and none of them seem to want to claim part of grime, theyre all 'im not a grime artist, dont call me a grime artist!' im starting to wonder if anyone actually likes the music theyre making!
Logan Sama said:Public Enemy were a gimmick act signed up by an established label which dealt exclusively with Hip Hop. There are no Grime labels.
The Roll Deep and Kano albums, if we are going to use Hip Hop parallels are akin to Sugar Hill Gang and Grandmaster Flash. So wait a few years before you can shift into the EPMD, NWA, Public Enemy era
i am cynical, but cynical not about the artists but about the people in positions of power at major labels, broadsheets, commercial radio, TV etc on whom overground success relies. it's difficult to overstate how narrow minded and closed these kind of people can end up being.gumdrops said:but i dunno, the idea that grime cant be moved onto the album format without losing what makes it so good on pirates is a bit cynical i thought, seeing as boy in da corner did a pretty good job of it, without making blatant concessions to hip hop ... but the issue of whether the doors wil later stay open or shut to them seems to suggest that the doors are only going to be open for those who basically make more standardised, or at least more tried and tested hip-hop.
the more grime artists rely on the majors, the commercial media outlets to help them make money and make a name for themselves, theyre always going to be in the pocket of those in power. which is why i respect dubstep artists more, cos they seem more organised, or at least more self sufficient, theyre fiercely independent, while grime artists seem indie not by choice but by circumstance (or lack of imagination). they want to preserve their own identity, they want to make music the way they want, theyre not willing to compromise in a deathly, premature rush to the top of the charts.Blackdown said:i am cynical, but cynical not about the artists but about the people in positions of power at major labels, broadsheets, commercial radio, TV etc on whom overground success relies. it's difficult to overstate how narrow minded and closed these kind of people can end up being.
and re Dizzee, the longer grime goes on the more Dizzee looks like being a bit of an anomaly. The Mercury Prize, his willingness to "play ball" with media, his age, his voice, the fact that he's not in a crew ... all these unique features played into his hand but are things that can't all be appropriated by other acts.
wiley isnt really a visonary though? he's actually taking a long time to realise something that I did when I was at uni....I don't understand why you hail him as such a visonary all the time when he's jus applying an idea that a lot of the US hip hop underground were doing for yonks....he's actually quite slow in my opinion and behind in a lot of respects except the music where he's still the top boy....Blackdown said:dubstep and grime have very different expectations. grime MCs wanna either be road or blow asap. they wanna do raves and radio until someone 'gives' them £40,000 to do a commercial LP, just like US hip hop artists.
Dubstep producers aren't allowed that kind of dream because they make instrumental music and 99% of all commercial radio/TV is song based. if it's gonna get done it's gonna be done by the scene.
it's short term v long term expectations really.
Drum n bass went through a major label courting phaze (Photek, Grooverider, Dillinja, Alex Reece, Goldie etc) with very mixed results, then they built their own infrastructure.
Wiley, always the visionary, talked on westwood about having his own label ('your own situation') and i think they've only licenced Relentless the LP, not signed it to them. could this be the beginning of a new phaze? White labels is one thing, building their own infrastructure is another...