Leave yours below.
Leave yours below.
Last night I dragged my black arse to Park Royal to link up with my man dem from School to play some pool & bowling. I got battered in the pool…Im kinda rusty…nah I’m just shit actually. But the Bowling was a different story. I came second in the end cos of some shit bowling on the 8th but still managed to hold on to second. Its good to link up with your friends truss me…I caught the most joke..Shout out Harry, T & P.
I’m putting this up for 2 resasons…
Big up Wiley!
I was just youtube surfing n ting…WOW! 2009 is gonna be interesting. Everyone looks hungry. Skepta gave this freestyle session an absolute MURKING! I like Skepta anyway cool brudda!
Big Up ‘Boy Better Know’
Oh yeah check out Wretch’s Blog for Sting 2008
Just Read this on Grime Forum.
Following the success of “Wearing my Rolex” and the subsequent signing of “Rolex Sweep”, Grime finds itself in a compromising situation. Finally, after so many years there is mainstream attention; however it is not for the correct reasons. “Wearing my Rolex” is certainly not a Grime track, but the fact this type of song has appealed to the masses leaves many of the scene’s artists in a strange state of affairs. Is it better to keep making Grime and stay underground, or shape your music into an accessible form for the rest of the UK?
It is understandable that the lure of the charts can have an effect on an artist. After all, the money in a Grime career is a mere percentage of the possible income available from just one chart hit. However, there is also the issue of integrity to consider. Realistically, a song like “Rolex Sweep” will only be a one hit wonder, if that. Also, it will almost certainly not lead to mainstream calls for an album, and even if it does, the general public will not buy a Grime-oriented album. Therefore, the best option for a Grime artist would be to carry on making mix tapes and satisfying the underground whilst every now and then releasing a pop track to target the charts. The only problem is if the draw of the charts will effectively kill of the Grime scene. Will money win over integrity?
Another point to consider is the supposed belief that Grime will be marketable in the US. The path of Dizzee Rascal has shown two problems with exporting the UK underground over the pond. Firstly, Grime albums will never sell well in the huge American market; Americans have their own style and do not view the alternative British style highly. This fact leads to a vicious circle, as the artist(Dizzee in this case) realises Grime will not sell well, he will perhaps start to water down his content and release more hip-hop style records. This may lead to an increase in sales, but not a significant one, and in changing to please the US public, the artist loses credibility and a lack of respect from Grime fans. The real question is whether this risk is worth it. Do the Grime artists really care about what their fans think of them as long as they are getting paid?
The alternative to journeying to the USA is making an album which the UK public will buy. This career path was famously taken by Kano. His album “London Town” was certainly geared towards impressing the wider population. The only problem with releasing a less Grime styled, and more Hip Hop album is that doing this will not necessarily equate to sales in the charts. As Kano made him name in the Grime scene, the fact “London Town” was his second studio album did not mean he was an established artist to the British public. Therefore, Kano was not guaranteed that his album would succeed, and needed to use many features. These features meant Kano lost even more respect from the Grime scene, releasing Hip Hop is bad enough, but then jumping on the band wagon and using the MySpace generation of artists such as Kate Nash shows a complete lack of musical integrity. However, not only Kano is to blame for this. Realistically, every Grime artist would like to eventually be signed; however the problem with this is it means there will always be some moderating you and your lyrics. Rather than being a Grime artist you become a product, one which will have to be amended to suit the public and one which may one day be axed. Grime, and even UK Hip-Hop are not wide-reaching enough to ensure label stability.
Taking these two examples into consideration, perhaps a different route to sales should be taken. Maybe the Grime scene has to realize that chart recognition, be it stateside or in England, will never be possible. Instead, the European market must be assessed. The problem with selling Grime to pop fans or Americans is that they do simply not like it; they are not fans and will probably never become them. Rather, Grime artists need to tap into the interest which is already apparent in other countries. Countries such as Poland, France and Bulgaria already have established markets and using the US example of exporting the music people love to those countries could be followed. The US is the home of Hip-Hop and just going into HMV shows how the UK has adopted American music. Therefore, being the home of a scene can result in mass sales. Surely the Poles, French and Bulgarians would buy our music if it was accessible to them.
Due to the relatively small size of the Grime fanbase and the significant impact of the internet, sales are never guaranteed even among “fans” of the music. Bootlegging is a big problem, and what many of the downloaders do not realisse( or rather choose not to realise) is that just listening to the music is not enough, that does not make you a fan. Getting the albums illegally may be easy, but it also means that you are effectively killing off the very scene you so enjoy. No wonder Grime artists look at alternative routes to success, at the end of the day being an MC is a job and the artists need to get paid. Sometimes money needs to be a bigger motive than popularity in the scene.
More international links the better. Doing big things bro keep it up!