978-1-137-37511-7_Book_OnlinePDF.pdf by pg1248

Author:pg1248
Language: eng
Format: epub
ISBN: 9781137375117
Published: 2018-03-07T12:40:09+00:00

INNER CITY LIFE 121

Rush and Nico’s Bludclot Artattack (No U-Turn, 1994). Concurrently, other breakbeat/jungle producers began to release tracks that demonstrated a stronger intergeneric connection to Jamaican ragga, such as SL2’s On a Ragga Trip (XL Recordings, 1992). The development of these distinct styles within jungle indicates the beginning of the fragmentation of the genre, with some artists choosing to emphasise ragga and reggae

sounds, whilst others adopting a more formalist character.

JUNGLE VERSUS DRUM ‘N’ BASS

As jungle got bigger … it became a black thing. (Chambers in Collin, 1997,

p. 257)

Drum & Bass is a white bwoys’ bizniss. (sic, MC Five-O in Belle-Fortune,

2004, p. 21)

From 1993, the term ‘drum ‘n’ bass’ started to be used to describe a

new direction for the musical style, which was a move that would come to be seen by some as divisive in terms of race and class. The new style became fully established during 1994 as some producers tried to distance themselves from jungle’s increasingly negative associations by constructing

complex drum and bass driven tracks rather than using lyrics and samples (Reynolds, 1998, Garratt, 1998). The use of ragga samples was particularly popular in jungle in 1994, and these often included homophobic,

violent or sexist lyrics with themes of violence or criminal activity (Belle-Fortune, 2004). In the same year, the release of Incredible (Renk Records) by M Beat and British Ragga star General Levy, and Shy FX and UK

Apachi’s Original Nuttah (SOUR) brought jungle to the attention of the general public, which attracted a large number of new followers and sen-sationalist, national media interest (Belle-Fortune, 2004; Garratt, 1998).

The Jamaican reggae values of harmony and togetherness that had been

incorporated into some early jungle tracks alongside classic US hip hop

and funk drum breaks were being replaced by tracks describing ‘Bad

Bwoys who were Wicked In Bed, on their way to Burn the House Down’

(Belle-Fortune, 2004, p. 19). Clubbers began to describe jungle rave and club events as containing ‘moody vibes, moody people and moody music’

(Collin, 1997, p. 260) and there was an increase in criminality; a lot of criminals and dealers got involved in the scene because it was easy pickings … It did attract a lot of undesirables because it was such an easy

122

J. HALL

vibe, they didn’t have major searches for weapons then, nobody had heard of bringing a weapon to a rave. (DJ Kemistry in Collin, 1997, pp. 260–261) Jungle artists’ incorporation of Jamaican reggae and ragga sounds and

traditions is also described as having initiated a change in clubbers’ drug use from the rave drug Ecstasy to Cannabis: ‘no E’s—pure weed smoking’

(Chambers in Collin, 1997, p. 257). This association assisted in building jungle’s reputation as moody music rather than euphoric and clearly distinguishes this club culture from others within the dance music category: I think the problem lies with the DJs. The music they play is so depressing, it could never in a million years make people ecstatic, joyous, carefree and loving. In fact, it is more likely to make them frightened. (Anon in Collin,

1997, p. 260)

In the national

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