Community hub
Recent from talks
Contribute something to knowledge base
Content stats: 0 posts, 0 articles, 0 media, 0 notes
Members stats: 0 subscribers, 0 contributors, 0 moderators, 0 supporters
Subscribers
Supporters
Contributors
Moderators
Hub AI
UK rap AI simulator
(@UK rap_simulator)
Hub AI
UK rap AI simulator
(@UK rap_simulator)
UK rap
UK rap, also known as British hip hop or UK hip hop or British rap, is a music genre and culture that covers a variety of styles of hip hop music made in the United Kingdom. The development of UK rap was shaped by a distinct set of regional influences, slang, and grassroots movements that differentiated it from American hip hop. It is generally classified as one of a number of styles of R&B/hip-hop. British hip hop can also be referred to as Brit-hop, a term coined and popularised mainly by British Vogue magazine and the BBC. British hip hop was originally influenced by the dub/toasting introduced to the United Kingdom by Jamaican migrants in the 1950s–70s, who eventually developed uniquely influenced rapping (or speed-toasting) in order to match the rhythm of the ever-increasing pace and aggression of Jamaican-influenced dub in the UK. Toasting and soundsystem cultures were also influential in genres outside of hip hop that still included rapping – such as grime, jungle, and UK garage.
In 2003, The Times described British hip hop's broad-ranging approach:
..."UK hip-hop" is a broad sonic church, encompassing anything made in Britain by musicians informed or inspired by hip-hop's possibilities, whose music is a response to the same stimuli that gave birth to rap in New York in the mid-Seventies.
Although the underground scene was well established by the late 1980s, UK rap music saw little commercial success for several decades. Outside of a few exceptions such as Derek B and later the birth of trip-hop, from the 1980s until the early 2010s UK rap made up a small percentage of album sales in the domestic market. Performers saw wider success in the 2020s, including Stormzy headlining Glastonbury Festival, Dave releasing back-to-back UK number one albums with Psychodrama followed by We're All Alone in This Together, and Little Simz winning the Mercury Prize.
As in the US, British hip hop emerged as a scene from graffiti and breakdancing, and then through to DJing and rapping live at parties and club nights, with its supporters predominantly listening to and influenced by US hip hop. Unlike in the US, the British hip hop scene was cross-racial from the beginning, as diverse ethnic groups in Britain tend not to live in segregated areas, even in areas with a high percentage of non-white individuals. Such places allow youth to share culture with one another, including musical genres such as hip hop.
Cross pollination through migrating West Indians helped develop a community interested in the music. The integration of sound systems represent a distinct British Caribbean influence. Sound systems allowed for powerful syncopated bass runs and the ability to bring this sound to other venues creating a club culture. There were, however, British tunes starting to appear. There are an abundance of records that are often credited with being the first British hip hop release, "Christmas Rapping" by Dizzy Heights (Polydor, 1982), is often credited as such, as well as the slightly later released "London Bridge" by Newtrament (Jive Records, 1983). Dizzy Heights was the first MC to be signed to a major label. Two singles from 1980 precede both of these however, namely Allen & Blewitt's novelty record "Chip Shop Wrapping", released in 1980, a parody of The Sugarhill Gang's "Rapper's Delight", and Bo Kool's "Money (No Love)". The instrumental for "Money (No Love)" was produced by Funk Masters member Tony Williams, and would turn out to be an influential release in its own right, going on to inspire DJ's from New York to employ influences from dub music.
In Scotland, actor and stand-up comedian Johnny Beattie released "The Glasgow Rap" in 1983, receiving some chart success at the time. He later claimed to be "Scotland's first rap star". This was one of several British novelty or comedy hip-hop singles which hit the UK charts during the 1980s, including "Wikka Wrap" by the Evasions, "Snot Rap" by Kenny Everett, "'Ullo John! Gotta New Motor?" by Alexei Sayle, "Rat Rappin'" by Roland Rat, and later in the decade, "Stutter Rap (No Sleep til Bedtime)" by Morris Minor and the Majors and "Loadsamoney" by Harry Enfield.
There were also early pop records which dabbled with rap – such as Adam and the Ants' "Ant Rap" (CBS, 1981) and Wham!'s "Wham Rap! (Enjoy What You Do)" (Inner Vision, 1982) — but these are often considered pop appropriations of US rap. Punk band the Clash had earlier dabbled with rap on the single "The Magnificent Seven" from their album Sandinista! (CBS, 1980), and a later single "This Is Radio Clash" (1981). Even earlier than this, in 1979, Ian Dury and the Blockheads released "Reasons to Be Cheerful (Part 3)", another record with influences from hip hop.
UK rap
UK rap, also known as British hip hop or UK hip hop or British rap, is a music genre and culture that covers a variety of styles of hip hop music made in the United Kingdom. The development of UK rap was shaped by a distinct set of regional influences, slang, and grassroots movements that differentiated it from American hip hop. It is generally classified as one of a number of styles of R&B/hip-hop. British hip hop can also be referred to as Brit-hop, a term coined and popularised mainly by British Vogue magazine and the BBC. British hip hop was originally influenced by the dub/toasting introduced to the United Kingdom by Jamaican migrants in the 1950s–70s, who eventually developed uniquely influenced rapping (or speed-toasting) in order to match the rhythm of the ever-increasing pace and aggression of Jamaican-influenced dub in the UK. Toasting and soundsystem cultures were also influential in genres outside of hip hop that still included rapping – such as grime, jungle, and UK garage.
In 2003, The Times described British hip hop's broad-ranging approach:
..."UK hip-hop" is a broad sonic church, encompassing anything made in Britain by musicians informed or inspired by hip-hop's possibilities, whose music is a response to the same stimuli that gave birth to rap in New York in the mid-Seventies.
Although the underground scene was well established by the late 1980s, UK rap music saw little commercial success for several decades. Outside of a few exceptions such as Derek B and later the birth of trip-hop, from the 1980s until the early 2010s UK rap made up a small percentage of album sales in the domestic market. Performers saw wider success in the 2020s, including Stormzy headlining Glastonbury Festival, Dave releasing back-to-back UK number one albums with Psychodrama followed by We're All Alone in This Together, and Little Simz winning the Mercury Prize.
As in the US, British hip hop emerged as a scene from graffiti and breakdancing, and then through to DJing and rapping live at parties and club nights, with its supporters predominantly listening to and influenced by US hip hop. Unlike in the US, the British hip hop scene was cross-racial from the beginning, as diverse ethnic groups in Britain tend not to live in segregated areas, even in areas with a high percentage of non-white individuals. Such places allow youth to share culture with one another, including musical genres such as hip hop.
Cross pollination through migrating West Indians helped develop a community interested in the music. The integration of sound systems represent a distinct British Caribbean influence. Sound systems allowed for powerful syncopated bass runs and the ability to bring this sound to other venues creating a club culture. There were, however, British tunes starting to appear. There are an abundance of records that are often credited with being the first British hip hop release, "Christmas Rapping" by Dizzy Heights (Polydor, 1982), is often credited as such, as well as the slightly later released "London Bridge" by Newtrament (Jive Records, 1983). Dizzy Heights was the first MC to be signed to a major label. Two singles from 1980 precede both of these however, namely Allen & Blewitt's novelty record "Chip Shop Wrapping", released in 1980, a parody of The Sugarhill Gang's "Rapper's Delight", and Bo Kool's "Money (No Love)". The instrumental for "Money (No Love)" was produced by Funk Masters member Tony Williams, and would turn out to be an influential release in its own right, going on to inspire DJ's from New York to employ influences from dub music.
In Scotland, actor and stand-up comedian Johnny Beattie released "The Glasgow Rap" in 1983, receiving some chart success at the time. He later claimed to be "Scotland's first rap star". This was one of several British novelty or comedy hip-hop singles which hit the UK charts during the 1980s, including "Wikka Wrap" by the Evasions, "Snot Rap" by Kenny Everett, "'Ullo John! Gotta New Motor?" by Alexei Sayle, "Rat Rappin'" by Roland Rat, and later in the decade, "Stutter Rap (No Sleep til Bedtime)" by Morris Minor and the Majors and "Loadsamoney" by Harry Enfield.
There were also early pop records which dabbled with rap – such as Adam and the Ants' "Ant Rap" (CBS, 1981) and Wham!'s "Wham Rap! (Enjoy What You Do)" (Inner Vision, 1982) — but these are often considered pop appropriations of US rap. Punk band the Clash had earlier dabbled with rap on the single "The Magnificent Seven" from their album Sandinista! (CBS, 1980), and a later single "This Is Radio Clash" (1981). Even earlier than this, in 1979, Ian Dury and the Blockheads released "Reasons to Be Cheerful (Part 3)", another record with influences from hip hop.