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“DIS ONE IS FOR ALLA THE ”:

From Rebel MC to Conquering Lion and beyond. The journeying of Michael West

34 MATT GRIMES

aking a broadly historio- and the Soul Sonic Force’s 1982 blacks in 1970’s Britain also Tgraphical and socio-cultural release Planet Rock. sought to establish a Black British approach, this article presents the Rather than continuing to emulate identity that was reflective of development of Jungle, a unique American Electro, Hip-Hop their localised experiences. Lloyd Black British musical form, and House, which spoke of the Bradley (2002) suggests that in through the musical lifecourse of African American experience, the the 1970’s, the older generation one of Jungle’s originators and release of his next tune Cockney of Caribbean immigrants used innovators Michael West aka Con- Rhythm was an attempt at trying American Civil rights and Black go Natty. With its roots in Reg- to establish a UK manifestation Power as a revolutionary template. gae soundsystem culture, British of American Hip-Hop. What set For British bands, such as Hip-Hop, Soul and Rastafarian this aside from his American Steel Pulse and Aswad, this did philosophy, Jungle emerged from counterparts was the use of not resonate entirely with their various previous manifestations a sampled Reggae bass line experiences of being young and of Black British music since the black in 1970’s/80’s Britain. As 1970’s. With his ongoing develop- PLAYLIST Bradley notes: ment of and contribution to Jungle “To the new young bands, music and its culture, West pres- roots Reggae was a particularly ents a that relevant expression of blackness reflects the multicultural society [...] Oddly, ’s notions he grew up in, and continues to of displacement actually made inhabit. greater sense in the UK that it did in [….] It was easy to Establishing a brood on the idea that if you were British Black born in England or arrived as a Identity child, it wasn’t by choice and the Caribbean was where you should Born in Islington in be. Thus it wasn’t a quantum leap 1965 to a Jamaican father to mentally translate the Africa/ and Welsh white mother, as a Jamaica theme to a West Indies/ young man Michael West often from Mikey Dread’s 1979 tune Great Britain forced exodus.” frequented north London Reggae Operators Choice. West drew on (2001: 430-431) soundsystem clashes, immersing a number of Jamaican influences This referential harking back to a himself in soundsystem culture. for his music productions as sense of ‘homeland’ to establish When he was 20 years old, he and a homage to the music he had a unique Black British identity some friends started their own experienced, and continued would be a trope that West himself soundsystem called Beat Freaks in to experience, at the Reggae would draw upon later in his life. which they would play a mixture soundclashes. It could be argued of Hip-Hop, Reggae and the New that West’s combination of rebel York and records Hip-Hop and Reggae, was also a music that were just starting to infiltrate way of expressing Black British UK record shops. Influenced youth experience and identity Through soundsystems like by these diverse sounds, West’s for his generation. So whilst Unity, Heatwave and Jah Tubbys, first foray into music production Jamaican Reggae music played a alongside emerging young UK was through his 1985 untitled part in his local culture, through toasters such as Tenor Fly who release under the name of Micron, the Caribbean diaspora of his cut his teeth MC’ing on Lloyd followed by the tune Solar Rock, father’s generation, being born Coxsone’s , West which was heavily influenced in England created a distance was also exposed to by the style of Hip-Hop/Electro between his father’s experience music, a subgenre of style that was developing in of Jamaican culture and West’s that was originating in Jamaica the USA through artists such as own experiences of growing at that time. Unlike previous Afrika Bambaataa and Soul Sonic up in North London. As noted incarnations of Jamaican Reggae Force. The title itself was perhaps by both Paul Gilroy (1987) and music, Ragga was instrumentally 35 homage to Afrika Bambaataa Simon Jones (1988), young driven by electronic forms culture that West suggested of the authorities. From this UK where, like Hip-Hop, sampling people should seek to understand / scene a served a prominent role in its and engage with. Whilst the particular sound was emerging production, something that West historical factuality of the time of in the early 90’s. The electronic was already familiar with by such musical developments and instruments that spawned techno, using sampling techniques and introductions are always going to such as the Roland 909 and 808 electronic instrumentation in be contested, it’s worth noting that drum machines and the use of his early productions. 1988 saw West and a few other producers rudimentary samplers in early US West form the group Double such as DJ Hype, who was part of Hip-Hop were being repurposed Trouble who had major chart the Heatwave Soundsystem, and by UK producers in the early success with the single Street Tuff his friend Scientist, had already 1990’s as they produced a sped-up , the use of the spelling ‘tuff ‘ been experimenting with Ragga form of techno called hardcore. perhaps referencing ’s and Dub since early As (1994) notes, nickname and business empire 1990. As pirate radio station Kool the hardcore techno tunes of 1991 Tuff Gong. FM’s MC Navigator explains the that were based around looped hip term jungle comes from hop beats became hugely popular Again, as a nod to Jamaican and and was first heard in as a and “the gritty funky syncopation London soundsystem culture, he Rebel MC sample: drew more black British kids sampled the from The Maytals 1968 hit ‘54-46 That’s Rebel got this chant — 'alla the junglists' — from a yard-tape [ie, a My Number’ and combined this sound system mix-tape from Jamaica]. There's a place in Kingston with self-produced synth stabs called Tivoli Gardens, and the people call it the jungle. When you and syncopated breaks, frenetic hear on a yard-tape the MC sending a big-up to 'alla the junglists', patterns of cut up and rearranged they're calling out to a posse from Tivoli. When Rebel sampled that, sampled drum breaks from US people cottoned on, and soon they started to call the music 'Jungle' and Soul records. When (Mc Navigator cited in Reynolds 1994) Double Trouble split after their chart success, West continued In Jamaica, a Junglist is a slang into hardcore rave. In turn they his contractual relationship with term which refers to a person brought new musical inputs, Desire Records, and during 1990, living in Jungle, an area of West Ragga and Dub in 92 and Soul in released a number of singles and Kingston, Jamaica. However, 93” an album titled Rebel Music: the term further developed into slang for people who operated Whilst previously sampling outside of the law, or according Reggae, Ska and Ragga and to the ‘law of the jungle’ such infusing his music with audio as rudeboys and gangsters. This samples of gunshots, rewinds, co-option of the term Junglist in sirens, air horns and lyrical the UK seemed to resonate with references to soundboys, the activities of UK Soundsystem rudeboys, badboys and gangsters, culture that also operated outside West’s use of visual references of the law in terms of the legality to Jamaican and Rasta culture of the soundclashes that at times became prominent during and took place in unlicensed premises, beyond this period. It could be argued that Rebel along with the unlicensed Music was a nod to Bob Marley selling of alcohol and the illegal BLACK MEANING and Reggae/Rastafarian cultural drug culture that existed in and heritage. The album single around soundsystems; practices GOOD Culture samples Jimmy Cliff and which would often bring the His 1991 follow up album Black Dennis Alcapone and lyrically soundsystem operators into direct Meaning Good (https://www. references Bob Marley, with West conflict with the authorities. discogs.com/Rebel-MC-Black- asking that people should study Meaning-Good/master/20284) their culture. For the first time A similar situation simultaneously continued to draw musical on record, West also used the existed in the UK acid house/ reference from ragga and Hip-Hop term and Junglist techno scene, where warehouse but visually referenced Jamaican in his lyrics, suggesting that this parties and the popular use of and Rastafarian culture in a more term was linked to the Jamaican ecstasy, attracted the attention 36 direct way than Rebel Music had dub production through innovative also influenced by cultural, social previously done with red, gold and uses of the mixing desk as a form and economic forces, such as green being the only colours on an of instrumentation as well as the relative affordability of the otherwise black and white cover. production. As West Explains; technology, the Jamaican and What is particularly visually Rastafarian cultural and musical striking is the illustration of what “..when you have a certain way of references he drew upon for his it seems are black slaves carrying making music, it’s a lot to do with productions, and the multicultural texts that show how the word the technology that is available society in which he grew up in, black has always been linked to at the time. Jungle music was at reflected in the uniqueness of the a negative expression created the cutting edge of technology sound he was creating. As West and perpetrated by white people. […..] The technology was already succinctly puts it: The illustration suggests that the here. Akai made the samplers slaves are having to shoulder and but nobody was doing what we Jungle wasn’t just about the carry around with them the burden were doing with the . music it was about the way of of those negative connotations, [….] Were going to use the desk life. Jungle was about supporting as West and his Black British and sampler and any other bit of yourself; making and producing counterparts continued to do in equipment we can, in the way we your own tune, having your own contemporary UK society. As a wanna use it.” label, distributing your own challenge to this, West reclaims (West cited in Clay 2013) music. Suddenly becoming your that word as something that own boss and having that mindset This innovative use of technology has positive connotations and of “I don’t need anyone, all I need and approach, to pushing meanings and the lyrical content is my studio, where I can build the technical capabilities of of a number of the songs suggest my tunes, and then I can get them both the machinery and the a move towards the expression of pressed up and I’ll sell em”. And sonic boundaries of the bass more conscious lyrics. that in itself is influential” frequencies, propelled the (West cited in Clay 2013) Rebel MC’s late 1990 release development of Jungle as a Wickedest Sound sampled musical form. Wall (2012) warns WORD, SOUND, ’s Under The against seeing technology as POWER Sensi, along with Mikey Dread deterministic in the development and and live Ragga of musical sounds. In this sense The importance of West gaining his toasting by employing the skills he suggests that whilst technology independence was brought to the of UK Ragga MC Tenor Fly. can enable, it should not be seen fore when he parted company with These vocals were layered over as the sole driving force of a Desire Records towards the end of a rhythm of infectious breaks, society’s culture and history. As 1991, over differences of musical chopped up and rearranged Anderton et al (2013:17) argue direction. Inspired by Bob Marley’s versions of the now eponymous “technology ‘affords’ us with a Tuff Gong label West set up his own , a sample from certain range of possibilities and label, Tribal Bass Records, supported GC Coleman’s drum solo from we have agency in choosing our by the independent label Big Life the 1969 funk soul song Amen responses within that process” and released Word Sound Power, Brother by , that (17). So whilst technology can an album that demonstrated a clear is the foundation of any Jungle contribute towards a shift in influence of and debt to Reggae and and early tune. culture we have to be mindful Rastafarian culture: Not only did West strip down that it is also social, cultural and the Amen Break to single drum economic forces that also shape hits he innovatively rearranged a particular sound. For West, the them in a hyper syncopated possibilities technology played way that was a presage of the in the development of Jungle as a Jungle drum rhythm that would musical form, also afforded him later emerge. West and others a way of gaining independence at the early inception of Jungle from the mainstream music took inspiration and production industries. However, West’s values from the likes of Lee approach to the production and Scratch Perry who as Wall (2012) distribution of Jungle was not suggests, pushed the boundaries of just technology driven. It was 37 The very title of the album Behold the cited in Clay 2013) draws heavily on Rastafarian By 1994 the term Jungle and philosophy where the idea that Conquering Lion Junglist had become common the vibrations of speech and After the relative mediocre parlance amongst those who music impact the world, both success of the album, West retired attended raves and the emerging physically and socially. As the Rebel MC moniker and musical form garnered interest Stephens (1999: 294-295) notes retreated to his studio to work on from mainstream media including the relationship between Word/ a number of DiY projects. As a a 1994 BBC 2 documentary Sound/Power is recognised in homage to soundsystem culture, Jungle Fever about the scene Rastafarian philosophy and he released a number of dub plates and its protagonists. In the religious practices as a holy during 1993 and 1994 under the BBC’s particular historiography trinity, where the repetitive use pseudonyms of X Project and of Jungle, West’s presence was of the combination of conscious most significantly Blackstar and strangely absent, which may have words and appropriate sounds ‘Conquering Lion.’ The release been an oversight on the BBC’s equals power. West’s cultural of Inahsound, Lion of Judah and part or a result of West converting knowledge and understanding of the ground breaking Code Red/ to Rastafarianism, taking on his this Rastafarian holy trinity easily Phenomenon 1 under the latter spiritual name Mikail Tafari, and transposed onto his experiences of monikers cemented the now not wanting to engage with the Reggae sound system culture that recognisable hyper-syncopated babylon media. would often reference Rastafarian Jungle breaks and tempo whilst At this time, West set up his philosophy through the Reggae combining samples of basslines independent recording and records that were played out on and vocals from old roots and distribution operation from his the soundsystems dub Reggae productions and house in Tottenham; “My Yard We were born in a soundsystem culture, and the sound system culture was full of tune-like a warehouse! was about sound, word and power. The words would be the man on We’d broken away from the whole the mic, the sound was the sound of the and the power was the machine. We were running our amplification through the speakers. I wanted to be around that trinity own mechanism, our own threads” (West cited in Beaumont-Thomas 2013) (West 2012 cited in Resident Advisor) Whilst developing and Song titles referencing repurposing them for a more building his independent label and Rastafarianism and African contemporary British youth. productions, West made a number heritage such as Let Jah Light This innovative approach created of visits to Jamaica playing his Shine, African Descendant, music that was made for the club Jungle music back to the culture Jahovia and Creation Rebel and soundsystem; music that was that it took its references and alongside salutations to Jah produced to dance to. influences from and meeting seem to suggest that the with Jamaican and Rastafarian Reggae and Rastafarian This innovative new approach communities, where he amassed motifs previously sampled by that combined historically a number of field recordings. His West, had been replaced by a located Reggae tropes with hyper many trips led him to release his deeper philosophical interest syncopated breaks gave West first album on the newly formed in Rastafarianism, which is and his fellow Jungle producers Congo Natty label, Tribute to reinforced in the conscious lyrical a distinctive sound of their own. Emperor Haile Selassie I, under content of the songs penned for It could be argued that just as the pseudonym of Blackstar- this album. Musically, the album early roots Reggae enabled Steel also saw West move away from Pulse and Aswad to establish a Hip-Hop rhythms and samples sense of black British identity, and more towards dub basslines Jungle seemed to suggest a and more syncopated Jungle similar journey for many young drum breaks. black and ethnic youth in 1990’s multi-cultural Britain. “Jungle was a revolution. Jungle was the first time we’d got our own music, our own way of talking, our own way of dressing. Everything.” (West 38 This album drew heavily on synonymously with the word beliefs, West uprooted his whole Rastafarian motifs such as Bongo) is a positive reclamation family and moved to Shashamane niabynghi drumming, recordings by Rastafarians of a colonial in Ethiopia, an area of land that of Rastafarian prayers, hymns derogatory term for black Africans Emperor Haile Selassie I left and chants, old news recordings (Price 2009). This idea of living for the settlement of Rasta’s, and speeches from Emperor a life as a natural black African Jamaicans and other Caribbean Haile Selassie. It also included suggests that there is a connection citizens who wanted to return to the sounds of the foghorns of the with Africa’s/Ethiopia's tribal Africa, and which contains the Black Star Line and Windrush past. In contemporary Jamaican largest Rastafarian community in steamboat carriers, which were culture, the term Congo Natty the world. synonymous with the African is a name given to a Rastafarian “My aim was always to get to and Caribbean diaspora and their (predominantly rural) who is self- Ethiopia and get out of Babylon. quest for economic independence, sufficient, grows their own food Getting Out of Babylon meant but which also to connoted and lives outside of mainstream gathering the family, getting rid the historical transportation of society and its trappings (Clay of all the things that tie us down. African slaves. The inner sleeve 2013). West’s decision to And that was the point of my of the record contained a number choose this name could suggest journey” of quotes from Revelations and a reference to his independent (West cited in Resident Advisor the Psalms of the Bible. These production and distribution 2012) cultural and religious references practices that sat outside of the were cut and pasted onto bass mainstream music industries but West suggested that this was a heavy , hyper syncopated could also indicate how seriously life changing transformation, a breaks patterns and toasting from he took his religious beliefs. Some rebirth "It was like being born a wealth of UK and International of his releases during this period again. My spirit was there. I felt MC’s and Reggae/dancehall include and re-issues of like I had returned home” (West artists, creating a hyperkinetic other tunes from West’s earlier cited in Clay 2013). West’s dream sound. West’s religious beliefs productions, including a return of living a pure Rastafarian life and practices, combined with his to the Rebel MC moniker with in Shashamane, with a focussed highly valued production skills, the release of the Born Again commitment to his religion, resulted in him becoming seen as album in 2004. The cover depicts supported by an income from representative of a unique form a baby West with his mother and his back catalogue as his means of UK Jungle that included ragga/ the face of Haile Selassie I in the of living, seemed to override his Rasta motifs supplemented by background. The album’s name desire to follow his own musical a deep sense of spirituality that suggests a momentary return of career. But in late 2008 the other Jungle producers and tunes his Rebel MC identity but also manager of his business affairs seemed to lack. recognition of how far he had in the UK became seriously ill travelled and how his Rastafarian and things started to go wrong. BORN AGAIN spirituality and beliefs emerged Eventually, he had to return to the from that earliest West musical uk with “three little ones and two From 1995- 2007 the Congo Natty identity - label grew and produced a number bigger ones and my wife. And of sub-labels such as Congo thirteen pound. That’s not a good Natty Bass and Congo Natty Dub look. So, at that point I started and an increasing catalogue of again” (West cited in Resident productions, under a number of Advisor 2012) pseudonyms such as Blackstar, Ever philosophical about his Lion of Judah, Tribe of Isaachar situation, he attributed his return and Congo Natty, the name by as a spiritual calling from the most which he has become better holy Jah Rastafari to continue and more commonly known. on his journey to make music In Rastafarian culture The term and create a better world for the By 2007, despite his continuing Natty refers to the idea of natural youth of the UK. Central to the success, the music business started or with nature whilst similarly Congo Natty label was a sense of to become less important to the term Congo (sometimes used a Congo Natty family. Members him. Spurred on by his religious 39 of his immediate family, relatives West remains deeply political Cultural Politics of Race and and friends that worked in and and for him, the donning of army Nation. London: Unwin Hyman around the label were encouraged greens is recognition of the fact to develop their own musical that he sees himself as a soldier Jones, S. (1988) Black culture, productions and careers. A fighting a revolution against white youth: The Reggae tradition number of releases propelled all injustices. He sees music as from JA to UK. Basingstoke: West towards making the album the way to break down barriers Palgrave Macmillan. Jungle Revolution in 2013 on Big and bring people together. At Dada Recordings. Out of respect the same time, he remains Price, C. (2009) Becoming Rasta: for the country that spawned deeply spiritual. Reinforcing Origins of Rastafari Identity in his musical career, he brought his Rastafarian beliefs, West’s Jamaica. New York: NYU Press together a line-up of UK toasters productions continue to reference Resident Advisor (2012) Congo and MC’s and released the single Rastafarian culture. Where Natty Biography. Available at: UK Allstars, as a reinforcement ragga seemed to err towards https://www.residentadvisor. of the place of origination and a the darker sounds and lyrics of net/dj/congonatty/biography unique and defining sound that, Jamaican culture, West’s sound {Accessed 21 March 20180 while including ingredients of also embraces the African Jamaican sounds and culture, diaspora and presents a multitude Reynolds, S. (1994) “It's a Jungle could only have been made in of expositions of blackness Out There…” Melody Maker, 15 the social, cultural and political from multiple perspectives and October 1994. Available at https:// milieu of the UK. multiple voices that seek to www.rocksbackpages.com/ embrace love, peace and unity Library/Article/its-a-Jungle-out- Junglist Souljah and reflect the multicultural there [Accessed 21 March 2018] society he grew up in and Since then West, has continued to continues to inhabit. Stephens, G. (1999) On Racial produce Jungle music as Congo Frontiers: The New Culture Natty, always pushing sonic Bibliography of Frederick Douglass, Ralph boundaries and technology to its Beaumont-Thomas, B. (2013) Ellison, and Bob Marley limits, defining what UK Jungle Congo Natty and the Jungle represents. As a self-appointed revolution. Guardian Music. July Wall, T. (2003) Studying Popular ambassador for Jungle he has 2013 Available at: https://www. Music Culture. London: Arnold. taken its sound around the world, theguardian.com/music/2013/ Discography appearing at small clubs as well jul/04/congo-natty-Jungle-rev- as major international festivals olution-rebel-mc [Accessed 21 Afrika Bambaataa and the Soul and even curating his own Jungle March 2018] Sonic Force (1982) Planet Rock. events. In a similar way that West Tommy Boy (TB823) acknowledged the influence of Clay, J (2013) I've Got Souls Barrington Levy (1985) Under Reggae and Rasta culture on his To Save: An Interview With The Sensi. Thunder Bolt (TB102) musical practices, it could be Congo Natty. The Quietus Blackstar (1995) Tribute to argued that a number of more July 11th 2016. Available at: Emperor Haile Selassie I (Rasta 1) recent musical forms such as http://thequietus.com/arti- Congo Natty (2013) Jungle Garage, and owe cles/12795-congo-natty-interview Revolution. Big Dada Recordings a debt to West and other Jungle [Accessed 21March 2018) (BD227) pioneers. Without Jungle, those Congo Natty (2013) UK Allstars. musical forms may never have Gilroy, P. (1987) There Ain't No From; Jungle Revolution. Big emerged. Black in the Union Jack: The Dada Recordings (BD227) Conquering Lion (1993) “Grime is soundsystem culture, it’s from the yards. The DiY approach, Inahsound. X Project (DUB ‘’, pirate radio promoting it, the passing of the mic, the PLATE 2) toasting and dissing your vocal opponent, this is a soundsystem thing Conquering Lion (1993) Lion of for today’s generation of youth” (West 2013). Judah. X Project (DUB PLATE 3) Conquering Lion (1994) Code

40 Red/Phenomenon 1. X Project Videography (DUB PLATE 4) Double Trouble ft Rebel MC All Black: Jungle Fever [television (1988) Street Tuff. Desire Records documentary] BBC2, UK 1994. (WANT X 18) Available at https://www.youtube. Micron (1985) Untitled. White com/watch?v=nQyCyTo3mt4 label [Accessed 21 March 2018] Micron (1985) Solar Rock. White label (SG031) Mikey Dread (1978) Operators Choice. From: African Anthem (The Mikey Dread Show Dubwise) Cruise Records (CRUZ 001) Matt Grimes is a Senior Lecturer in Music Industries and Rebel MC (1988) Cockney Radio and Degree Leader for BA (Hons) Music Industries at the Rhythm. B Ware Records Birmingham School of Media, Birmingham City University. Matt (UM004) has taught on the music industries programme at BCU for 13 Rebel MC (1990) Culture. Desire years, with a focus on music industries innovation and enterprise, Records (WANT X 38) popular music studies and DiY music cultures. Rebel MC (1990) Rebel Music. Desire Records (LUVLP 5, 843 Prior to joining the Birmingham School of Media and the 294 1) Birmingham Centre for Media and Cultural Research (BCMCR), Rebel MC (1990) Wickedest Matt worked extensively in the UK as a freelance radio trainer/ Sound. Desire Records (WANT producer, bringing radio production to marginalised groups 40) such as Romany and Gypsy Travellers, prison inmates, drug and Rebel MC (1991) Black Meaning alcohol dependents, victims of domestic violence, young adults Good. Desire Records (849 in rural areas and community groups. His rationale behind the 662-1) training is using radio production as a vehicle for social inclusion, Rebel MC (1992) Word Sound skills acquisition, empowerment, personal development, Power. Big Life/Tribal Bass and social/cultural bridge building by giving a voice to the Records (BLRLP) marginalised. Rebel MC (1992) Let Jah Light Matt cut his music industries teeth at the tender of age of 15 when Shine. From: Word Sound Power. he dropped out of school and began work as a roadie and later a Big Life/Tribal Bass Records sound engineer, tour manager and promoter in the UK DiY punk (BLRLP) scene. He has also previously worked as an independent music Rebel MC (1992) African and creative industries consultant, radio producer, broadcast Descendant. From: Word Sound journalist and art technician. Power. Big Life/Tribal Bass Records (BLRLP) Matt is currently working on his PhD research degree within the Rebel MC (1992) Jahovia. From: Birmingham Centre for Media and Cultural research where he Word Sound Power. Big Life/ is investigating British anarcho-punk and its construction as a Tribal Bass Records (BLRLP) cultural object, and its ideological significance in the life courses Rebel MC (1992) Creation Rebel. of ageing fans. He has published on the subject of anarcho-punk From: Word Sound Power. Big in a number of books and academic journals Life/Tribal Bass Records (BLRLP) Rebel MC (2005) Born Again. Congo Natty. (CNVLP 001) The Winstons (1969) Amen, http://www.mgrimes.co.uk/ Brother. Metromedia Records. http://www.bcmcr.org/author/matt-grimes/ (MMS-117) Twitter: @matt_grimes The Maytals (1968) ‘54-46 That’s My Number. Beverley’s Records. (no cat number)

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