Information about British Hip Hop

Hip hop music (Rap)
Stylistic origins:	Jamaican Dancehall toasting alongside the rhythms of R&B, disco, and funk
Cultural origins:	late 1960s/early 1970s: Kingston, Jamaica - early 1970s South Bronx, New York City
Typical instruments:	Turntable, rapping, drum machine, sampler, synthesizer, human beatboxing
Mainstream popularity:	Since late 1980s in the United States, worldwide beginning in early 1990s, among best-selling genres of music by early 2000s.
Derivative forms:	Trip hop, Grime
Subgenres
Abstract - Alternative - Chopped and screwed - Christian - Conscious - Crunk - Gangsta - G-funk - Hardcore - Horrorcore - Hyphy - Instrumental - Jazz rap - Latin rap - Mobb - Nerdcore - Old school - Pop rap - Snap
Fusion genres
Country rap - Electro hop - Freestyle - Hip house - Hip life - Ghettotech - Hip hop soul - Miami bass - Neo soul - New jack swing - Ragga - Rapcore - Reggaeton - Urban Pasifika
Regional scenes
African - American: (East - West - South - Midwest) - British - French - Japanese - Salvadoran -
Other topics
Beatboxing - Breakdancing - Collaborations - DJing (Turntablism) - Hip hop culture - Fashion - Graffiti - History - Rapping - Roots - Timeline

British Hip Hop is a genre of music, and a culture that covers a variety of styles of rap music made in the United Kingdom.^[1] It is sometimes known as Brithop,^[2] and is generally classified as one of a number of styles of urban music.^[3] British hip hop was originally influenced by the hip hop scene in New York City, at first being very much in awe of the American innovators, with British rappers often adopting American accents in the early years, before gaining the confidence to develop their own styles. The growth of British hip hop was given a boost when in 2002, the BBC launched a digital radio station 1Xtra devoted to "new black music" including hip hop, R&B, UK garage, dancehall, and drum and bass,^[4] however 1Xtra does not play exclusively British hip hop. The cable and satellite, Channel U has also enhanced the profile of British hip hop. In 2003, The Times'', a UK newspaper, described British hip hop's broad ranging approach:

"...'UK rap' 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.<ref name="times" />

Hip hop in the UK never achieved the same kind of cultural impact, or levels of success as it did in the US, but US acts were all too prolific in the UK. British hip hop began to make a virtue out of this, equating commercial success with "selling out" and championing the ideal of the British underdog struggling financially but staying true to the dream.

Origins of British hip hop

Following an initial flurry of interest from major record labels in the 1980s, by the early 1990s the scene had moved underground after the record companies pulled back from the genre, disappointed by its inability to cross-over to make vital sales in the US market. However, in the mid-1990s a new generation of British rappers were beginning to emerge who had the ability and the confidence to take on the American superstars. Hip hop in the UK started to experiment and diversify - often mutating into different genres entirely, such as trip hop, UK garage or Drum n Bass - and crucially (from the record companies' point of view) starting to make inroads into the US market.

Nowadays, British hip hop is enjoying its second coming - managing to be popular without "selling out" and innovative without being off-putting. Although still not as popular worldwide as its American forebearer, the UK scene's popularity is growing at home and UK rappers and DJs are earning respect from American artists and fans. plus task force has been voted the best British hip hop act in 2005

Demographics

UK hip hop is similar to its US counterpart, but has its own unique hallmarks. In the sense that US hip-hop usually comes from poor areas, most of the music from the UK is produced by rappers in their bedrooms, from multi-cultural backgrounds and different areas of the country, with different styles of life. UK hip hop also usually comes from the main urban areas: London, Glasgow, Birmingham, Nottingham, Sheffield, Leeds,and Manchester, but also from many other smaller cities and towns.

History

Early years: 1980s

Music of the United Kingdom
History	Nationalities
Early popular music	England
1950s and 60s	Scotland
1970s	Wales
1980s	Ireland
1990s to present	Caribbean and Indian
Genres: (Samples) Classical - Folk - Hip hop - Opera - Popular - Rock - Jazz
Timeline: 1999 - 2000 - 2001 - 2002 - 2003 2004 - 2005 - 2006 - 2007
Awards	Mercury, BRIT Awards
Charts	UK Singles Chart, UK classical chart, UK Albums Chart
Festivals	Glastonbury Festival, The Proms, Homelands, Creamfields, Cambridge Folk Festival, Eisteddfodd, Download Festival, Reading and Leeds Festivals, V Festival, T in the Park, Isle of Wight Festival
Media	NME - Melody Maker
National anthem	"God Save the Queen"
Regions and territories
Birmingham - Cornwall - Man - Manchester - Northumbria - Somerset Anguilla - Bermuda - Cayman Islands - Gibraltar - Montserrat - Turks and Caicos - Virgin Islands

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. As such, it's hard to pin it down to any one originator or birth place: by the early 1980s the scene was starting to grow, with its supporters predominantly listening to and influenced by American hip hop. Cross pollination through migrating West Indians (who were influential in the growth of Hip Hop's birthplace of New York helped develop a community interested in the music. There were, however, British tunes starting to appear - the first ever British hip hop tune released on record was "London Bridge" by Newtrament and released on Jive records in 1984,^[5] but prior to this British artists were rapping live or recording tapes which were passed around from fan to fan. There were earlier mainstream pop records which dabbled with rap - such as Adam and the Ants' "Ant Rap" from the Prince Charming (CBS, 1981) LP, Wham's "Wham Rap (Enjoy What You Do)" (Inner Vision, 1982) or Malcolm McLaren's "Buffalo Gals" (Charisma, 1982) - but these are generally considered pop appropriations of US rap, rather than the dawn of British hip hop culture. However, there are arguments to the contrary, such as this one by Greg Wilson.

Over the next few years, more UK hip hop and electro music started to sneak out: Street Sounds Electro UK (Street Sounds, 1984), which was produced by Greg Wilson and featured an early appearance from MC Kermit, who later went on to form the Wilson produced Ruthless Rap Assassins; The Rapologists' "Kids Rap/Party Rap" (Billy Boy, 1984); DJ Richie Rich's "Don't Be Flash" (Spin Offs, 1985). Releases were still few and far between, however, and the scene remained predominantly underground and live.

Although record labels were starting to take note of the underground scene, radio play and publicity were still a major difficulty in helping the fledgling scene to grow: this would be a major problem throughout the 1980s and 1990s for British hip hop, and often the scene only managed to survive through word of mouth and the patronage of pirate radio stations which blossomed (and, more often than not, then disappeared) around the country. However, mainstream radio did play British hip hop on occasion, and instrumental in bringing the scene to the attention of the country at large were DJs like Dave Pearce and Tim Westwood, and particularly John Peel who often championed British rappers to his diverse audience.

The first British hip hop labels

A major milestone in the history of British hip hop was the creation of the first UK record label devoted to releasing UK hip hop acts in 1986. Simon Harris' Music of Life record label brought the underground scene into the light, primarily through the success of rapper Derek B - the first UK rapper to achieve chart success.

Building on Derek B's success, Music of Life went on to discover and sign legendary British hip hop groups, such as Hijack, the Demon Boyz, Hardnoise (later Son of Noise) and MC Duke. Their Hard as Hell series fast became essential listening for the discerning British hip hop fan, mixing homegrown talent like Thrashpack and the She Rockers with attention getting US artists such as Professor Griff. Music of Life laid the foundations for other UK hip hop record labels to be founded, such as Mango Records and Kold Sweat.

Moving away from its US roots, British hip hop started to develop its own sounds: pioneers like Hijack, II Tone Committee, Hardnoise, and Silver Bullet developed the fast and hardcore style that is primarily associated with the scene, but many other rappers and groups didn't feel comfortable within this style and took their influences from elsewhere. Caveman and Outlaw Posse developed a jazz influenced style, whilst MC Mell'O' rested comfortably in between jazz and hardcore. London Posse and Black Radical Mk II were more influenced by Reggae, whilst the Wee Papa Girl Rappers, Cookie Crew and Monie Love produced more radio friendly hip hop, and achieved chart success with it. Other groups developed from the hip hop scene, bringing their own influences to it so successfully that they were considered so different to hip hop that new genres sprang up to describe them - Massive Attack^[6] with trip hop, or Galliano with Acid Jazz for example.

Underground British/UK Hip-Hop Labels

As well as many 'real' record labels, due to the nature of the creation of British Hip-Hop, (usually created within bedrooms, home-studios, etc.) many 'Underground Labels' now exist, (Rhythm & Rhyme for example). These underground labels are not 'real' labels in the fact that they do not exist as a registered business, have no real commercial power and are not able to distribute professional audio media, such as CDs to commercial retailers.

The reason that these underground labels and production labels exist is due to the fact that nearly all British Hip-Hop exists underground as the commercial British Hip-Hop scene is largely undeveloped. An underground label will spread their own name, and in-turn spread the name of every underground artist they have produced, thus gaining underground scene exposure and popularity for underground artists, whereas a commercial label would gain commercial scene exposure and popularity for commercial artists.

Until British/UK Hip-Hop expands to the point where it thrives like US Hip-Hop does, many, many underground labels will continue exist and the most popular underground artists will continue to gain nearly as much exposure to the listeners as a commercial artists would.

False dawn: 1985

Despite the chart success of some British hip hop artists - for example London born Slick Rick, Young MC and Zev Love X, who all moved to the US at an early age - the majority of the scene was still underground and small scale. A mindset began to develop - best typified by the Gunshot tune "No Sell Out" (Vinyl Solution, 1991) or Son of Noise's tune "Poor But Hardcore" from The Mighty Son of Noise (Kold Sweat, 1992) - that distrusted artists who achieved chart success without utilising the hardcore style most associated with the scene. Silver Bullet's chart success was applauded because of an uncompromisingly rapid delivery, whereas Derek B and Rebel MC were scorned when their more pop influenced, unchallenging lyrics earned them success. Divisions like this within the community made it more difficult for British artists to achieve success for fear of being branded "sell outs".

However, things did look promising: Hip Hop Connection - the first major British hip hop magazine - was founded in 1989 and by the early 1990s, the British hip hop scene seemed to be thriving. Not only was there a firm base of rappers in London - legends such as Blade, Black Radical Mk II and Overlord X - but outside of the capital many cities were developing their own distinct scenes. Bristol's scene (specifically, the St. Pauls area) produced The Wild Bunch (later better known as Massive Attack), and major crews like the Scratch Perverts and Smith & Mighty, and later became the home of trip hop. Nottingham was the birthplace of the Stereo MCs, whilst Leeds gave us Braintax and Breaking the Illusion (who between them revolutionized the scene by founding Low Life Records) as well as Nightmares on Wax. Greater Manchester gave birth to the Ruthless Rap Assassins, Krispy 3 (later Krispy), the Kaliphz and MC Tunes. As the scene grew, it became less and less common for British rappers to imitate American accents (those that did were often ridiculed) and British rap became much more assured of its own identity.

Caveman signed to a major label - Profile Records, the label home of Run DMC - and Kold Sweat came into their own, discovering groups like The SL Troopers, Dynametrix,Unanimous Decision and Katch 22, whose "Diary of a Blackman" was banned by Radio 1 for using a sound clip from the National Front. In 1991, Hijack released The Horns of Jericho (Rhyme Syndicate Records, 1991) on Ice-T's recently formed Rhyme Syndicate label. The first single, "The Badman is Robbin'", was a top 40 hit and the crew went on sell more than 30,000 albums.

And yet the predicted UK hip hop boom never quite arrived. The Horns of Jericho (Rhyme Syndicate Records, 1991) was never released in the US, and record companies were dropping artists from their lists, citing poor sales and lack on interest. Mango Records was closed down, leaving more UK hip hop artists labelless, and to make matters worse the British public began to turn their affections to drum n bass (jungle), a fusion of hip hop and ragga. British hip hop was also hard hit by the record industry waking up to the implications of sampling, and beginning to charge for the use of samples and prosecute those who used them without permission. The larger US acts could afford to licence a few choice samples and still turn a profit for their labels: the smaller UK artists were barely satisfying their labels' desire for profits as it was, without incurring additional costs from licensing samples.

Between the mid-1990s and the start of 2000, many of the old guard of British hip hop laid down their microphones and got jobs in the real world, and the scene that threatened to become mainstream at any moment remained firmly underground.

The next generation

But as the old rappers left the scene, the second generation - raised on hip hop and electronica - were coming of age: The Herbaliser released Remedies (Ninja Tune, 1995), Mr Scruff released the "Frolic EP Pt 1" (Pleasure Music, 1995), Mark B released "Any More Questions?" (Jazz Fudge, 1995) and DJ Skitz released "Where My Mind Is At/Blessed Be The Manor" (Ronin Records, 1996) featuring a young rapper called Roots Manuva on guest vocals who had impressed the year previously with his single "Next Type of Motion" (Sound of Money, 1995). New record labels that attempted to merge British hip hop style and sensibilities with modern dance music began to crop up and get noticed, like Mark Rae's Grand Central ( which was home to Aim, Rae & Christian, and Fingathing, among others ) or DJ Vadim's Jazz Fudge. Increasingly, these artists managed to avoid the issues surrounding the use of samples by making music themselves (bands such as the Stereo MCs began playing instruments, and then sampling their own tunes for their records) or searching out more obscure records where a most cost effective licensing deal could be arranged (or the sample could be used with a high degree of certainty that the original artist would never hear about it).

British hip hop began to go through a renaissance,^[7] its style shifting from the previous fast hardcore template of its early years and moving into more melodic territory. Mark B and Blade teamed up to record the "Hitmen for Hire EP" (Jazz Fudge, 1998), which featured guest appearances from rising stars Lewis Parker and Mr Thing (of the Scratch Perverts). The EP was a success, and lead to the album The Unknown (Word Play, 2001) and chart success. Roots Manuva, Blak Twang, Mud Family, Task Force, Phi Life Cypher, Jeep Beat Collective and Ty all came to the public's attention, and oldschool legends Rodney P, Mike J, and MC Mell'O' returned to the scene.

21st century

The birth of black music radio station BBC 1Xtra, in 2002 provided another outlet for hip hop artists, with the genre being a core part of the station's output.^[8] The station, available online, DAB radio and digital television showcases many UK acts including the likes of Sway, Klashnekoff and devotes an entire weekend to hip hop every September.^[9] Further new generation artists emerged following the turn of the century, including Nicky Spesh, Foreign Beggars and Jehst. But at the same time British hip hop also blossomed in new directions, with a new style of electronic music emerging in the early 2000s, influenced heavily by hip hop and UK garage. The new genre was dubbed grime, but is sometimes called eskibeat or sublow. Notable artists in this first wave include Dizzee Rascal, J-Dawg, Wiley, Sway DaSafo, Lady Sovereign and Kano. There is some controversy over whether grime is just a subgenre of British hip hop or a genre in its own right. Controversy over grime itself such as the regular references to gun culture. Early records such as Pow (Forward Riddim) by grime artist, Lethal Bizzle (and other artists) made numerous references to guns and was subsequently banned from all air play. Even the spoof gangster story "A Fishy Tale" by Nicky Spesh was pulled from Channel U and MTV despite clearly poking fun at such a culture.

Further success followed as The Streets released his album Original Pirate Material (679 Records, 2002), and became one of the first of the new breed of British hip hop artists to gain respectable sales, although his speaking style marked a departure from rapping and resulted in him being shunned by many artists in the scene. However limited commercial success has once again got major record labels looking for the next big thing in British hip hop, and television and radio giving airplay to British hip hop artists like Skinnyman as well as their American counterparts. Artists like Goldie Lookin' Chain also use hip hop and rap in their own way to achieve chart success.

In November 2005, the BBC News website picked up on the growing success of what it called Brithop, a term used to describe the growing number of urban, hip-hop and grime acts emerging in the 21st century.<ref name="brithop" /> The BBC article followed the success of rapper Sway at the MOBO awards. Touch Magazine^[10]also had a leader article on the UK hip-hop scene in November 2005. It included articles about Kano, Rok-Wila, Klashnekoff and Lethal Bizzle.

The Greatest 50 Albums of British Hip Hop

Recently, British magazine, Hip Hop Connection featured the 50 greatest UK Hip Hop albums of all time in their August Issue. The list was as follows;

50. Sindecut - Changing The Scenery
49. Cookie Crew - Born This Way
48. New Flesh - Understanding
47. Ruthless Rap Assassins - The Killer Album
46. Infinite Livez - Bush Meat
45. Braintax - Panorama
44. Blak Twang - Kik Off
43. Stereo MC's - 33-45-78
42. Roots Manuva - Run Come Save Me
41. Diversion Tactics - Pubs, Drunks & Hip Hop
40. Yungun & Mr Thing - Grown Man Business
39. Jehst - Falling Down
38. Outlaw Posse - My Afro's On Fire
37. Silver Bullet - Bring Down The Walls No Limit Squad Returns
36. Ty - Upwards
35. The Mitchell Brothers - A Breath Of Fresh Attire
34. The Brotherhood - Elementals
33. Parlour Talk - Padlocked Tonic
32. Cappo - Spaz The World
31. Roots Manuva - Brand New Second Hand
30. Silent Eclipse - Psychological Enslavement
29. Vicious Circle - Bagged Out
28. Aspects - Correct English
27. Overlord X - Weapon Is My Lyric
26. Son Of Noise - The Mighty Son Of Noise
25. Dizzee Rascal - Boy In Da Corner
24. MC Duke - Organised Rhyme
23. Skitz - Countryman
22. Black Radical Mk II - The Undiluted Truth
21. Demon Boyz - Original Guidance
20. Various Artists - 1989 Live Hustlers Convention
19. Katch 22 - Diary Of A Black Man Living In The Land Of The Lost
18. Blade - The Lion Goes From Strength To Strength
17. First Down - World Service
16. Fallacy - Blackmarket Boy
15. Skinnyman - Council Estate Of Mind
14. Roots Manuva - Awfully Deep
13. Foreign Beggars- Asylum Speakers
12. Fleapit - Music From The Ditch
11. Task Force - New Mic Order
10. Mark B & Blade - The Unknown
9. Caveman - Positive Reaction
8. Gunshot - Patriot Games
7. Lewis Parker - Masquerades & Silhouettes
6. Katch 22 - Dark Tales From Two Cities
5. Blak Twang - Dettwork Southeast
4. MC Mell'o' - Thoughts Released Revelation 1
3. Demon Boyz - Recognition
2. Hijack - Horns Of Jericho
1. London Posse - Gangster Chronicle

References

See also

• Music of the United Kingdom
• Hip hop
• Grime
• UK garage
• Scottish hip-hop

External links

• UK Hip Hop Producer
• The largest UK Hip-Hop source on the Internet
• Low Life Records history of UK Hip Hop
• Largest UK Hip Hop Forum and Resources
• Channel U
• LHHS - UK Hip Hop Resources
• Evil Twin Records
• Lowlife Records
• BloodCypherRyme
• Skinnyman's offical website
• Skinnyman's official myspace

Hip Hop and Rap Music

Music: Production - Rapping - Beatboxing - Beats - DJing - Turntablism Culture: Breakdance - Graffiti - Fashion - Dance : - - - History: Roots - Old School - Golden Age - New School - 2007 in hip hop Genres: Abstract - Alternative - Bounce - Chopped & Screwed - Christian - Conscious - Country - Crunk - Dirty - Dirty South - Electro - Emo - Freestyle - Gangsta - G-funk - Ghettotech - Glitch hop - Hardcore - Hip hop soul - Hip house - Horrorcore - Hype Hop - Hyphy - Instrumental - Jazz - Latin - Mafioso - Merenrap - Miami bass - Mobb - Neo soul - Nerdcore - New jack swing - Political - Pop - Rapcore - Ragga - Reggaetn - Snap - Urban Pasifika World hip hop: African - Arabic - Asian - European - Latin American - Middle Eastern - Albanian - Algerian - American - Angolan - Australian - Azerbaijani - Bahraini - Belgian - Bosnian and Herzegovinan - Botswana - Brazilian - British - Bulgarian - Canadian - Cape Verdean - Chinese (Hong Kong) - Congolese - Cuban - Czech - Danish - Dominican - Dutch - Egyptian - Filipino - Finnish - French - Gambian - German - Ghanaian - Greek - Greenlandic - Guinean - Hungarian - Icelandic - Indian - Indonesian - Iranian - Irish - Israeli - Italian - Ivoirian - Japanese - Kenyan - Korean - Macedonian - Malagasy - Malaysian - Malian - Mexican - Moroccan - Native American - Nepalese - New Zealand - Nigerian - Norwegian - Polish - Portuguese - Romanian - Russian - Rwandan - Salvadoran - Senegalese - Serbian - Slovak - Slovenian - South African - Spanish - Swedish - Swiss - Taiwanese - Tanzanian - Togolese - Turkish - Ugandan - Ukrainian - Zimbabwean

Dancehall is a type of Jamaican popular music which developed around the late 70's, with exponents such as Yellowman and Shabba Ranks. It is also known as bashment.
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For other meanings see Toast (disambiguation).

Toasting, Chatting, or Deejaying is the act of talking or chanting over a rhythm or beat. The lyrics can be both improvised or pre-written.
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Rhythm and blues (also known as R&B or RnB) is a popular music genre combining jazz, gospel, and blues influences, first performed by African American artists.
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Disco is a genre of dance-oriented pop music that was popularized in dance clubs (discothèques) in the mid-1970s. Disco songs usually have soaring, often reverberated vocals over a steady four-on-the-floor beat, an eighth note (quaver) or sixteenth note (semi-quaver) hi-hat pattern
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For other uses, including related musical genres, see .

Funk is an American musical style that originated in the mid- to late-1960s when African American musicians blended soul music, soul jazz and R&B into a rhythmic, danceable new form of music.
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Centuries: 19th century - 20th century - 21st century

1930s 1940s 1950s - 1960s - 1970s 1980s 1990s
1960 1961 1962 1963 1964
1965 1966 1967 1968 1969

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Their 1960s decade refers to the years from 1960 to 1969, inclusive.
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Centuries: 19th century - 20th century - 21st century

1940s 1950s 1960s - 1970s - 1980s 1990s 2000s
1970 1971 1972 1973 1974
1975 1976 1977 1978 1979

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- The 1970s decade refers to the years from 1970 to 1979, also called
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Kingston and St Andrew Corporation
Kingston skyline, circa 2003
Motto: A City That Hath Foundations
Location of Kingston shown within Jamaica
Coordinates:
Country Jamaica
County
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The Bronx is New York City's northernmost borough, coterminous with Bronx County. The Bronx is located Northeast of Manhattan. It is the only one of the city's five boroughs situated primarily on the United States mainland rather than on an island.
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City of New York
New York City at sunset

Flag
Seal
Nickname: The Big Apple, Gotham, The City that Never Sleeps
Location in the state of New York
Coordinates:
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A musical instrument is a device constructed or modified with the purpose of making music. In principle anything that, produces sound, and can somehow be controlled by a person playing it, can serve as a musical instrument.
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Turntablism is the art of manipulating sounds and creating music using phonograph turntables and a DJ mixer. The term was created in 1994 by DJ Supreme to describe the difference between a DJ who just plays records, and one who actually performs, by touching and moving the records
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A drum machine is an electronic musical instrument designed to imitate the sound of drums and/or other percussion instruments. Drum machines are very useful instruments for a wide variety of musical genres, not just purely electronic music.
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sampler is an electronic music instrument closely related to a synthesizer. Instead of generating sounds from scratch, however, a sampler starts with multiple recordings (or “samples”) of different sounds, and then plays each back based on how the instrument is
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Synthesizer is generally any kind of electronic musical instrument, or electronic device capable of producing or manipulating audio tones, such as musical notes, through audio signal processing.
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Beatboxing is the art of vocal percussion. Although the term beatboxing derived from hip hop culture, it is not limited to hip hop music. It is primarily concerned with the art of producing drum beats, rhythm, and musical sounds using one's mouth, lips, tongue, voice, and
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worldwide view of the subject.
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This article may contain original research or unverified claims.

Please help Wikipedia by adding references.

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Centuries: 19th century - 20th century - 21st century

1960s 1970s 1980s - 1990s - 2000s 2010s 2020s
1990 1991 1992 1993 1994
1995 1996 1997 1998 1999

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For the band, see .

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Centuries: 20th century - 21st century - 22nd century

1970s 1980s 1990s - 2000s - 2010s 2020s 2030s
2000 2001 2002 2003 2004
2005 2006 2007 2008 2009

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The 2000s is the current decade, spanning from 2000 to 2009.
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Trip hop (also known as the Bristol sound or Bristol acid rap) is a term coined by music journalist Andy Pemberton in the UK magazine Mixmag to describe the hip hop instrumental "In/Flux", a 1993 single by DJ Shadow, and other similar tracks released
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Grime may refer to:

• Grime, a word for soot or other forms of dirt
• Grime (music), a genre of music
• GrimE, an adventure game engine
• Grime (album), an album by Danish death metal band Iniquity
• J.

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See also:

Hip hop music can be subdivided into subgenres, fusions with other genres and regional hip hop scenes.

Styles

Styles of hip-hop which do not associate with a region of the world.
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Abstract hip hop is a subgenre of alternative hip hop that differs from other hip hop music largely in the content of the lyrics. In stark contrast to gangsta rap, which generally deals with living in poor urban neighborhoods and real or imagined aspects of gang life, abstract hip
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Alternative hip hop (also known as alternative rap) is a genre that is defined in greatly varying ways. All Music Guide defines it as follows:

Alternative Rap refers to hip-hop groups that refuse to conform to any of the traditional stereotypes of rap,

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Chopped and screwed (or screwed and chopped), slowed and throwed, Houston music, H-Town music, screw music, screw, and dragged and chopped all refer to a technique of remixing hip hop music.
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Christian Hip Hop (originally Gospel Rap, also known as Holy Hip Hop or Christ hop) is a form of hip hop music which uses Christian themes to express the songwriter's faith.
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Conscious hip hop is a subgenre of alternative hip hop which focuses on social issues. It differs from political hip hop in that it is not necessarily overtly political, but still focuses on social issues and conflicts.
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Crunk is a genre of hip-hop music. Unlike the East Coast style of hip hop, crunk has a high-energy and club-oriented feel. While other hip hop styles might involve a more conversational vocal delivery, crunk usually involves hoarse chants and repetitive, simple refrains.
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For the record label, see G-Funk Entertainment

G-funk, or "Gangsta Funk", is a type of hip hop music that emerged from West Coast gangsta rap in the early 1990s.
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"Hardcore Hip Hop" is also the title of a single by DJ Shadow.

Hardcore hip hop is a form of hip hop music characterized by confrontation and aggression in its subject matter, heavy beats, raw sampling and production, or any combination thereof.
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