![]() ![]() MC’s such as Fearless, Skibadee and Stevie Hyper D (RIP) became renowned for their ability to write rhymes, interact with the crowd, and work with the DJ on a whole new level. The straightforward beats and drops in jump-up allowed MC’s the opportunity to deliver lyrical content in ways they were previously unable to. This was also the time when MC’s began to take centre-stage and soak up some of the limelight for themselves. As outside interest shifted away from the likes of Photek and Source Direct, the new kings of the crossover market turned out to be jump up producers such as Aphrodite and DJ Zinc. In fact there was a time when you could seldom pick up a new Hip Hop or House release without finding an Urban Takeover or Ganja Kru remix on the flip. The funny thing is, that despite stepping away from intricate and complex musical arrangements Jump-Up did nothing to damage D&B’s appeal within the wider music community. As the Prisoners of Technology politely wrote in the notes of their Bass 1999 album, “They make crazy Jump Up music for crazy party people, and if that’s not good enough for you then f*ck off!” Jump-Up was care-free music that existed for the sole reason of making people dance, which for all intents and purposes took rave music back to its original core values. The Jump-Up of the mid to late 90’s made no apologies for its basic makeup – In fact it positively revelled in sticking two fingers up at those caught up in self-absorbed naval gazing. The formula was simple: Take the drums from your last record, slightly re-arrange the bassline, stick a well known Hip Hop sample in there, and bam! – Your next release was ready for the pressing plant.
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