Jungle music, as a scene, was unable to decide whether it wanted to be recognised in the mainstream or if it wanted to avoid misrepresentation. The underground classic "Burial" by Leviticus would see a major release on FFRR Records. Of these, Roni Size and 4hero would achieve wider commercial success as drum and bass artists, but continued to release more underground jungle tracks - the latter adopting the alias Tom & Jerry to continue to release rare groove sampling dancefloor-oriented jungle.
Major labels such as Sony and BMG were signing deals with artists including A Guy Called Gerald, Kemet, and DJ Ron. A year later, the UK's nationwide broadcaster BBC Radio 1 finally gave jungle a platform on its One in the Jungle weekly show. London's Kiss 100 launched its Givin' It Up show in early 1994 and featured DJs such as Kenny Ken, Jumpin Jack Frost, DJ Rap, and Mickey Finn. Having previously been confined to pirate radio, legal stations woke up to jungle from 1994. Labels such as Ibiza, 3rd Party and Kemet were prolific in their releases. Although Levy always argued that his comments were misinterpreted, this did not fail to stop a boycott of the single amongst a group of DJs that were dubbed as the "Jungle Committee". A controversy raged over the success of "Incredible" when Levy reportedly made comments in the media that he was "running jungle at the moment".
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At this stage, the genre was spawning a number of UK top 40 hits, most notably " Incredible" by M-Beat featuring General Levy, and spawned a series of CD compilations such as Jungle Mania and Jungle Hits. Jungle reached the peak of its popularity in 1994/1995. Rise and popularity Īll Junglists, seminal Channel 4 documentary 1994 Reynolds noted the audience of the genre evolved alongside the music itself going from a "sweaty, shirtless white teenager, grinning and gurning" to a "head nodding, stylishly dressed black twenty something with hooded-eyes, holding a spliff in one hand and a bottle of champagne in the other." Jungle also served as "a site for a battle between contesting notions of blackness". Musically, Jungle's spatialised production, bass quake pressure and battery of extreme sonic effects, make it a sort of postmodern dub music on steroids." This is an example of the effects of the sonic diaspora and the wide influence musical genres have Jungle is where these different Black Atlantic genres converge. That said, you could equally make the case that jungle is a raved-up, digitised offshoot of Jamaican reggae. According to Simon Reynolds, jungle was like: "Britain's very own equivalent to US hip-hop. Techniques and styles could be traced to such a vast group of influencers, each adding their own little elements.
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Tracks would span breakbeat styles, particularly with darkcore, with notable releases including "Darkage" by DJ Solo, " Valley of the Shadows" by Origin Unknown, "Set Me Free" by Potential Bad Boy, " 28 Gun Bad Boy" by A Guy Called Gerald, "Crackman" by DJ Ron, "A London Sumtin" by Code 071, "Learning from My Brother" by Family of Intelligence, "Lion of Judah" by X Project, and "Be Free" by Noise Factory. The sound was championed at clubs such as A.W.O.L., Roast, and Telepathy, by DJs such as DJ Ron, DJ Hype, Mickey Finn, DJ Rap, DJ Dextrous, and Kenny Ken, record labels Moving Shadow, V Recordings, Suburban Base, and Renk, and on pirate radio stations such as Kool FM (regarded as being the most instrumental station in the development of jungle) but also Don FM, Rush, and Rude FM.
ĭuring 19, the phrases "jungle techno" and "hardcore jungle" proliferated to describe that shift of the music from breakbeat hardcore to jungle. The track " We Are I.E." by Lennie De-Ice is often credited as being the track that laid down the foundations for jungle with its ragga bassline. Reggae samples and reggae influenced tracks had been a feature of many breakbeat hardcore tracks since 1990 particularly from producers such as Shut Up and Dance, however Ibiza Records, and the Rebel MC were arguably the first to bring the sound system influence solidly into releases. The piano and uplifting vocal style that was prevalent in breakbeat hardcore started to lay down the foundations of 4-beat/ happy hardcore, whilst tracks with dark-themed samples and industrial style stabs had emerged from late 1992 and named darkcore. The breakbeat hardcore scene of the early 1990s was beginning to fragment by 1992/1993, with different influences becoming less common together in tracks.
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