"From Lamppost To Lamppost We Run The Roads"

Kano sprinted back to the scene this year while copies of London Town were hurled at him from behind. His newly-acquired sunglasses dearly dangled from one ear, trying to save themselves from a trampling by the chasing, marauding masses who expected better after a promising debut. Efforts at a mellower sound for these ungrateful gits fell flatter than a Lenny Henry gig, and the divorce from 679 Recordings followed.

Credit where it's due, and at least Kano is still going, unlike his former label who've made a few changes. He's even restored some credibility with the release of 140 Grime Street, which was a good CD that couldn't even be dragged down by the inclusion of Soldier. It's no coincidence that the big names uniting on the album resulted in its best three tracks. In this context, Soldier didn't matter.

Kano has given a lot to the scene this year. His return has proved a catalyst for grime's biggest names to stop slyly looking at each other's myspaces and actually work together. Wiley, Skepta and Chipmunk enjoyed a trip to Radio 1's Big Weekend in Maidstone and, by jumping out of the woodwork and delivering the P's & Q's bars, the Garden of England bloomed into life. Kano officially marked his return.


The Provincial Pleasures of Maidstone High Street

However, it was surpassed by the concert at the 02 Arena, and 'The Greatest Grime Show On Earth' exorcised the demons of the place once being the Millenium Dome and just a big waste of money. The general unity is reflected currently; Wiley and Ghetts proudly place one another in their Myspace top friends, a sure sign of affinity, and one that quashes the two's temper-tantrums about vocalling Rude Kid's The Best earlier this year, not to mention bigger battles in the more distant past.

Kano's return has also made Skepta and Ghetts peculiarly pally, and the two both featured on Logan Sama's 140 Grime Street show, one of my favourite sets this year. Skeppy's allegations of Ghetts sending for him 'every two minutes' were replaced by interchanges of 'buss one' and 'god forgive me', a lovely moment as well as proof that Skepta must have listened to the CD before he threw it in the bin. He's recently shown signs of normality, relapsing into a few old words for Ghetto on Westwood, but there's still the impression that progress has been made.

'Politics', and the scene's best talent not combining often enough, has been to grime's detriment in recent times. Maybe things are changing.

'I'll Leave Your Head-Piece Open, On The Door-Step With The Front Door Open'

Lord of the Decks is a grime institution that needs reviving. It was consistent, and their soundtracks were some of the best ever and epitomised the sound. I always liked the first one, with Crazy Titch's Destruction vocal, Esco's version of Ice Rink 2, and N.A.S.T.Y's Take You Out. The first Lord of the Decks and its shameless imitation of The Lord Of The Rings is full of character, and 'The Fellowship Of The Mic' is poetry. It's refreshing to look back on something like that now, amidst the hygienic yet necessary professionalism that's needed to market yourself these days.

The fellowship of the mic was represented on the DVD for the third edition, which is one of the best bits of grime footage I've ever seen. They might lack quality control, but I love grime DVDs, and there's always priceless moments that have replay value.



The footage of Kano's, D Double's, Jammer's, and Lethal B's weekend in Berlin has a ridiculous amount of highlights, including Jammer getting into the car for the airport at 4 in the morning while still blazing, Kano in the recovery position on the plane and scared shitless while Jammer and Lethal do their best to drown out the public service announcement, and Jammer laughing at D Double E's bag because it was made by Hi-Tec.

Jammer is the centre of everything comic, but his tour-de-force is yet to come. The records are left in the hotel room with the keys, and Kano just stands there as Jammer tries to kick down the door. While yelling 'POOOOOWW'! 'POOOOOWWW'!

After numerous attempts, the Merkle Man flies in mid-air, both feet extended for the aerial dropkick, the camera going into slow-motion, and Jammer eventually breaks in, only to fall on the floor in the moment of victory.

Bizzle described it best, in probably the best monologue Germany has ever heard.

'It's all mad out here but, did you just see that shit? It's fucking nuts, Jammer fucking Superman Dread licking off fucking doors and shit, see me rudeboy, IT'S REAL, THE BIZZLE, WE'RE IN FUCKING GERMANY, you see me, man are late for the gig, man are on some BLACK PEOPLE'S TIME, YOU SEE MEEE'

A lively weekend with even livelier grime ambassadors. Over four years on, they've all done alright for themselves. Where have the characters gone?

'She's Wearing The Rolex I'll Be Like Pass Me The Watch'

I used to dislike Westwood but, through listening to his shows more often after becoming a self-appointed grime patron, I've come to accept he has comic value. That said I rarely tune in to his show on a Sunday night. Rinse FM had a promising line-up but technology fucked off when it was needed so, with some thoroughly legal BBC backing, Westwood passed over the airwaves. I locked in.

Asher D turned up with Swindle and Realist. I rate Asher highly; he's released a lot of material, he was one of my favourite MCs in the So Solid Crew, and Bullet Boy was one of the best urban UK films I've seen. Not that making a UK urban film that's better than the rest is that difficult, but it was a good film all the same. He seems to have a plan with his label AD82 as well, and his recent signing of Realist seems shrewd, even if it's too early to make any major conclusions about it all.



Swindle is also a part of the AD82 roster but, unfortunately, Westwood wasn't too clued up on his movements, so had to ask what he was about. Swindle replied he released his 140 Mixtape, surely grateful for any sort of plug, only for Westwood to ruin everything by piping up with 'what dawg, Kano's joint'?

I laughed.

Westwood covered his tracks by suggesting Kano might have had a bite on the title name. He did quite a good job of it. Realist also did a good job too, barring over Nocturnal's Stay Down The Road remix which was a good selection that matched the hype. The bars were grimey but he also came across as a courteous chap in bigging up his mum not once, but twice.



A quick detour. I finally got round to listening to 140 Grime Street recently. After a few listens, it's not bad. There's some pretty good tracks on there, although some did make me wince, such as Don't Come Around Here, on which I expected Lil' John to start growling at any moment, and the totally unforgettable Soldier. The accapellas are good lyrically, but they highlight the newish, Kano slur, and Missing Me concludes with 'I garaged it, hip-hopped it, ragga'ed it, now it's back to grime because they've been missing me like Madeleine'.

...

140 Grime Street is a misleading title but it's a decent effort overall, with Hustler, Hunting We Will Go, These MCs, Anywhere We Go, and Seems Like Things Have Changed lighting the way. A journalist from the Guardian called the album 'tremendously heartening'. I think that's going a little far, but everyone is entitled to their opinion and, generally, I did enjoy the album. The Guardian article also claims that the album is a step 'back on the right path'. Hopefully Kano treads that path for a while yet.