This is the instrumental version of the hip house track “Let’s Dance”, produced by UK artists Kurtis Ingram and Michael King. Despite its quality and historical significance, this one flew under the radar — even among seasoned vinyl diggers. I came across it purely by chance while crate-digging in Belgium, and it absolutely deserves more attention.

What makes this track special is its early use of the Amen break, which was still a rarity in 1990. At the time, the Amen was primarily heard in late ’80s hip hop, not in club-oriented music. Here, it’s layered over a straight 4/4 house beat, making the track one of the earliest bridges between hip hop, house, and the future Jungle sound.

In hindsight, “Let’s Dance (Instrumental)” stands among a handful of foundational records that hinted at the UK hardcore and Jungle techno sound still to come. Both producers later moved deeper into the hardcore scene — but this track captures a unique moment when genres were starting to collide.

https://short-link.me/18fJG

Also recommended:
Success-N-Effect - Roll It Up (Bass Kickin Beats) (1989)
Rebel MC - Comin On Strong (Rum & Black Mix) (1990)
Shut Up And Dance - £10 To Get In (Hiphop Mix) (1990)
Meat Beat Manifesto – Helter Skelter (1990)
Lennie De Ice - We Are I.E. (1991)
Carl Cox - Let The Bass Kick (1991)

4 Hero was a London-based collective originally founded by Mark “Marc Mac” Clair and Dennis “Dego” McFarlane, alongside Gus Lawrence and Iain Bardouille, who both departed around early 1992 after the release of the group’s debut album.
Their breakout track “Mr Kirk’s Nightmare” dropped in 1990 as the second release on their own imprint, Reinforced Records. The tune quickly became a definitive anthem of the darkside hardcore era, blending heavy breakbeats, eerie atmospheres, bleepy bass stabs, and a haunting vocal sample lifted from Think’s anti-drug track “Once You Understand.”
At first, 4 Hero didn’t expect the track to blow up. It was originally released alongside two other tunes on the same side of the vinyl — which compromised the pressing quality. But after realizing its dancefloor impact, they gave it a proper standalone reissue as Reinforced 003, pressing “Mr Kirk’s Nightmare” alone on one side of the 12" to preserve the full sonic weight. A true classic that helped define the early UK hardcore and proto-jungle movement.

https://short-link.me/13ZlT

Also recommended:
Humanoid – Stakker Humanoid (1988)
Renegade Soundwave - Ozone Breakdown (Original Version) (1989)
Silver Bullet – 20 Seconds To Comply (The Final Conflict) (1989)
Future Sound Of London – Papua New Guinea (12" Original) (1991)

Smiley (Carlton Hyman) and PJ (Philip Johnson) came out of the UK hip-hop scene. Their influence on late-80s and early-90s British club music is hard to overstate — they built a vital bridge between street-level hip hop, reggae culture, and the emerging sounds of rave-oriented electronic music. They broke all the rules of production: sampling and mashing up whatever they wanted, with no concern for licensing or industry norms. Their raw, DIY approach inspired an entire generation of early ’90s producers.

“Derek Went Mad” was originally released in 1990 on their debut album Dance Before The Police Come! via their own label, Shut Up And Dance. To gain traction among DJs and pirate radio stations, a 7″ single was released in 1991 — this is the version featured in the current mix.

Once again, we hear the Amen break, this time layered with additional percussion and a heavy, aggressive bassline. What makes the track unique is how clearly it captures a transitional moment: the fusion of Jamaican music traditions with the energy of the Britcore scene — the UK’s own high-octane take on hip hop — into what would become known as UK hardcore. The track is built on fast, broken rhythms, dense sample work, and sharp-edged vocals — all signature traits of the first wave of early ’90s raves. “We were just trying to make hip hop that people could dance to — that’s where the name Shut Up and Dance came from,” they later explained in interviews.

https://short-link.me/13Znk

Also recommended:
The Ragga Twins - Juggling (1991)
N-Joi - Techno Gangsters (1991)
SLII - Bassquake (Demolition Mix) (1991)
G Double E – Fire When Ready (1991)
The Charm - De-Men-Tation (1991)

Altern 8 were a UK rave duo from Stafford, made up of Mark Archer and Chris Peat, who rose to fame in the early ’90s with their acid breakbeat sound and iconic stage look — yellow and green hazmat suits paired with gas masks branded with the letter “A.” Despite chart success and national recognition, they never lost their underground spirit. Their performances were pure live chaos in the best rave tradition.
“Frequency (Hallucin 8 Mix)” became one of the standout tracks at the intersection of UK hardcore and rave culture in 1991. Altern 8 were known for their squelchy acid lines, pounding breakbeats, and an unpredictable edge that embodied the energy of the warehouse rave era.

This mix features signature sounds from the Roland TB-303 and TR-808, layered with distorted FX and chopped-up vocal samples that create an overloaded, psychedelic atmosphere. “Frequency” was part of the explosive wave that defined early ’90s British rave music and was a staple in many DJ sets of the time.

https://short-link.me/13ZnA

Also recommended:
The Prodigy – What Evil Lurks (1991)
Altern 8 - Infiltrate 202 (1991)
SL2 – DJ's Take Control (1991)
2 Bad Mice – Hold It Down (1991)
Metal Heads - Terminator (1992)
Bodysnatch – Euphony (Just For U London) (Original Mix) (1992)

John Lisners is a UK producer who first gained recognition through his breakout track “Hurt You So”, which led to him signing with XL Recordings. His career took on a second life in the mid-1990s as he began experimenting with jungle, and in 1997 he emerged as one of the pioneers of dark techstep with the single “Piper” and the subsequent album Sawtooth. It was recently revealed that John Lisners was the artist behind the long-mysterious alias Baraka, best known for the underground anthem “I’ll Be There”.

“Hurt You So” was originally released in 1992 as the second record on the small independent label Yo!Yo! Records and quickly became a recognizable underground hit. The label followed up with a third release that included two new mixes of the track — one of which, the S & M Mix, has become the most enduring version today.

The track stands out for the way it contrasts early house music tropes and the playful, “cartoon rave” aesthetic (a style that had only just begun to emerge at the time) with more aggressive breakbeat hardcore elements: fast-cut breakbeats that would later define jungle, sharp edits, and a heavy 303 acid bassline. It’s a perfect snapshot of the moment when UK rave culture was mutating rapidly and cross-pollinating in every direction.

https://short-link.me/18gAd

Also recommended:
L.T. Bukem – Logical Progression (1991)
DJ Seduction – Hardcore Heaven (1991)
Smooth But Hazzardous - Smooth But Hazzardous (1992)
DJ Tango - Can’t Stop The Rush (1991)
Urban Shakedown - Some Justice (Concrete Jungle Mix) (1991)

Sonz Of A Loop Da Loop Era aka Danny Breaks (Daniel Whiddett) is a pioneering UK producer best known later under the alias Danny Breaks. He began his journey working at Boogie Times, a record shop in Romford (UK) opened in 1989, which also operated a forward-thinking label. That label would go on to become the legendary Suburban Base Records, one of the cornerstones of early rave and jungle music.

His debut track, released as the fifth catalog entry on the label, broke into the UK Top 40 — an impressive accomplishment for a first release.

The track in question, "Far Out," was highly original for its time (1991), combining turntable scratching, uplifting rave pianos, fast-paced breakbeat drums, and vocal samples from Sinnamon’s 1983 track "I Need You Now." Its unique style led Suburban Base to re-release the track as "Far Out (Original Scratchadelic Mix)," helping it become a defining rave anthem of the early '90s. The track peaked at #36 on the UK Singles Chart in February 1992.

"Far Out" played a key role in bringing rave and hardcore music out of the underground and into the mainstream. Its chart success and accessible sound helped legitimize the scene to a broader audience. The track’s influence also stretched beyond the UK — for example, it wasn’t officially released in Italy until a full year later, proving its lasting impact across the early European rave landscape.

https://short-link.me/13ZnX

Also recommended:
SL2 – On A Ragga Tip (1992)
DJ's Unite - DJ's Unite Vol 1 (Remix) (1992)
Dub War - Dance Conspiracy (1992)
Sacred - Do It Together (1992)
DJ Krome & Mr. Time - Slammer (1993)

I hope every viewer of this video already knows who The Prodigy are — and fully understands their impact on the entire landscape of electronic music. After releasing Experience in 1992, Liam Howlett began developing his own signature sound, which would later be fully realized on the group’s second album.

His remix for The Magi & Emanation, released on the little-known Boom Records, marks a clear shift away from The Prodigy’s early breakbeat-heavy style and toward the direction that would soon evolve into jungle. Liam sampled the drums from Yolk – Bish Bosh, a track that came out in the second half of 1992, and brought over the elements from the original that caught his ear — all while keeping one key vocal sample: “One Love.”

https://short-link.me/13Zo8

Also recommended:
Yolk - Bish Bosh (Original) (1992)
Rufige Kru - Ghosts Of My Life (1993)
The Brothers Grimm - Exodus (The Lion Awakes) (1992)
Noise Factory - Breakage #4 (The future) (1992)
Wishdokta - Subliminal Satisfaction (1994)
Bizzy B & Technochild – The Slate (1993)
JMJ & Richie – Case Closed (1993)

Marvellous Cain (Marvin Cain) is a British DJ and producer who emerged in the late ’80s, playing at iconic London rave and hardcore events like In-Ter-Dance and Overdose. While not as widely known as some early pioneers, his work helped shape the UK electronic scene in the early '90s. His music reflects the raw, high-energy sound of early jungle, rich with cultural references.

In 1993–1994, Cain released key ragga jungle tracks like “The Hitman” and “Dub Plate Style.” “The Hitman” sampled Cutty Ranks’ “Limb By Limb,” a dancehall staple that heavily influenced the fusion of reggae, dancehall, and electronic music.

Ragga jungle peaked between 1993 and 1995, born from London’s underground — especially Black British and Caribbean communities — blending rave, breakbeat, reggae, and sound system culture. Vocal samples from artists like Cutty Ranks, Barrington Levy, and Tenor Saw defined the genre. Tracks such as Shy FX & UK Apachi’s “Original Nuttah” brought ragga jungle into the mainstream.

The spotlight triggered backlash. By late 1995, many artists pulled back from the jungle label, choosing a more underground path — laying the groundwork for what would evolve into drum & bass.

https://short-link.me/13Zoj

Also recommended:
UK Apachi With Shy FX – Original Nuttah (1994)
Gunsmoke ft. The Hempaholics - Court Case (1995)
Barrington Levy & Beenie Man – Under Mi Sensi (Jungle Spliff) (X Project Remix) (1994)
X Project & Frankie Paul (feat. Tenor Fly) - Jah Sunshine (1994)
Prizna ft. Demolition Man - Fire (Urban Shakedown Mix) (1995)
Leviticus – Burial (1995)
Deep Blue - Helicopter Tune (1993)
Q Project - Champion Sound (Alliance Mix) (1993) 

Amazon II was a collaborative project between Tony B and Gavin King, the latter better known by his alias Aphrodite. The two met while DJing on Pulse FM 90.6, one of the defining pirate radio stations of the early '90s hardcore era. Their creative partnership flourished through the first half of the decade, during a time when the jungle sound was rapidly evolving and branching out.
“Beat Booyaa! (Remix)” is the more energetic and widely played version of the original track, released on Aphrodite’s own label, Aphrodite Recordings. It’s a standout example of early jump-up jungle — the kind that lit up dancefloors with its infectious energy and raw attitude. The track pairs a signature wailing bassline with a wild collage of drums and sound system-inspired vocal samples, giving it a bold, unmistakable identity.

With its punchy rhythm, loose funk, and rave-savvy playfulness, “Beat Booyaa! (Remix)” captures the essence of a moment when jungle was becoming more dancefloor-driven, yet still deeply rooted in its hardcore and reggae heritage. A classic from an era when producers were having fun and pushing limits.

https://short-link.me/13Zor

Also recommended:
Baraka - I'll Be There (1995)
Jonny L - I Want You (1995)
Krome & Time – The Licence (1994)
Bizzy B, Zodiac & MT - Prophecy Remix (Re-Lick Ajent K) (1996)
Invisible Man - The Bell Tune (1994)

Dead Dred was a collaboration between two producers — Lee Smith (aka Asend) and Warren Smith (aka Ultravibe) — who worked together on a number of influential tracks throughout the early jungle era. This release marked the 50th catalog entry on the legendary Moving Shadow label, making it a landmark moment in the label’s history. The track blends reggae and dub influences with sound effects like gunshots, which became a defining trait of the genre at the time.

Dead Dred’s most groundbreaking feature was its reversed bassline — widely recognized as the first use of a jungle bass played backwards. This technique gave the low end a stretched, spacious, and swirling quality, while still retaining a sharp, punchy drive. The bass sample itself came from the very first sample CD issued by Future Music magazine, a go-to source for many experimental producers of the era. The main vocal sample was taken from the 1978 reggae classic “Best Dressed Chicken in Town” by Dr. Alimantado, while the haunting female vocal snippet comes from Innocence – “Remember The Day (Ambient Mix)”, released in 1990. The result is a track that feels both raw and spacious — a snapshot of jungle at its most inventive and unpredictable.

https://short-link.me/18gBj

Also recommended:
Johnny Jungle - Johnny 94 (Origin Unknown Remix) (1994)
The Dream Team – The Roller (1995)
Remarc – R.I.P. (1995)
Just Jungle – Very Last Drop (1995)
Atomic Dog - Natural Born Killaz (1995)
T.Power - Amber (1995)

Released five catalog numbers earlier on Moving Shadow — as release number 45 — “Terrorist” appears later in the mix for a reason: it stands as one of the earliest and most iconic examples of dark, aggressive jungle music. At its core is a tense, sub-consuming Reese bassline, originally taken from Kevin Saunderson’s “Just Want Another Chance”, layered with a second, more minimal low-end pattern that adds weight and space.

Probably one of the biggest and most epic jungle tracks of the old era, “Terrorist” still hits with a devastating impact. Its dancefloor energy and sheer darkness remain unmatched to this day. The track’s hypnotic repetition is executed with such precision that boredom never enters the picture — on the contrary, each new section draws you deeper into the groove, always leaving you wanting more.

https://short-link.me/18gBz

Also recommended:
Sound Of The Future aka DJ SS ‎– The Lighter (Mix 2) (1995)
Lemon D - I Can’t Stop (1996)
Dillinja - The Angels Fell (1995)
Dred Bass & The JB - Smokin' Cans (SMR Remix) (1996)
Paradox – A Certain Sound (1996)

DJ Trace (Duncan Hutchison), born in London, discovered rave culture in 1989 and released his debut album on Orbital Records in 1991, which charted nationally. Between 1993 and 1995, he put out influential tracks on Lucky Spin Recordings and played a key role in shaping the Techstep subgenre. In 1996, his dark remix of T Power & MK Ultra’s “Mutant Jazz” — titled “Mutant Revisited” — marked a turning point in jungle. It introduced the iconic “Tramen” break (a fusion of the Amen break and “Tighten Up” drums, crafted by Dom & Roland) and set the tone for a colder, tech-infused sound.

Built on ominous pads, deep bass, and broken percussion, Mutant Revisited redefined the emotional range of jungle and brought the emerging Techstep sound into focus. Although Trace had already explored this style earlier that year with Ed Rush and Nico on Tech Steppin: A Journey Into Experimental Drum & Bass, it largely flew under the radar. The Mutant Revisited 12" — backed with Liberty 1 — became a watershed release, signaling a shift from rave-inspired jungle toward the darker, more clinical sound that would become drum & bass. From this, Techstep was born, and a new chapter began.

https://short-link.me/13Zpj

Also recommended:
Ed Rush – Check Me Out (1996)
Ed Rush, Trace, Nico - The Droid (1996)
Acacia - Hate (Nico Rollout Mix) (1996)
Unknown Face – Step Up (1996)
John B - Sight Beyond (1996)

Doc Scott (Scott McIlroy) is a British DJ and producer from Coventry, and one of the key figures in the evolution of darkside hardcore, jungle, and techstep. His career began in the early 1990s, and he was among the first artists to help transition UK hardcore/jungle from chaotic rave mayhem into a deeper, darker, more atmospheric form. In 1992, he released “Here Come the Drumz” — one of the earliest tracks to showcase a true jungle structure, built around the Amen break, sub-bass, and a dramatic, stripped-down presentation.

“The Unofficial Ghost” opens the seminal compilation Platinum Breakz on Metalheadz, and remains one of the defining works of cold, dark drum & bass. It's the third iteration of a lineage that began with Rufige Kru’s (Goldie) 1993 track “Ghosts of My Life.” While Goldie’s VIP Riders Ghost was a masterclass in minimal tension, Doc Scott’s rework is an all-out assault. It opens with a twisted vocal from First Choice’s “Let No Man Put Asunder” — the phrase “(Every)day of my life,” stretched and soaked in reverb, comes across eerily as “Damn my life.” Haunting synths from the original creep in over pitch-shifted two-step drums. Doc Scott then layers a sample of Method Man saying “Ghostface Killah”, taken from the skit at the end of Can It Be All So Simple, alongside reversed string samples. The drop is devastating — a snarling, malevolent bassline tears through as the drums shift between rigid two-step and full-blown Amen break edits. Pure fire — a track worth owning Platinum Breakz on vinyl for alone.

Behind the vision of Platinum Breakz were not just producers, but ideologues: Kemistry & Storm, not Goldie as many assume, were the true conceptual force behind Metalheadz. It was they who shaped the label’s direction and crafted its aesthetic — one rooted in a dark, industrial sonic identity. The Platinum Breakz compilations became the flagship of the label. With distribution support from FFRR, they achieved widespread visibility and lasting recognition, introducing a global audience to the uncompromising Metalheadz sound.

https://short-link.me/13ZuD

Also recommended:
Source Direct – Stonekiller (1996)
J.Majik – Your Sound (1995)
S.O.S. aka Digital - Space Funk (1995)
Photek – One Nation (1996)
Codename John – The Warning (1997)
Project 23  - Sugarize 'Lost Inna Dream' (Boymerang Remix) (1997)

DJ Zinc (real name Ben Pettit) is a British DJ and producer from London whose career spans more than three decades. He first made his mark in 1991 with a radio show on London’s Impact FM, and has since become known for his versatility, technical mixing skills, and ability to adapt to shifting sounds while still maintaining a signature style.

For a long time — up until the mid-2010s — DJ Zinc, DJ Hype, and DJ Krust were my personal top three producers. Later on, as my tastes matured, T-Power eventually claimed the top spot.

“Super Sharp Shooter” was DJ Zinc’s first solo release after several years of working closely with DJ Hype. It became a massive mid-’90s hit and one of the most important tracks in the early drum & bass canon. But what many people don’t know is that before the track became a long-term anthem, it went through at least two revisions.

The first version appeared quietly as the fifth track on one side of the compilation Drum & Bass Selection 5, which meant low sound quality and limited visibility. I’ve chosen to include that exact raw, original version in this mix — the one where, instead of the now-iconic Method Man vocal sample, you’ll hear a lesser-known MC. I encourage everyone to track down the final version of “Super Sharp Shooter” and compare. It’s a great case study in how far a track can travel — both sonically and culturally — on its way to becoming a classic.

https://short-link.me/13ZyQ

Also recommended:
Potential Bad Boy - Drive By (Shit) (1995)
Maldini - Daze (1995)
DJ Krust – Angles (1996)
Elementz Of Noize With MC Det – Stick-Up (1996)
Tribe Of Issachar Feat. Peter Bouncer – Junglist (1996)
EVIL II  – Cops Aint Shit (1997)

Shy FX (Andre Williams), born in London, made an impact from the very start of his career. In mid-1994, he teamed up with MC UK Apachi to blow up the UK pop charts with “Original Nuttah”, instantly cementing his status as one of the most respected producers in the jungle scene. The following year, Shy FX founded his own label, Ebony Recordings, which went on to release a string of classic jump-up anthems, including “The Message” and “Wolf.” His 1997 track “Bambaata” was once again hailed as tune of the year. “Funkindemup”, the debut release on Ebony Recordings, marked the beginning of a new era. A relatively simple track with a long hip-hop intro, it perfectly captures the fun and cheeky energy that began to take over dancefloors around the world in 1995.

At a time when ravers were growing tired of hyperactive Amen breaks and chaotic one-shot bass hits, this track offered a breather — like stepping out into a sunny clearing after hacking through the dense jungle. The melodies were stripped-down and positive, the rhythms simplified, and the focus shifted toward groove-heavy basslines. This was the birth of first-wave jump-up: a movement away from tangled funk breaks and toward a more defined, dancefloor-friendly structure, with crisp drums and clearly carved-out sections. “Funkindemup” didn’t just ride the wave — it helped start it.

https://short-link.me/13Zz4

Also recommended:
Bassface Sascha Feat. DJ Spike – Special Teknique (1996)
The Mack – Another Player (1996)
Ill Figure - Style (1996)
Elementz Of Noize – Chillin' On The Funk (1996)
Prizna – Carlito's Law (1995)
Shapeshifter – Mass Hysteria (1996)
DJ Die – Live And Direct (1995)

From as early as 1994 and well into 1999, DJ Hype and DJ Zinc stood at the forefront of what would become known as the rollers sound. I deliberately avoid calling it jump-up here, because it was their approach to bass programming that laid the foundation for the explosion of first-wave jump-up around 1998. During that period, Kevin Ford and Benjamin Pettit were the kings of tight, groovy drum work — a shift that began to edge out the more intricate, chopped-up jungle rhythms of earlier years.
Through their label True Playaz, Kevin and Benjamin released a string of high-energy tracks, including several co-produced under the alias Freestyles. From 1996 I considered DJ Zinc and DJ Hype the best producers in the game. So it was only right to include in my mix one of their instantly recognizable collaborations — a track that grabs you from the very first seconds.
For me, the releases “Learn From The Mistakes Of The Past” and “Peace Love & Unity” stand as the two most important milestones in the True Playaz catalog. Timeless, functional, and deeply embedded in the dancefloor DNA of that era.

https://short-link.me/13YZB

Also recommended:
Dope Skillz – 6 Million Ways (1995)
Shy FX – Mad Apache (1995)
DJ Hype - Peace Love & Unity (1996)
DJ Zinc - Bring The Danger (1997)
DJ Hype - The Big 30 (1998)
DJ Die – Play It For Me (1996)

This collaborative track from UK producers Shimon (Shimon Alcoby) and Andy C (Andrew Clarke) is a defining example of a roller. Shimon, co-founder of Ram Trilogy, and Andy C, founder of RAM Records and a drum & bass legend, deliver a sound that sits between jungle and jump-up — where D&B began shifting to a steppier rhythm while holding onto break-based roots.

With subtle breaks, a smooth bassline, and snare hits on the offbeat, this track captures the essence of what a roller really is. Yes, Andy C’s 1996 Pure Rollers compilation helped popularize the term, though many of those tracks leaned closer to classic jungle — which adds to the genre confusion. But for me, this is the blueprint. And no, rollers never disappeared — they evolved. Modern liquid D&B still follows the same rhythmic DNA, just with more melody and atmospheric detail.

https://short-link.me/18gLW

Also recommended:
Origin Unknown – Valley Of The Shadows (1993)
Origin Unknown - Lunar Bass (1996)
Scorpio - Mellow Song (1996)
Decoder – Circuit Breaker (1996)
Roni Size – Dayz (1996)

“Bad Ass” by Aphrodite and Mickey Finn was the debut release on their newly formed Urban Takeover label in 1996 — a key moment in first-wave jump-up. Both producers, especially Aphrodite, had been honing their sound for years, and by late '96, they hit a peak, dominating dancefloors and even crossing into youth cinema and pop culture.

Built around samples from South Central, with a gritty vibe, massive bassline, and sharp breaks, Bad Ass quickly became a jump-up anthem. It helped cement Urban Takeover as a powerhouse label and earned a spot on DJ Mag’s list of the “Top 100 Most Important Drum & Bass Tunes.”

https://short-link.me/13Zzs

Also recommended:
Micky Finn & Aphrodite feat. MC GQ – AWOL (1995)
DJ Red – Mad P.L.O (1996)
Starsky & The Junglites - Outlawed (1997)
Swoosh - Sunshine (1997)
Fatboy Slim - The Rockafeller Skank (Mulder's Urban Takeover Remix) (1998)

The Urban Takeover Mix was a hugely popular jump-up remix in 1997, reworking the original track “Jungle Brother (True Blue)” by the legendary American hip-hop group Jungle Brothers, which had appeared earlier that same year on their Raw Deluxe album.
The Jungle Brothers are pioneers of hip-hop fused with jazz and funk, and were founding members of the influential Native Tongues collective. The group originally consisted of Michael Small (Mike Gee), Nathaniel Hall (Afrika Baby Bam) — whose name pays homage to Afrika Bambaataa — and Sammy Burwell (DJ Sammy B). They first emerged in the mid-1980s and quickly became known for their thoughtful lyrics and genre-blending approach.

The original song speaks to personal identity, resilience, and staying true to one’s values in the face of pressure. The phrase “jungle brother, true blue” serves as a bold affirmation of authenticity and allegiance to one’s roots.

The Urban Takeover Mix was produced by UK legends DJ Aphrodite and Mickey Finn, the duo behind the Urban Takeover label. Their remix is a key example of the mid-’90s crossover between hip-hop and drum & bass — two genres that evolved in parallel and shared deep cultural and rhythmic roots.

Unlike many D&B remixes of hip-hop tracks that sampled only a few bars or vocal snippets, this version retains the full lyrical content of the original, embedding it seamlessly within a rolling, bass-heavy jump-up framework. The combination of conscious, well-delivered verses and what was, at the time, a cutting-edge approach to bass programming resulted in a track that became an instant classic — both on the dancefloor and in mixtapes worldwide.

https://short-link.me/13ZzD

Also recommended:
The Switch Kru - The Chimes (Remix) (1998)
Mulder - Don't Give a Damn (1998)
DJ Slip - Change Of Fate (1998)
Rayner – 50,000 Watts Of Funk (1999)
DJ Zinc - Ska (2002)

It’s time to talk about one of the most important labels in the entire evolution of drum & bass music.
Nathan Vinall (Skynet) met Shaun Morris (Stakka) in 1996, and together they formed the legendary duo Stakka & Skynet.
They were the ones who sparked the technoid drum & bass revolution in 1997. To be clear: this is not about inventing the so-called techstep format — that had already emerged in 1995–96. Rather, it’s about who shifted the sound entirely toward a neuro/sci-fi aesthetic, laying the foundations for what would later become known as technoid (around 2000) and eventually modern neurofunk.

In many ways, it was as if the world simply wasn’t ready for what Audio Blueprint and Underfire were putting out at the time. Their earliest releases didn’t receive the international acclaim they deserved upon release — but they laid the groundwork for a seismic change in the genre.
The now-famous “rubber basslines” only began to take over globally around late 1997 to early 1998, with the first output from Virus Recordings, especially Funktion and Naked Lunch by Ed Rush & Optical. Around the same time, Jonny L’s “Sawtooth” album dropped in November ’97, and Renegade Hardware began defining the new sound from early 1998 onward. But all of this happened a full year after the arrival of Audio Blueprint and Underfire.

This second release on the label (the first still carried traces of jungle heritage) hit shelves around March–April 1997 and introduced a new sci-fi minimalism, stripped of unnecessary melodic elements. It sounded like the future — and it was.

Shortly after, Stakka & Skynet released their “Voyager” album on Audio Blueprint, which caused a stir in the underground. It was followed by the “Blazin” compilation — a record that set new production standards and introduced a whole new level of sonic innovation. Notably, it included the track “Side Effects” by Kraken (one of their aliases), which Grooverider famously called “one of the standout tunes of Glastonbury.”

But they didn’t stop there. Not content with two groundbreaking albums, the duo went on to produce their final full-length together: the seminal “Clockwork.” A landmark release packed with dancefloor anthems, it remains a timeless drum & bass classic — a high watermark in the history of the genre.

https://short-link.me/13ZzN

Also recommended:
Jonny L – Piper (1997)
DJ Krust - Brief Encounters (1997)
Matrix Vs Dilemma – Spring Box (Vocal Mix) (1997)
Decoder – Fuse (1997)
Krust - Going Nowhere (1997)
Spring Heel Jack - Casino (1997)