MCM – “Groove On – Original Hip-Hop Mix” (MCM-Caveman.BandCamp.Com / 2022)
Lively, funk-fuelled vibes and lyrical positivity from UK legend MCM on this new self-produced single.
MCM – “Groove On – Original Hip-Hop Mix” (MCM-Caveman.BandCamp.Com / 2022)
Lively, funk-fuelled vibes and lyrical positivity from UK legend MCM on this new self-produced single.
MCM & Prince Livijah – “Get Something” (M1cContollerMark.BandCamp.Com / 2020)
UK legend and former Caveman member MCM represents from the pavement to the pyramids alongside Prince Livijah on this self-produced celebration of Black culture, history and heritage.
UK legend MCM of the mighty Caveman crew makes an appearance on the latest episode of HBS Music Archaeology to discuss breaks, beats and some personal Hip-Hop history.
Soulful self-produced b-side flavour off the Caveman emcee’s forthcoming limited edition seven-inch single.
Held in London back in December, footage of the UK Hip-Hop Honours 2012 event will be screened on Vox Africa (Sky Channel 218) tomorrow night with appearances from Caveman’s MCM, London Posse’s Rodney P and more.
Photo By Karen “InchHigh” Dabner McIntyre
Venue: The Underdog Gallery, London Date: 7 December 2012
UK Hip-Hop has definitely had its fair share of ups-and-downs over the years, from industry indifference and a constant battle for attention with our Stateside counterparts, to low sales and an often unsupportive British music press. But regardless of the obstacles and adversity homegrown artists have endured throughout the decades, Hip-Hop culture has thrived in the UK, from the early days of London’s 80s Covent Garden scene to the numerous present day events held throughout the country seeking to keep the torch alight.
With this in mind, the organiser’s behind London’s 4our Pillars night (namely 90s Britcore favourites Son Of Noise) are also looking to do their part to ensure the traditional elements of Hip-Hop remain intact on our shores, whilst also celebrating the foundations of the British Hip-Hop movement.
Held at London Bridge’s intimate Underdog Gallery, this event was about so much more than just a crowd of people passing the time under one roof as they waited for the headlining artists to hit the stage. This second 4our Pillars session felt more like a family reunion than simply your standard Hip-Hop night.
Surrounded by impressive graffiti pieces from ArtJaz, Gasp and Dep, a mixture of fans, friends and artists rubbed shoulders as DJ Devastate of Demon Boyz fame and Hardnoise’s DJ Mada dropped an impressive selection of golden-era gems from the likes of Schoolly D and Main Source.
Highlights of the night included the mighty Killa Instinct tearing the place up with their 1992 Music Of Life classic “The Bambi Murders”, Son Of Noise themselves delivering a dose of their own distinctive brand of hardcore Hip-Hop, plus Caveman’s MCM and Hijack’s Kamanchi Sly passing the mic for an impromptu freestyle session with Germany’s DJ Stylewarz spinning some classic breakbeats.
An electric performance from UK b-boy crew The Soul Mavericks set off camera flashes from all directions, whilst Rodney P and Skitz were also on-hand to ensure the momentum continued.
With people having travelled from Wales, France and Italy to attend, the 4our Pillars crew succeeded in their mission to deliver an event grounded in Afrika Bambaataa’s ethos of peace, love, unity and having fun. The venue was filled with positive vibes and a genuine energy, with everyone in attendance clearly there out of a shared passion for true-school Hip-Hop.
Some technical sound issues and last minute line-up changes did nothing to dampen the collective enthusiasm of the crowd, with the spontaneous, organic feel of the entire night only adding to the feeling of being at a monumental old-school jam.
An overall brilliant experience and a testament to the timeless talent that made up the 80s / 90s UK scene, 4our Pillars may have been born out of the need to pay homage to the history of British Hip-Hop, but on this particular night we witnessed some new history being made as well.
Footage of Kamanchi Sly and MCM freestyling at 4our Pillars.
Footage of Caveman’s MCM and Hijack’s Kamanchi Sly passing the mic in London at last Friday’s brilliant 4our Pillars event with Germany’s DJ Stylewarz on the decks.
Footage of Caveman’s MCM performing at last weekend’s UK Hip-Hop Honours event in West London.
MCM – “Blow Ur Mind” (I-Innovate / 2012)
After performing at last night’s UK Hip-Hop Honours 2012 event in London, the Caveman emcee drops this track from last year’s album “The Gospel”.
Trailer for the forthcoming UK Hip-Hop Honours event in London which will feature appearances from Ty, MCM, Kamanchi Sly and many more.
Following on from last year’s epic project “The Gospel” former Caveman frontman MCM unleashes more music from the vaults with his new EP “Gospel Reprise” featuring fellow UK heavywights Ty and DJ Nappa.
Maffew Ragazino – “Rhyme Pays” (Cash In Cash Out Records) – Brownsville, Brooklyn representative Ragazino stormed the underground Hip-Hop scene with a brilliantly orchestrated online promo campaign and then dropped this polished set that bristles with thoroughbred NY attitude. Backed by production from the likes of DJ Clark Kent, Vinyl Frontiers and Sha Banga, Maffew took his first step towards his name being added to the long list of BK rap greats.
Prose – “The Dark Side Of The Boom” (BBP) – Following up last year’s excellent “Force Of Habit” album, UK duo Steady Rock and Efeks delivered another accomplished set of quality homegrown Hip-Hop that put a slightly moodier twist on their trademark boom-bap sound.
General Monks – “Each Step Becomes Elevated” (Wandering Worx Entertainment) – Teaming up with Gold Chain Music artist TriState for this release, West Coast emcee Planet Asia further solidified his reputation as a lyrical giant amongst midgets, with the duo launching verbal missiles over hardcore production alongside the likes of Ras Kass, Krondon and Montage One.
Muneshine & Vinyl Frontiers – “Larger Than Life” (Vinyl Frontiers) – Canada’s Muneshine definitely shone on this EP of upbeat bangers which found the Toronto wordsmith dropping both reflective rhymes and sarcasm-laced lines over the Vinyl Frontiers’ soulful production.
Praverb The Wyse – “Professional Hobbyist” (Praverb Dot Net) – An honest account of both the triumphs and frustrations facing underground artists who are forced to fit their musical aspirations around the day-to-day grind, this album from Virginia’s Praverb was a breath of fresh air from an emcee unafraid to really let listeners into his world.
MCM – “The Gospel : The Missing Gems Of MCM (1994 – 2011)” (I-Innovate) – As frontman of 90s UK Hip-Hop favourites Caveman, MCM’s place in British rap history is secure. With sporadic periods of solo activity since the group’s break-up, this epic collection of over thirty tracks mixed new MCM material with unreleased treats from the last two decades. Featuring production from the likes of DJ Devastate, Si Spex and DJ Nappa, “The Gospel” brilliantly showcased MCM’s positive lyrical message.
Raekwon – “Shaolin Vs Wu-Tang” (EMI) – Aside from a few sonic mis-steps, The Chef’s most recent solo opus continued the momentum gained from 2009’s “Cuban Linx” sequel. Dropping his usual blend of coded crime rhymes and street-related wisdom over mostly solid production from the likes of Kenny Dope, The Alchemist and Bronze Nazareth, Raekwon once again proved himself to be a true master of his craft.
Common – “The Dreamer / The Believer” (Warner Bros) – This particular Windy City wordsmith may no longer be the posterchild for underground rap that he was during the 90s following the release of his classic “I Used To Love H.E.R.”, but Common can still tap into that same pure Hip-Hop spirit when he chooses to. After 2008’s limp “Universal Mind Control” the Chicago native had a lot to prove, so he teamed-up with longtime collaborator No I.D. to record an album that balances commercial sensibilities and progressive lyrical messages with moments of raw rap attitude.
yU – “The Earn” (Mello Music Group) – Capturing a variety of moods reflecting the struggles, dreams and aspirations of a young man attempting to find his place in the world, this sophomore solo effort from the Diamond District emcee is as inspirational as it is entertaining. A modern-day masterpiece.
Soul Khan – “Acknowledgement” (Brown Bag Allstars) – The first in a four-EP series the Brooklyn-based emcee began early in 2011, this DJ Element-produced project found the former battle champ exploring the idea of self-worth in rousing fashion, delivering confident verses brimming with personality over a selection of drum-heavy, sample-driven soundscapes.
Quelle Chris – “Shotgun & Sleek Rifle” (Synergy Works) – Stalwart of the underground Detroit scene Quelle Chris has something of an eclectic musical background that covers Hip-Hop, rock and electronica. With this project, the Wasted Youth member embarked on a beautifully blunted musical voyage, blending the grimy feel of a basement tape with the soulful shimmer of interplanetary cosmic funk. A truly unique listening experience.
MCM – “Early Days” (I-Innovate / 2011)
The former Caveman emcee reminisces on his younger days on this cut from his digital-only project “The Gospel – The Missing Gems Of MCM (1994 – 2011)”.
MCM – “Back Again” (I-Inovate / 2011)
Taken from the former Caveman emcee’s recent digital-only project “The Gospel: The Missing Gems Of MCM (1994-2011)”.
The third and final online sampler for UK legend MCM’s new digital album release “The Gospel” which is out now via all the usual online outlets.
Back in the very early 90s High Wycombe’s MCM made his name as part of the pivotal UK Hip-Hop group Caveman, a crew also comprising of producer The Principle and turntable technician DJ Diamond J. The trio dropped their classic debut album “Positive Reaction” in 1991, a seemingly effortless blend of funky jazz-based samples and youthfully energetic yet reflective rhymes, including timeless singles such as the upbeat “Victory” and the commercially successful “I’m Ready”.
1992 saw the release of the group’s second album “The Whole Nine Yards…” which showcased the crew taking a slightly harder musical direction that didn’t sit comfortably with some Caveman fans.
The remainder of the decade was a relatively quiet period for MCM, with sporadic single releases such as “I Got Soul” and “Power Moves” proving the British wordsmith still had the skills to pay the bills but not being followed up by the full-length solo effort many were hoping for.
Now in 2011, MCM finally unleashes the project that was shelved back in 1995 due to label politics and industry setbacks. “The Gospel (1994 – 2011) – The Missing Gems Of MCM” is an immense 32-track collection that, as its title suggests, includes those lost mid-90s bangers as well as more recently recorded material, with production coming from Phi-Life Cypher’s DJ Nappa, former Demon Boyz member DJ Devastate and, of course, M himself.
Here the veteran of the UK rap scene talks about the early Caveman days, his memories of appearing on Tim Westwood’s infamous Capital Rap Show, and the reasons for deciding to release “The Gospel” at this particular moment in time.
So let’s take it all the way back – when did you first become interested in Hip-Hop?
“Basically I grew up around music. All my brothers were into music like jazz, revival, feel-good music. I grew up with it and have always been into it. I started off as a jazz dancer when I was too young to go out (laughs). Then at around 12, 13, my cousin Smally Small was well into Hip-Hop, Diamond J as well. Those guys were really influential to me at the time. I used to listen to a lot of pirate radio stations and I was hearing Schoolly D, Run DMC and really getting a feel for what this Hip-Hop stuff was all about. Then all of a sudden I found myself writing rhymes (laughs). That was basically how things started to come together.”
At what point did Caveman officially become a group?
“We used to go to Diamond J’s house and he’d have his decks set-up just cutting up on the ones and twos and we’d all be playing around with the rapping. Then about three years after that I went to college and was still heavily into rhyming. I used to try and study (laughs) but people used to think I was some sort of nutter because all I used to do was walk around listening to my headphones. Then I met this girl called Viv who told me she knew a guy called Robbie who she thought I should meet up with as he was really into his music as well. Robbie was in Aylesbury at the time and he became better known to people as The Principle. So I went to his house to meet up with him and he was playing me the instrumentals he’d made that would become tracks like “Victory”. I went away, wrote some rhymes, came back and he was like ‘Yeah! I like this’ and that was really the birth of Caveman. I then got Diamond J involved and it all started from there. Robbie sent the tracks to Profile Records and they liked it. We were expecting a demo contract at first, but the people at the label were like ‘Forget that! We like this!’ and that’s how we got signed to the label.”
Was there much of a Hip-Hop scene in High Wycombe or was it literally just you guys?
“No, no, you had Surveillance, which was Mighty Marl J’s crew, you had Plus One, there were loads of crews doing Hip-Hop at the time in Wycombe.”
As a group of outsiders was it hard for you to break into the London rap scene at the time when you started performing etc?
“When we started to do shows around London and go to jams we made sure that people knew we were serious about the music. But at the same time, because we were from High Wycombe some people did look at us a certain way. But that also helped us stand out because we were just doing what we felt, we weren’t really concerned so much about what was going on in London. It was kinda difficult, but at the same time we did also get a lot of love during those early days.”
In the very early-90s a lot of British Hip-Hop had a very militant identity and musically was very hardcore with the whole Britcore sound. The music of Caveman was immediately different as you were using a lot of jazz and soul samples that led to comparisons being made between the group and what was happening at the time Stateside with acts like Gang Starr and A Tribe Called Quest. What did you make of that?
“We were influenced by Tribe, The 45 King, all those guys, so musically there was an element of that, but lyrically I was just rapping how I felt really. I wasn’t really that experienced, even though I’d been writing rhymes since I was 13, 14-years-old. But it still had an impact, which was the most important thing to us. We did get a lot of comparisons being made to Stateside artists because of the music we were sampling and some people said that we were trying to be American, but we really weren’t going out of our way to fit in like that. We were just doing us.”
A lot of people remember your regular radio appearances on Tim Westwood’s Capital Rap Show back in the early-90s. What are some of the memories that stand out for you from that experience?
“It was mad. I remember we’d just done the Gang Starr show in London at The Forum and Guru came up to the station and was telling us how they’d been starting their European shows with Caveman’s “I’m Ready”. That was a really good feeling. That made me realise that what we were doing was really making a contribution to the music. We had a lot of fun with Tim on the phone lines. I remember one time Chuck D was on the show and I was just listening in and he mentioned that he’d heard our stuff and liked what we were doing and I was just like ‘What??!! Yo!!!!’. Chuck D was one of my favourite emcees at the time, so to hear him say something like that about us was incredible. Those are the real memories I have of our time on Tim’s show, personal things like that. None of what happened on those shows was pre-planned, it was all organic, it was all Hip-Hop. Another great moment was when we did a full freestyle session on the show with the whole Caveman crew up there rhyming. That was brilliant. The most beautiful thing now is when I speak to people and they have their memories of listening to the show while we were up there and they remember certain things that happened and they’re telling me how the show was a huge part of their school days and things like that. It’s a beautiful feeling to have that shared history with people.”
Caveman’s second album 1992’s “The Whole Nine Yards…” had a harder musical edge to it than the group’s debut – was that a conscious decision?
“It was sort of a conscious decision because we didn’t really want to get labelled as just doing one thing with the whole jazz rap stuff. But because a lot of people caught such a vibe from “Positive Reaction” it was hard for them to take us doing something a little different to what they’d heard before. But looking back there are still some good moments on that second album.”
After Caveman split there was talk of you dropping a solo album but it didn’t ever materialise – why was that?
“Well basically, BMG were going to take it up and then when the album was finished they didn’t bother with it. Maybe they were expecting another “I’m Ready”? I really don’t know. But I’m a music guy so I’m always going to make music that reflects what’s in my heart at the time. So although the album might not have been what they were expecting, it definitely reflected where I was at in 1995. Things had happened within the group and everyone was just really starting to go their separate ways. Principle became a Muslim, Diamond was doing his own stuff, so sadly the group just kinda fizzled out. But straight after the Caveman thing I started working on “The Gospel”. If it had come out at the time that would have been great, but actually now, I think it’s a blessing that it didn’t because the growth that I’ve experienced in those subsequent years, from having kids, losing my mum, becoming a grown man, all of that’s gone into the music and made a better project than the one I would’ve put out in the 90s. “Positive Reaction” was a very personal album, but I was still living at home at my mum’s when we made it. “The Gospel” is again very personal, but it draws on a lot more life experience for its inspiraton.”
So why did you finally decide to release “The Gospel” now?
“It was just one of those things where I met up with a friend of a friend who is in the industry and it started from there. The only reason why I hadn’t done anything with it before is that I couldn’t find anyone to work with who could really see my vision and respect what I was doing as an artist. It seemed like everyone I was speaking to about putting the album out was really just looking to make a quick buck. I’ve never wanted to work with people like that because at the first sign of some new trend they could just shelve your project and leave you stranded. I didn’t want to get involved with certain people because they really weren’t serious about the music. I still have the same love for the music as I did back when I first came out with Caveman, nothing has changed as far as that’s concerned. So if i’m going to work with you, I need to know you share that same love for quality music.”
With the recent talk of “Grown Man Rap” becoming something of Hip-Hop sub-genre it definitely seems like the project is coming out at an ideal time…
“I think that’s what the music industry needs right now because everything is being force fed to you. There are people out there who do want to hear some real music. To be honest, whether three people hear my album and say ‘That’s the sh*t!’ or a million people say it, either way it doesn’t bother me as long as I’m happy with it. Right now, I’ve got total control of this project and I’ve made sure that I’m happy with it. It’s a good mix of the tracks that would’ve been on the original release and also more recent material that shows growth lyrically but musically is still grounded in that real Hip-Hop sound.”
A lot has changed since your early days in terms of how artists promote themselves and new projects etc. Has that come as something of a culture shock to you with this new project?
“Well, I just let the guy I’m working with deal with all of that and I concentrate on the music (laughs). But I’m on Facebook, MySpace, things like that. Really, I’m not one for talking, I just like to let the music speak for itself. But I also understand that you have to put yourself out there nowadays to let people see what you’re doing. But I’m really just that same person I was all those years ago with Caveman, just all about good tunes, collecting breaks and making music. But overall, I think the internet is a blessing and a curse. I mean, it’s great that you can go out there and add Dr. Dre and Kanye West as friends, but I don’t really have a large interest in that. I just try to deal with the music and let the people behind me promote the project.”
So can we expect more music from MCM following the release of “The Gospel”?
“Honestly, I’m not exactly sure what I’m going to do next. My main purpose at the moment is to get “The Gospel” out there and help get some warmth back into music and then whatever comes from that is what comes from it. Hopefully people will enjoy the project and it’ll make them aware that there are still people out there recording real music. I know that Caveman gets a lot of love for what we did back in the day, and of course I appreciate that love, but I really want people to see what I still have to offer today.”
“The Gospel (1994 – 2011) – The Missing Gems Of MCM” will be released digitally in June.
Short documentary-style film charting the development of former Caveman member MCM’s forthcoming double-album project “The Gospel” which drops early June.
Props to MCM and the I-Innovate crew for using some quotes from my recent review of “The Gospel” at the beginning of this clip.
“The Gospel (1994 – 2011) – The Missing Gems Of MCM”
In the same way that New York and Los Angeles have, until recent years at least, always been viewed as the two major cities on the US Hip-Hop map, London has long been considered the epicentre of the UK rap scene. In the 80s acts such as London Posse, Demon Boyz, Hijack and MC Duke not only stood as sonic representatives of the UK’s capital city, but also defined the entire British rap scene of the time, with very few artists from outside of the London area being viewed as credible, regardless of their talent. All that would change, however, when a trio from High Wycombe recording under the name Caveman dropped their classic 1990 debut single “Victory” through the UK arm of Profile Records.
Not only did the crew of MCM, DJ Diamond J and producer The Principle open people’s ears to the fact that there was Hip-Hop of note being made outside of London’s urban environment, they also brought with them a shift in musical direction from what was considered to be the traditional British rap sound. Prior to Caveman, UK rap was largely known for what became tagged as the ‘Britcore’ style – hard, dense production, fast-paced lyrics and militant imagery (think Hijack, Gunshot, Killa Instinct). But when the Buckinghamshire-based crew dropped, they brought with them a jazzy, funky edge that had more in common with popular Stateside groups of the time such as Gang Starr and A Tribe Called Quest than it did with the most of the music being made by the group’s peers just some thirty miles away in the Big Smoke.
Early Caveman singles such as the aforementioned “Victory” and the brilliant “Fry You Like Fish” caught some unfair criticism from staunch UK rap supporters who felt the crew were simply trying to emulate the sounds emanating from New York, but by the time the group’s debut album “Positive Reaction” dropped in 1991 it was clear Caveman’s musical identity was very much their own. The album was packed with tight, sample-heavy production, deft cuts and witty, often personal lyrics that came with a conscious, uplifting element. The crew even caught a little mainstream attention for their lively Jimi Hendrix-sampling single “I’m Ready”.
Although Caveman’s sophomore album (1992’s “The Whole Nine Yards…”) wouldn’t receive the critical acclaim of its predecessor, with the group splitting soon after, the impact “Positive Reaction” had on the homegrown rap scene was clearly tangible and is perhaps even more evident in hindsight than it was at the time. Although MCM would go on to release some stellar solo singles throughout the mid-to-late-90s, one of the UK’s best-loved rappers largely dropped off the radar, another name seemingly destined to be confined to the annals of UK rap history. Until now.
Taking its title from the shelved mid-90s album MCM was due to release via a deal with BMG, “The Gospel” is a mammoth 32-track collection of full-length joints and instrumental interludes spanning the last seventeen years. The trick here is that the album hasn’t been sequenced in chronological order, so although it’s possible to spot a few of the older tracks due to MCM’s youthful delivery, for the most part it’s easy to forget you’re listening to a body of work work covering almost two decades. The remastering quality of the older cuts contained here is on point, bringing them inline with more recent work in terms of their overall sound, so until the High Wycombe wordsmith shouts out a “2003” here or a “1998” the album plays as one cohesive project.
MCM’s love of soulful breaks and samples ties “The Gospel” together, and it’s this passion for all things funky that informs all the tracks included here, both old and new. Largely self-produced but also featuring musical input from a handful of like-minded collaborators, “The Gospel” basks in the warm sonic glow of golden-age boom-bap and jazzy vibes. Building on the musical blueprint set out on Caveman’s “Positive Reaction”, “The Gospel” showcases an artist whose creative direction has never been influenced by the trends of the time, with MCM’s love of true-school Hip-Hop evident throughout.
The beginning of the project finds MCM going back to the future, with a re-vocalled Rinse Dog-produced remix of the previously mentioned Caveman track “Fry You Like Fish”. Rattling drums and huge bass kicks are almost enough to set-off involuntary demonstrations of The Running-Man, whilst MCM delivers his witty rhymes of twenty years ago in an obviously more mature tone. The self-explanatory “Jay Dee Tribute” finds M dropping conscious rhymes over a Dilla-inspired track which also features a dope verse from newcomer Magical.
On the DJ Nappa-produced “Came Into My Life” MCM uses the well worn metaphor of Hip-Hop as being a woman with whom he’s shared a rocky yet passionate relationship with over the years. But rather than sounding tired and overused, the sincerity in M’s rhymes brings new life to the oft-heard comparison (“A lotta new jacks and industry cats, wanna get up in your thighs, try you out for size….90% of your rappers on some fake G shit, don’t know how to caress the steel when it’s time to spit”).
The hypnotic Maverick-produced “Blow Your Mind” is easily one of the album’s high points, as MCM faces the stresses of life over a beautifully crafted backdrops of soulful vocal samples and gentle pianos. Meanwhile, Demon Boyz member DJ Devastate increases the album’s head-nod quotient in no uncertain terms with 1995’s “You Can’t Fade Me”, a potent blend of jazzy Buckwild-esque boom-bap and forceful social commentary.
“The Strength” is a hauntingly mellow track which finds MCM explaining the importance belief in a higher spiritual power holds in his day-to-day life, whilst the previously-released self-produced banger “Power Moves” stills sounds as humongous today as it did back in the mid-90s, thanks to its obese beats and timeless samples. “On The Spot” is a dope, stripped-down pass-the-mic cipher jam featuring TKO and Da Verse dropping some punchline-heavy bars alongside their brother-in-rhymes.
Considering the length of “The Gospel” the quality levels remain high throughout, with even the Pete Rock-style instrumental interludes being worthy of your time. This project isn’t merely an excuse to release a heap of archived tracks for the sake of nostalgia that wasn’t considered good enough to be heard the first time around, instead it’s the sound of an artist finally being given the opportunity to share good music that circumstance and finances prevented from being released when most of it was initially recorded.
There are some who will consider “The Gospel” to be a comeback of sorts for MCM, but in essence, the likeable emcee from Bucks never left, as evidenced by the wealth of quality unreleased material included here.
So the question now isn’t about what MCM has been doing for all these years since Caveman split, it’s what is he going to come with in the future now he’s planted himself firmly back on the UK rap map?
On the strength of “The Gospel”, whatever MCM does next, it’s going to be something worth waiting for.
“The Gospel” will be released in June 2011.
Online promo clip for the forthcoming release of MCM’s album “The Gospel” – the former Caveman emcee’s welcome return to the game will feature twenty-five cuts both old and new and is due to drop this summer.