A few people have asked me for book recommendations recently. Here are some books I’ve read over the past couple of years that I think are very much worth reading (assuming an interest in youth culture, people’s struggle against injustice and oppression, race, gender, empire, war, history and music).

I’ll keep this list updated with new books as I read them. Feel free to make suggestions in the comments.

—
Huey P Newton – Revolutionary Suicide

If you only read one book about the Panthers, this should probably be the one. Huey’s autobiography is a detailed, moving and insightful account of the Panthers’ rise in the late 1960s. One of the most important aspects of this book is how the Panthers really united theory and practice (at a time when the rest of the left in the US was basically just a talking shop). The Panthers identified the real, actual needs in the community around which people could be mobilised, and they used theory to develop the way they addressed those needs. Another important aspect of this book is the idea that the restructuring of society is a process that starts *now*, not on the ‘day of a revolution’. Organising communities to address their own needs = laying the ground for socialism.

Ramzy Baroud – My Father Was A Freedom Fighter

A moving and hugely informative book that combines a personal biography with a very well-told history of the Palestinian struggle in general and Gazan life in particular. The type of book you don’t want to put down.

Tim Wise – White Like Me

Everyone needs to read this book. A brilliant, funny, incisive analysis of how white privilege, white supremacy and race prejudice work. It is especially compelling because it is based on the life experiences of a middle class white male, reflecting on how race privilege has affected his life. Honestly this is must-read.

Mumia Abu Jamal – We Want Freedom

There are literally dozens of Black Panther autobiographies and retrospectives out there. Mumia’s is, in many ways, the best (at least out of the ones I’ve read – and I’ve read a lot!). As well as giving a general outline of what the Panthers did and what made them so relevant, he also gives a very interesting critique of some of the problems that caused them to fall apart, as well as addressing some of the lesser-known aspects of the Panthers, such as their role in empowering women.

Jeff Chang – Can’t Stop Won’t Stop

If you are into hip-hop, you really (really) should read this exceptionally good history of the hip-hop generation. I’m not going to go on about it here, because I’ve written a review, which you can read here.

MK Asante Jr – It’s Bigger Than Hip Hop

Another unmissable book related to hip-hop (and wider social justice issues). In my review I describe it as “a discussion document for a new generation (the ‘post-hip-hop’ generation) to help define and develop its role in the struggle for a better future.” Read the review.

bell hooks – Class Matters

A very thought-provoking work from someone who usually writes about race and gender issues, tackling the question of class hierarchy – how it affects our lives, how deeply it is ingrained in our society, and how it is bound up with race and gender. Although it is based on an analysis of the US, it definitely resonates for readers elsewhere in the ‘first world’.

Franz Fanon – The Wretched of the Earth

Not exactly easy to read (in the sense that it’s not very structured), but this book has so much insight about the colonial mentality, the psychology of anticolonial revolution, the dichotomy between the urban workers and the peasant masses, the million ways used by erstwhile colonisers to maintain oppression, and so on. Plus the overriding theme is very powerful – the idea that colonial slaves, so oppressed, so debased, can only make themselves real men and women through revolutionary violence against their oppressors. Get the version with Sartre’s introduction – it’s amazing.

John Hagedorn – World of Gangs

An eye-opening account of what gangs are, where they operate, how they operate and what function they fulfil in society. Moving away from the traditional narrative (based on how to ‘stamp out’ gangs), Hagedorn looks at the social reality that leads to the emergence of gangs, and the deep roots that many gangs put down; he arrives at a conclusion surprisingly close to that reached by the Black Panthers and other groups in 1960s USA: that the most effective form of intervention with regard to gangs is to push them away from violence in the community and towards fighting for social justice. Interestingly, he discusses hip-hop as a means to communicate this message. Tupac would be pleased!

Walter Rodney – How Europe Underdeveloped Africa

A passionate and essential account of how European colonialism and neocolonialism created what we call the ‘third world’, via plunder, the slave trade, and every form of political trickery known to man. A classic.

Naomi Klein – The Shock Doctrine

If you want to understand the modern world of neoliberal free market madness, you need this book. An extremely well-written, convincing expose of the record of privatisation and deregulation that has led to a huge increase in the gap between rich and poor worldwide. I think Klein’s critiques of ANC and China are somewhat off the mark, but that needn’t detract from an excellent book.

Mike Davis – Planet of Slums

Not exactly feel-good reading, but very insightful and important. Davis documents the process whereby third world farmers are forced off their land and have to compete for limited economic opportunities in the cities. The result is a rapid increase in makeshift housing, vast unemployment, and rising levels of crime. The counterpart to this is the migration of the super-rich to high-security gated communities where they can exist free from the threat of all the violent crime and poverty. The worldwide slum population is expected to reach two billion by 2030.

Paulo Freire – The Pedagogy of the Oppressed

This book is incredibly difficult to read! But well worth the effort in my opinion. Freire exposes the way that class society recreates itself within traditional education systems, and explores alternatives based on the idea of ‘teacher’ and ‘pupil’ becoming collaborators in a shared goal of moving towards freedom, constantly learning from one another and treating each other as equals.

Michael Dyson – Know What I Mean?

Dyson is *the* leading public intellectual on issues surrounding hip-hop. This book deals with some very tricky and contentious subjects – including ghetto authenticity (‘realness’), conscious vs slack, masculinity, violence, the generation communication breakdown, and more. Dyson stands out from most of the rest of his generation of intellectuals due to his focus on, and empathy with, the youth. He doesn’t fall into the trap of condemning the younger generation; rather he makes the effort to listen to them, understand them, learn from them, and try to open respectful and useful dialogue with them.

CLR James – The Black Jacobins

The definitive history of Haitian slavery and the Haitian revolution – the most successful slave revolt of all time, which led to the establishment of the first independent black republic outside Africa. CLR James gives a detailed and very well written history.

John Holt – How Children Learn

A departure here from issues of class and race! This is a really interesting book on early education, and a very human tribute to the innate brilliance of children. One of the first books that made me realise how completely warped our school system is, and how its most significant effect is to destroy children’s natural love of learning, replacing it with fear and individualism.

Robert Newman – The Fountain at the Centre of the World

I’m not much of a novel reader, but this is genuinely excellent. The writing is fantastic, the plot is intricate, and the message is important. In essence, this book is about collective action being the most fundamental aspect of human nature, and how individuals become truly human – truly free – by participating in collective action towards solving their own problems. Incidentally, if you haven’t watched Rob Newman’s ‘History of Oil’ show, stop what you’re doing right now, find it and watch it. Thanks.

Lloyd Bradley – Bass Culture

A lengthy but extremely enjoyable history of reggae, from ska to dancehall, taking in roots, lovers’ rock and rocksteady along the way.
Essential reading if you’re into reggae (or, I would argue, any of the UK dance music scenes that are hugely influenced by reggae – in particular jungle and grime). Along with the music, Bradley does a great job of providing the social context, so you also pick up important aspects of Jamaican history, including slavery, British colonialism, Rastafari, Marcus Garvey, Walter Rodney, independence, the JLP-PNP turf wars, the rise of the cocaine economy, and much more.

Phil Piratin – Our Flag Stays Red

Piratin’s book picks up a very similar theme to Huey Newton’s ‘Revolutionary Suicide’, but in the context of London’s East End in the 30s and 40s. This is essential reading for anyone with the slightest interest in community and anti-fascist mobilisation, and gives some important clues for modern-day activists trying to develop their strategies.

Benjamin Zephaniah: Gangsta Rap

A novel. Benjamin Zephaniah is a brilliant poet, novelist and activist. I am not a fan of the idea of the national curriculum, but this should be on it! It is immensely readable, uses very unpretentious language, and tells a story that is highly relevant and important for today’s teenagers about how the system uses our culture against us.

Eric Williams: Capitalism and Slavery

I read this about the time of the bicentenary of the abolition of slavery in the British colonies, around which there was much self-congratulatory hype in the press. This book gives a very clear picture of the economic and political basis of slavery, and shows that abolition was not the result of terribly nice white men like William Wilberforce, but a combination of the pressure of slave revolts with the disappearance of the economic basis of slavery. It’s fairly difficult reading (it was Williams’ PhD thesis), but well worth the effort.

AL Morton: People’s History of England

Does what it says on the tin! Being a product of the British education system, I had a *very* limited understanding of British history when I left school. Morton gives a solid overview of English history from the first settlements on these isles up until the early 20th century (when the book was written).

Ilan Pappe: The Ethnic Cleansing of Palestine

This is a must-read for anyone with an interest in the Palestinian question. Pappe gives a huge amount of detailed evidence showing the true nature of the 1948-49 war – not a heroic David-and-Goliath “war of independence” by the zionists, but a large-scale ethnic cleansing and land grab.

Nick Davies: Dark Heart

Davies documents the intense poverty in which a significant minority of people in Britain live. The author’s descriptions are excellent, and he gives a very clear explanation of the relationship between unemployment and social degradation.

Karl Marx: Value, Price and Profit

The ultimate beginner’s guide to economics. Value, Price and Profit gives a solid overview of capitalist political economy. It’s reasonably easy to understand, and only a hundred or so pages.

Vladimir Lenin: Imperialism – the Highest Stage of Capitalism

We often talk about imperialism, but clearly a lot of people don’t know what it means. This book explains exactly what imperialism is and how it operates. Much has changed in the century or so since this book was written, but the fundamental relations Lenin describes in this book remain essentially the same.

Paul Robeson: Here I Stand

A moving and fascinating autobiography of one of the 20th century’s great heroes. Robeson gives a very useful account of the struggle for civil and human rights in the US in the earlier part of the 20th century, and positions it firmly within the context of the international struggle of oppressed people for their freedom (thereby leaving a weighty intellectual inheritance for Malcolm X, who took up this theme three decades later).

The Autobiography of Malcolm X

An incredibly powerful, inspiring book about how a man at the bottom of the heap – an uneducated, imprisoned small-time crook – turned himself around to become the most widely-recognised, eloquent and militant fighter against racism and for justice. Everybody needs to read this.

A Narrative of the Life of Frederick Douglass, an American Slave (contributed by Ameer Hamzah Hakim)

This autobiography is one of the greatest firsthand accounts of the brutality of slavery and the injustice of stealing a man’s freedom. It is a book about a slave who learned a skill so dangerous it frightened the life out of his white owners – a slave who learned how to read. It is often said an educated man will demand his freedom; the life of Frederick Douglass is a great example of this. Frederick Douglass is a true giant of history with a story that deserves to be read.

On Saturday 7 May, from 6.30pm, Sons of Malcolm and friends will be holding a panel debate and gig in tribute to the legendary MC Smiley Culture. I’ll definitely be heading down there, and would encourage you to do the same if you’re in or around London!

There will be a panel debate including Merlin Emmanuel (nephew of Smiley Culture), Lee Jasper, Dr Lez Henry and Isis Amlak; and a gig with Durrty Goodz, Akala, RoXXXan and more.

Check the Facebook event page for more info
Follow Sons of Malcolm on Twitter
Follow Justice for Smiley Culture on Twitter
Follow Durrty Goodz on Twitter
Follow Akala on Twitter
Follow RoXXXan on Twitter

A great track from a great album. So refreshing to see a rapper from the older generation looking to build bridges and support the youth.

For real, we ‘ave fi boost dem yoot, ya
The future!
For real, we ‘ave fi boost dem yoot, ya
The future!
If we do, when they’re grown, build a world to suit ya
If we don’t, when they’re grown, take a gun come shoot ya
Read a book, read Malcolm or Martin Luthur
Read Marcus, don’t let dem boi come confuse ya
I don’t want fi hear the story of the police come shoot ya

Follow Rodney P on Twitter
Buy the album ‘The Future’ on iTunes

Brilliant interview with Akala where he addresses some very deep issues to do with the music industry and the state of UK hip-hop. A must-watch. Big ups Mr 13 for asking some great questions!

—
Follow Akala on Twitter
Follow Mr 13 on Twitter
Follow DJ Bones on Twitter

For Woman’s History Month, celebrated radical rapper Jasiri X drops a heartfelt track telling the stories of the murders of Christina Taylor Green (9 yrs old), killed during the shooting of Congresswoman Gabrielle Giffords, Brisenia Flores (9 yrs old), gunned down by anti-immigrant militia intent on starting a race war, and Aiyana Jones (7 yrs old), shot to death while asleep in her home, by the Detroit Police Department, while they were filming a reality TV show.

Lyrics:

Born on 911
In that dark time as a blessing
A face of hope like she was a sign from the heavens
Kindness and reverence
She grew into a scholar kid
Became class president with a love for politics
Only nine and wants to find where the congress is
Meet her representative
Get involved with the processes
That morning she was so hyper
wanted to meet Ms Giffords by just like her
even though she was young she was much wiser
Until that automatic weapon was just fired.
People falling from getting hit
He kept shooting cause his gun had an extended clip like it had no end to it
And of the victims hit she was the youngest
The mother of her own child she’ll never become it
The value for life just plummets
In this sick society that deserves judgment
Rest in peace youngin

A little girl with her mommy and daddy
on her knees saying a prayer thanking God for her family
so happy her whole life ahead of her
But outside her door was a hoard of vicious predators
Racists sycophants with hatred for immigrants
Got with other militias and called them selves the minutemen
We know where they got drugs and cash lets go get it then
knock knock the little girl wonders whose visiting
They never found drugs but they was of brown blood
So they cock back and fired round after round of slugs
The little girl saw her families bodies on the rug
And cried what did we do why did you come to kill us
he raised up his gun and shot her twice in the face
cause she was only nine but wasn’t the right race
and that’s the reason that we didn’t see it in the media
so even in death discrimination still reaches her.

Little Aiyana Jones chillin in her father’s home
In Detroit Michigan playing toys with her sisters and
doing all the things that make you wish you were a kid again
before you understood what a violet world that were living in
all played out sleeping on the same couch
that she did every night when they turn the lights out
But outside the house they had cameras and mic out
Reality TV brutality for a fee
The first 48 hours on A & E
where a officer can play a celebrity
distracted by all the action they chose the wrong house
flash grenade through the window went crash on the couch
Aiyana’s on fire now flames getting wider now
the first officer through the door pulls out and fired down
shot through the neck bleed to death she’s expired now
I pray she’s resting on higher ground
we love you

—
Follow Jasiri X on Twitter

Via The Progressive. Chuck explores some very interesting ideas in this interview, particularly around corporate and state influence within hip-hop.

Chuck D

Q:You have been an outspoken opponent of the Bush Administration and the war in Iraq.

Chuck D: Where do we start with these guys? The first thing I would like to say is that to be truly American and represent American ideals you need to consider yourself a citizen of the world. American policy has gone contrary to that ideal. The Bush Administration is bent on making the world submit to “Americanism” instead of becoming a member of the world community. This orchestration comes from the very top of the Administration and has pushed America into a corner.

So, rather than trying to humbly mix with the rest of the world, we are forcing ourselves upon it. We seem to create conflicts with everyone.

Q: How is the Bush Administration trying to coopt hip-hop for war?

Chuck D: The powers that be are trying to meld, shape, and corral the culture of hip-hop into another speaking voice for the government.

They have exploited hip-hop and some of the culture around it—magazines, videos, etc.—to recruit people into the military. The Army says it will give out Hummers, platinum teeth, or whatever to those that actually join. Early on in the recent war, Vibe magazine was working with the Army to recruit black youth. They are willing to do this because they will take money from the highest bidder. It’s one corporation dealing with another corporation.

Q: How are corporations commodifying hip-hop?

Chuck D: If you checked out the news lately, McDonald’s offers a king’s ransom to any hip-hop artist who is able to put Big Mac into a song. MTV—and more to the point, Viacom—is succeeding in extending a teenage life to twenty-nine or even thirty-one years old. It is about extending this market and removing any intelligent substance in the music. Why would twenty-six-year-old “teenagers” care about political ramifications if their backs are not up against the wall? But if their backs are against the wall they may be plucked to fight in Iraq, and all of sudden they become politicized real quick.

Q: Do you think that hip-hop can escape the corporate grip?

Chuck D: I always remain optimistic. There are three levels of music production: the majors, indies, and what I call “inties,” music distributed via the Internet. The Internet is one area that I have used pretty effectively to break free of corporate control.

Alternative spaces, independent media, satellite, these all provide some tools by which we can work more independently and deal more directly with communities we hope to reach. Distribution is key, and finding alternative ways to do that with new media is critical.

Q: Why did you get involved with the Internet?

Chuck D: I became tired of submitting my art to a panel of corporate strategists who decide if it meets their standard of what gets into stores or not. It was quite simple for me: they act like judge and jury of my art, and that is unacceptable. I wanted to give it right to the public.

Q: How would you describe Public Enemy?

Chuck D: Public Enemy started out as a benchmark in rap music in the mid-1980s. We felt there was a need to actually progress the music and say something because we were slightly older than the demographic of rap artists at the time. It was a time of heightened rightwing politics, so the climate dictated the direction of the group. The Berlin Wall was up. Nelson Mandela was in prison. Margaret Thatcher was running the U.K. Reagan was out of control in the White House. And Bush Senior was Vice President soon to be President. You can say we were up against it.

Q: What were some of the influences on Public Enemy?

Chuck D: The Last Poets, Gil Scott-Heron, and also eight years of rappers that came before us. I grew up with Motown, Stax Records, and Atlantic. The Philadelphia International sound like the O’Jays had a profound influence on me. As a late teenager, the punk movement pushed me further. In particular, the Clash, which happened to leak through the time of disco, showed me that there was this cross-cultural sound that could cut across genres and audiences. Like punk was to disco, rap music was a rebellion against R&B, which had adopted disco and made it worse.

Q: What kind of political and cultural resistance did Public Enemy encounter?

Chuck D: We were coming out of the black community with this thing called rap music, which was basically black men yelling at the top of their lungs about what we liked and what we didn’t like. It was disturbing to the status quo. It really shook things up. And those in power didn’t know what to make of us, but they knew that we had to be silenced, stopped in any way from expressing our outrage.

Q: The media was quick to characterize Public Enemy as militant black nationalists.

Chuck D: That comes directly from how and when we grew up. We came up in the 1960s. Political and cultural groups like the Black Panthers, and the Nation of Islam were reference points. Our parents brought the work of these groups to our attention, and it was educational and inspiring. My parents were radicals politically, but more than anything they were young parents who actually understood that there was a need and a time for change. They had a respect for the civil rights movement but also understood the need to further it. As black people we were out to further our equality. I don’t pay attention to the controversial connotations put on by media and the undermining labels they place on us. We pay attention to what our community situation is and what we need.

Q:Talk about It Takes a Nation of Millions to Hold Us Back.

Chuck D: It Takes a Nation was an album that happened to cross the roads at the right place at the right time. Rap music, as recorded work, was just eight years in. The music was ready to break nationally in album form as opposed to what it had been, which was a singles medium. The album was released by a small radical label called Def Jam. Def Jam was distributed by staunch old school institutions such as CBS and Columbia. We happened to find that loophole and use their distribution system to be able to get to the people in a brand new state of mind. We wanted to be a social critic, a community voice. We wanted everyone to know, truly understand, that our music was from the people, not above the people.

Q: What are some of the songs that remain vital from It Takes a Nation?

Chuck D: “Don’t Believe the Hype,” without question, still speaks volumes. To me it is Noam Chomsky-like in its theme and content. Like Chomsky does with his work, “Don’t Believe the Hype” addresses media disinformation and picks it apart.

Q:The album in many ways was Public Enemy’s Manufacturing Consent.

Chuck D: Definitely.

Q: Who are some current rappers that you like?

Chuck D:: Nas, Mos Def, and Talib Kweli for sure. Wu-Tang Clan delivered the goods musically and to a certain degree politically, in particular GZA/Genius. But I must point out that if you had to look in a book for the definition of a rapper you would probably see a picture of Jay-Z. He is the chosen one right now.

Q: Do you think current hip-hop artists like Jay-Z possess the same kind of timeless quality that Public Enemy has?

Chuck D: Someone like Jay-Z does have a timeless quality, but it’s much different than ours. You can look back at something like “At the Hop” by Danny and the Juniors or the music that was on American Bandstand in the 1950s-’60s. It was the emergence of rock in the suburbs—without its teeth, let’s say. You will get the same thing out of Jay-Z with the street hustler mentality of the late 1990s. It won’t be able to resonate far beyond that, but it’s something that will go on with just a different person telling it. When it comes down to Public Enemy and the Clash or Bob Marley, who is a great example, you can play the music now and it’s like, “Damn, what the music is saying is just as important today as it was when they recorded it.” It also becomes a powerful historical document of a particular time of struggle and resistance. But this is maybe the purpose of artists like Public Enemy—speaking truth to power—while artists like Jay-Z represent the escapism of that time.

Q:What are your thoughts on Eminem’s foray into politics with the anti-Bush song “Mosh”?

Chuck D: These are inevitable destinations for artists like Eminem.

Where else can you go with respect to the work, lyrics, and message of the music? If you are past high school age, you can get by with saying very little the first or second time around. However, after a while you know you are going to have to say something beyond high school stuff. Eminem has talent, and his talent is the thing that influences many young people who would have never gone anywhere near rap. White kids in different parts of the world use him as a barometer and the standard to live up to. In some ways, Eminem is an artist who has ushered in a new movement.

Q: So, do you see someone like Eminem leading to more diversity in hip-hop—not just white rappers but across the ethnic and cultural spectrum?

Chuck D: If you want to speak about different ethnicities and diversity, rap and hip-hop are all over the planet. Every country, from Turkey to Australia, now has tons of hip-hop artists. The music and artistry have moved way faster than the corporatization of the music. You do need organization and opportunity for these artists to express themselves, and I don’t think it has to come from a corporate co-signing.

Q: And what about the current wave of bad press for rappers like 50 Cent?

Chuck D: A lot of artists have been persuaded into doing whatever they can do to gain attention. The media, of course, will position and promote the worst of them to the front page. The sidewalk to crime becomes the marketing campaign. These artists have seen it work and sell millions and millions of records for other artists.

Rap comes from the humble beginnings of rebelling against the status quo. Now, rappers have become the status quo themselves. You can’t rebel against the Queen and then become the Queen yourself. I attribute much of the blame to testosterone—male dominance and patriarchy.

Q: Hip-hop is thirty years old and now a dominant global musical force. What has been the biggest change in hip-hop over this period?

Chuck D: The biggest thing that has happened to hip-hop in the last ten to twelve years is the clinging on to the corporation as the all-mighty hub of the music. When culture is created in boardrooms with a panel of six or seven strategists for the masses to follow, to me that is no different than an aristocracy. It’s not created from the people in the middle of the streets, so to speak. It is created from a petri dish for the sake of making money, and it is undermining the longevity of the culture.

Q:Then music for you is about building a community.

Chuck D: I don’t think that the music should be above the people.

Class doesn’t cost a dime, and you spread it around. Knowledge, wisdom, and understanding don’t come out of the microwave. You got to keep moving forward because the evil doesn’t sleep.

Q: Why do you consider yourself a citizen of the world?

Chuck D: I first consider myself a man and then a grown adult at that. Next, I know I am judged unfairly by my physical characteristics and ostracized because of that so I say, “Yes, I’m a black man.” Then it goes to things I do—songwriter, musician, and activist. I adhere to the philosophy, “I don’t care who writes the laws, let me write the songs.” Our expressions in the arts are something that reflect life and propel us as human beings. Culture is this thing that we can exchange among ourselves as human beings to knock aside our differences and build upon our similarities. Cultural exchange is the ultimate exchange.

Q: You do a radio show on Air America, tons of public speaking and performing. Discuss your most recent activism.

Chuck D: My work throughout my life is always representative of the time we live in. It’s all about keeping it in order and keeping it in gear. I want to always move forward with everything I am doing. So, I do the radio show, speak at universities and other social institutions all around the world, appear on TV, and continue to create music all in the hope to keep the struggle alive. Most other artists are always fighting for their fame. They have that fear, like the saying goes, “out of sight, out of mind.” They need to keep themselves out there. I have never had that fear. If I have any fear, it’s not doing enough to reach people.

Nothing to say here – the lyrics speak for themselves! “It’s time to get free, we ain’t slaves no more.” What a tune!

Very useful 3 minute vid where M1 (from Dead Prez) and Jared Ball give their views on illuminati-related conspiracy theories.

M1 points out that the theorising around the illuminati is a very useful diversion for the system, as the finger of blame can be pointed at rappers (in particular Jay Z), hiding the white supremacist power structure on which western society is based. (Incidentally, when he says ‘the Jewish guy’, I’m pretty sure he’s talking about Lyor Cohen!)

“We have to continue to identify imperialism as the root of the problem, not the ‘secret people'”.

Over the last couple of weeks I’ve been posting Durrty Goodz tracks on my Twitter and Facebook pretty much every day – partly as a response to a few people that have been dissing grime and saying there’s nothing positive in it. I’m not down with being negative about grime – like any music it has different lyrical narratives in it, some amazing and some bullshit, but it is an important voice of the young and oppressed in this country (comparable to dub in the 80s and jungle in the 90s). Goodz is undoubtedly one of the most talented artists on the scene, and he combines his incredible flows and storytelling skills with a thought-provoking, conscious narrative. His latest album ‘Overall’ is due out very soon and will no doubt be a classic.

—
Give Me The Music (feat. Ny)

This ridiculously slept-on banger will speak to anyone that couldn’t do without music. Life is full of struggle and music is one of the main things that gets us through it.

—
Gunshot

This is a heeeeavy track opposing gun violence and showcasing Goodz’ lyrical versatility. Great video from Carl Allegard.

—
Letter 2 Titch

A message to Goodz’ brother in prison (the legendary MC Crazy Titch). Some serious emotional depth on this.

—
Switchin Songs

A history of garage and grime, and a showcase for Goodz’ unparalleled ability to switch flows.

—
Westwood freestyle

This is freestyle on another level.

—
Grime Killers

Very interesting lyrics on this one – about cultural scapegoating (“grime makes kids kill each other”) and the state’s hatred of black economic empowerment.

—
Childhood

A very deep concept, beautiful lyrics and great production.

—
Boi Dem

“You’re thinking that I’m hiding some of the white ting but I ain’t shottin a Red Bull!” Fiiiring track about the feds.

—
Freedom Fighters

A tasty freestyle from 2004 or so. Title says it all!

—
Back 2 School

For those that think grime artists can’t chat positive!

—
Reloadz

Goodz and Terror Danjah show the link between jungle and grime.

—
More 2 Da Floor

Hilarious statement about grime MCs selling out and doing pop-dance tracks.

—
Marijuana

One of the most creative and lyrically brilliant tracks to come out of the UK scene. Full of history and metaphor.

—
Download the amazing album Born Blessed for free.
Buy Axiom on iTunes – one of the best grime releases of all time IMO.
Buy Ultrasound on iTunes
Buy the latest single Oi What U Lookin At on iTunes
Follow Durrty Goodz on Twitter

Happy birthday to Marvin Gaye! Check this footage of two of his most radical and inspiring songs.