10 R&G Songs You Should Revisit

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Kelela / Image via Publicist
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From the outside looking in, commentators will have you believe that grime is a one-dimensional genre incapable of breaking down its aggressive and raw foundations, stuck within the canon that lyrics have to be violent, misogynistic, and generally unfavourable to the average Joe.

Those deeply involved in the scene, however, will paint a very different picture, with the R&B-infused grime angle proving how diverse the sound can be. And whilst you wouldn't consider it big enough to be a sub-genre, R&G created impact amongst listeners by exchanging beats filled with frenetic energy with smoother cuts that connected with them on a more emotional level. I first heard ‘R&G’ being used as a descriptive term on DJ Cameo’s BBC 1Xtra show over a decade ago, and there's always been one producer synonymous with the start and growth of the sound since: Terror Danjah.

Terror’s Aftershock label—which doubled-up as a crew of MCs, producers and singers—was a pioneering base for the sound between 2003 and 2006. While some producers attempted to keep the R&G flame burning during his absence, namely Scratcha DVA, it was Kelela’s 2013 project, Cut 4 Me, that served as a solid reminder of how fitting sweet vocals could be over grimey-yet-serene rhythms.

Here’s a look back at 10 tracks that defined the short-lived R&G movement.


Sadie Ama f/ Kano – "So Sure"

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With Terror Danjah being the leading producer for our R&G needs, many thought of Kano as being the MC most apt to lend a verse, even if it earned him the “sweet boy” title. Straight out of a 2004 summer that birthed many-a-grime anthem, “So Sure” is one of the best post-garage examples of singers and spitters uniting perfectly on a track (Virgin EMI even picked it up to feature on one of their compilations). Sadie’s harmonising during Kano’s verse, where normally it would be the MC ad-libbing, is one of the many reasons why this lives on as a true R&G classic.

Dizzee Rascal f/ Wiley & Sharky Major – "I Luv U Part 2"

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Never one to stick to the rulebook, Dizzee hit us with a remix to his seminal record “I Luv U”, featuring his pirate radio compatriot Sharky Major and of-the-time friend and mentor, Wiley. Breaking the typical aggy MC format of the time, the boy from Bow utilises the infamous sample brilliantly, bending all three verses around it, with lyrics more on the appreciative side of things when it comes to the ladies.

Katie Pearl f/ Jendor – "Mr DJ"

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A few years after the blueprint had been laid, more and more producers were starting to follow the examples set by their elders, and one who really built upon that groundwork was DaVinChe from South London. His work alongside not only Essentials but across the scene is littered with influences of R&G, and his ‘G-Hop’ titled remix of Kele Le Roc’s “What I Found In You” is almost the sound epitomised. Katie Pearl and Jendor’s “Mr. DJ”, however, took the sound from bedroom playlists to the clubs and is often overlooked. Look to the Paperchase label for similar flavours.

Ruff Sqwad f/ Wiley – "Together"

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Ruff Sqwad’s “Together” with Wiley is the ultimate grime love song. Each spitter lays out their feelings on wax, rallying back-to-back on Rapid’s Police-sampled guitar melody that’s cemented this as R&G’s biggest anthem. “Together” was the end product of their time around Wiley, whom they took much influence from, and his impact can be felt on Guns & Roses Vol. 1 where you’ll catch a few similar gems.

Scandalous Unlimited f/ Carly Bond & Purple – "My Life"

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Featuring electric guitar riffs and early grime clicks, Carly Bond’s voice marries the rhythms perfectly on “My Life”, with MC Purple pitching in towards the end. Much like the previously mentioned singers, Bond featured on many R&G songs over the years—this one a particularly excellent showing of alternative lyricism over grimey sonics. 

DaVinChe f/ Kele Le Roc & Remerdee - "Frontline" (Remix)

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Spinning one of grime's most recognisable beats in “Frontline” on its head, DaVinChe calls on Kele Le Roc to play the non-surrendering woman whilst MC Remerdee pleas for the chance to make his case. This track intrigues with the way it smashes ideas of gender roles in grime: most MCs wouldn’t be seen dead muttering phrases like, “I miss you / It was a disrespect how I dissed you / I never kissed no other girl like I kissed you,” especially after Kele’s hook that defiantly asks: “Am I supposed to break down and cry?” DaVinChe’s light re-working of Big E-D’s “Frontline” is discreet but worthwhile, keeping the main structure but reducing the bass and allowing Kele’s vocals to shine through.

Low Deep f/ Ghetto – "Not In Love"

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Moving closer to the modern scene, Low Deep is another producer that could turn his hand to R&G when needed, using chops and samples to create a romantic air to his work. “Not In Love”, with Ghetts and Joci, is a personal favouritethe East London MC details the terms of a break-up after a one-night stand, whilst not being completely venomous and almost contemplative. Low Deep’s Unsung LP is full of these, and his instrumental CDs are a must for beats like “Jedi” and “Never See Me Fall”.

Spooky – "My Boo"

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R&G isn’t just chucking MCs and singers together and hoping for a clean outcome; producers can be stars of the show as well. Out of the Grime 2.0 wave, many producers carved out new lanes by refixing, editing and chopping up R&B hits, and one of those guys is Spooky—one of the scene’s hardest-working people and a member of the infamous Slew Dem Crew. His remix of “My Boo”, a smooth and sexy affair, sees him chop-n-screw Usher and Alicia Keys’ classic to reload-worthy effect.

Bok Bok f/ Kelela – "Melba's Call"

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Minimalism personified here on “Melba’s Call”, a collaborative effort between Night Slugs’ Bok Bok and American singer-songwriter Kelela. This one came to prominence via Bok Bok’s 2014 EP, Your Charizmatic Self, after Kelela had already made a name for herself with her Cut 4 Me tape the previous year. When the drums come to a halt, her voice echoes through the vacant gaps before the bass compounds heaps of emotion into the rhythm, culminating in one of the smoothest, calmest grime cuts you will ever hear. 

Terror Danjah f/ K.T & Kano – "Love Is Here To Stay" (Skepta Remix)

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Terror Danjah enlists the help of Boy Better Know’s Skepta to tackle one of his biggest tunesan all-out rush of bass that brings out both Kano and K.T’s vocals with whistle-style synths cuddling the beat right the way through for an all the more addictive listen. Skepta also has a tune entitled “Fly Away” that follows much of the same style, however that’s currently for the vinyl-only crew.

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