Dizzee Rascal - 'Showtime' (XL)
4/5
By: Thomas Hannan
Punk-rock and hip-hop have more in common than some may immediately recognise. The obvious differences in instrument technique apart (the former worshipping the six strings and the only four chords possible on an electric guitar; the latter perhaps not even requiring conventional instruments whatsoever), if we're talking about the genres as they were meant to be taken, their essences, the need to stand against the establishment and stay true to their roots, are remarkably similar.
Perhaps unlike punk, however, hip-hop has a need to escape the troublesome times from which it was born, but is just as terrified of losing any shred of credibility. As Dizzee Rascal sums it up it perfectly on the closing 'Fickle' - 'Everybody wants to be ghetto, but nobody wants to be poor'. That one line could sum up 'Showtime' better than anything you will subsequently read.
Certainly not poor ('I made a record, over 100,000 people bought it') and (if his lyrics are to be believed) having his 'ghetto' credential questioned by doubters left, right and centre, Dizzee has done a remarkable job of 'keeping it real'. 'Showtime' doesn't ignore the success of the Mercury Prize-winning 'Boy In Da Corner': it builds on it, sending this sprightly Londoner even further ahead of any competition. Whereas his debut was a remarkable record made with its back against the wall, 'Showtime' is the musings of a young man who has seen the world. To 'keep it real' here, he's done the sensible thing and acknowledged his experiences and privileges, not pretended that he in fact isn't being sent trainers by the truckload and being invited to the opening of every envelope in the UK capital.
Despite containing his catchiest moment to date, the infectiously brilliant 'Stand Up Tall', 'Boy...' was probably the more commercial record. It had quirky little tunes, huge beats, rock and roll samples. Here, it's a little more difficult to see where the singles are going to come from. It is nevertheless the much more glamorous of the pair, whilst biting harder and packing stronger punches, there's a sheen to Dizzee now, even when pondering on the grime of London both in 'Graftin' and the truly brilliant harpsichord abuse on 'Learn', there's a sparkle to the rhymes that is all the more enticing. Whereas before the world of the Rascal has seemed something terrifying lurking miles, miles away, now it seems as if just by pressing play, it's in the room with you - making it all the darker.
It will/should rank as one of the all-time great London records, along with The Clash's 'London Calling' (there's the punk-rock again), Blur's 'Parklife' and The Streets' debut. Its harsher tone won't matter one bit for two reasons, the first being how masterfully it creates such a reluctance in the listener to leave surroundings that they really shouldn't find this comfortable, a feeling that occurs mainly because - and here's the second reason - the boy can handle a chorus masterfully, slapping catchy hooks between deluges of bitterly striking, observant rhymes on each and every cut.
For further highlights, check the following - 'Get By' pulls of a tuneful flirtation with R&B, 'Dream' outrageously samples Captain Sensible ('How am I going to get away with this without sounding daft?') in the chuckle-worthy first instance of a Dizzee Rascal track that could count as a novelty, and the amazingly thought-provoking 'Imagine' shows a contempt for anyone who would ever lose respect for him simply for leaving the council estate. Make no mistake; the kudos venomously demanded in 'Respect Me' is on its way. And as for 'keeping it real'? Few things could ever sound quite this genuine.
Artists in this article: Dizzee Rascal
Your Feedback
Login to post your comment