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What set apart an album like Jungle Revolution, the proper debut from Michael West (better known as Rebel MC) under his Congo Natty name from most contemporary drum and bass releases was the fact the music sidestepped the stadium-sized pop production favored by most modern producers and was instead rooted in what used to be called "jungle music", a term that over time became interchangeable with drum and bass: it was a lot darker and dirtier, and its fiery mix of dub and reggae served as the perfect platform for the socially and politically charged nature of the songs. Jungle Revolution is just one in a long line of albums from West, who has been on the scene for some three decades now, starting off with Double Trouble, a trio of dance music producers whose 1989 single 'Street Tuff' made it to number 3 in the UK Singles Chart. He's worked under various names such as Conquering Lion, Blackstar, Tribe Of Issachar, X Project and Ras Project and has explored everything from techno, house and reggae to ragga, hip-hop, and jungle.

West recently followed up Jungle Revolution with an entire album of dub remixes featuring select producers turning out their own interpretations of the original songs. In the most basic sense, dub remixes are designed to manipulate a song (sometimes twisting it into something almost completely different from its original form) simply by stripping it down to little else than its wires and frame. It's an interesting idea, but considering how incredibly good the material on Jungle Revolution was, it begs the question as to whether an entire album's worth of remixes was really needed.

The answer lies somewhere in the grey. As far as these remixes go, they mostly work as some of them compliment if not improve slightly on the originals: The Jinx in Dub Steppa remix of 'Nu Beginningz' deepens the bass and tightens up the percussion giving Sista Mary's vocals an additional bite that makes her rhymes hit that much harder; Adrian Sherwood turns out an especially bonkers take on 'UK All Stars in Dub', bookending its hyper breakbeat rhythms with a traditional stepping beat and bright punchy brass that heightens the block party atmosphere even further; and King Yoof's trance inducing 'Microchip in Dub' is runner up for second best remix, pulling the original from its shuffling breakcore and plunging it into the depths of swaying and stoned dub terrain.

Still, there are songs like Sukh Knight's 'Get Ready VIP Dub', Young Warrior's take on 'London Dungeons', or the Joe Ariwa reworking of 'Rebel Tuff Like Tuff Gong' that simply don't work. Not because they are bad (there isn't technically a "bad" mix here) but because they simply fail to take the originals anywhere interesting and feel instead like remixes that were done for the sake of remixing. Then again, these producers had their work cut out for them going into a project like this considering how strong of an album Rebel Revolution already is on its own.

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