Deep Currents: Reggae Movements In New Zealand Hip-Hop

Integral, yet often unseen, the effect of reggae on New Zealand hip-hop has been a constant throughout the culture's development. Though it may have appeared to peak in the mid-90s, mirroring the flood of New York boom bap and artists like Mad Lion, Super Cat and Screechy Dan, the roots run far deeper and continue to this day.

Upper Hutt Posse, the undisputed pioneers of Aotearoa hip-hop, began as a reggae group in 1985. Three years later and fully opened to the possibilities of b-boy culture, they still found time for a chunky organ skanker, "No Worries In the Party Tonite" on the flip of their debut and Aotearoa's first commercially released hip-hop record E Tu. 

Reggae has continued to be an influence on the Hapeta brothers and their various allies, and one that was fully seized by DLT when he parted ways with the group.

In Auckland, DLT found himself amongst the Stylee Crew (alongside Roger Perry, Dubhead, Slowdeck and yours truly) hosting yard dances and shifty one nighters. Here the cream of the central city hip-hop community performed alongside veterans and rising stars from the Twelve Tribes Of Israel Rastafarian camp, and new school dancehall vocalisers. Those vibes spilled into the studio with cuts like "One Love" showcasing the inimitable vocals of the Mighty Asterix, and "Nightmare Man" and "Burn Time" from Joint Force featuring future Lucky Taco supremo Otis Frizzell and Fat Freddy's Drop hype man MC Slave.

Producer Angus McNaughton, who was often behind the boards at these sessions, was making his own contributions including joining 95bFM DJ Dubhead, Dam Native's Danny D and Tuffy Culture as Sound Foundation for the single "Ram Dancehall" on go-to label Deep Grooves. A somewhat dysfunctional breeding ground for much of what would develop, Deep Grooves' greatest commercial success came with 3 The Hard Way's "Hip-Hop Holiday." Reaching number one in New Zealand and the Top 20 in Australia, this hip-pop-ragga earworm used what turned out to be a very expensive chunk of 10CC's "Dreadlock Holiday" as well as the authentic singjay vocals of Bobblylon from the  Hallelujah Picassos and Riot Riddim Sound System.

With New York producers Kenny Dope and Bobby Konders creating fresh templates for dancehall-centric jeep beat journeys, by the mid-90s the fusion of reggae and hip-hop was ripe, and the challenge was keenly taken up around New Zealand. With most New Zealand hip-hop talent having grown up on their parents record collections - with Marley and Island Records golden period often up front - reggae remained a formative force and was often the default music when some relief is required from convoluted wordplay.

As the son of Rastafarian musician and activist Tingi Ness, Che Fu has an even deeper connection to reggae and became the commercial perfect storm in the New Zealand/Jamaica hip-hop crossover. Starting with an appearance on DLT's "Chains" and moving through further chart toppers like "Fade Away", Che Fu has balanced reggae, hip-hop and soul influences through his own filter as a Niuean-Maori Grey Lynn original. Andy Morton aka Submariner, the producer of many of Che's finest moments, is another with a keen handle on finessing the Kingston dynamics and Big Apple flavours. While his work with King Kapisi, who started off as ragga chatter Bran Muffin in Wellington crew Gifted & Brown, may be better known, it's his cut with the Feelstyle "Leave It At That" which would be my pick as the definitive New Zealand hip-hop reggae statement. Taken from their under-rated epic 2004 album Break It To Pieces, and deftly sampling a sly chunk of The Upsetters Lee Perry produced "Kentucky Skank" (appropriately referencing the fried chicken not the US state) - it's as good as it gets.

Starting off alongside Christchurch chatter Antsman, and more than capable of holding her own on a reggae rhythm, Ladi 6's music is permeated with Treasure Isle tones, even if it only breaks through as overtly as 2008's "Walk Right Up" occasionally. Antsman has subsequently shown up with Wellington outfit Rhombus, who join Fat Freddy's Drop in having their own slant on outward looking reggae, often with a subtle hip-hop influenced undertow.

More recently P Money turned in one of his sharpest productions on "Don Dada" for Australian MC Sky'High, breaking down Kenny Dope's Supercat mangling classic "Supa" to devastating effect, as well as working with UK dancehall, gun for hire Gappy Ranks on the potty mouthed "Baddest". Money also featured on one of the great NZ hip-hop reggae soundclash collisions when The True School Hip Hop Show took on Bureau de Bashment at the Clash Of The Codes in 2001, the nugget of dancefloor dynamite that occurs when these genres spectacularly combine continues to be a prized treasure to selectors and DJs in these isles.

Scratch the surface on most domestic hip-hop connections, be they Maori, Pakeha or Pacific Islander and you'll find reggae lurking. Dawn Raid scored a number one with Sweet & Irie's "Feels Like Magic" featuring The Horsemen Family and are now involved with leading worldwide dancehall label VP Records and the Raggamuffin festival. Reggae remains so indelibly wrapped in the fabric of local hip-hop that as P-Money puts it "You could never really have a straight out reggae hip-hop guy here, it would be just too cheesy, too wack, we're too knowing!'"

Often almost hidden by its universality, the Jamaican power source continues to have a profound, impact on the journey of New Zealand hip-hop.

Illustration: Amy McPherson

Nov 21 - 27 is NOISEY New Zealand Hip-Hop Week. Head here for more NZ hip-hop content.