Credit To The Nation, Take Dis

So-named as an answer to the boy band phenomena of 1993 (and a direct come-back to Take That's name), ' Take Dis' was a startling debut album in Hip Hop history.

Championed by Radio 1 legend John Peel (who had the trio in for numerous 'Peel Sessions' and interviews), the 15-track CD was an accessible work for many 'Non' Hip Hop fans (without delving into commercialism and cheesiness).

Listening to it now is still a very pleasurable experience, and time does not really damage the overall package. The production is often very clever and original, combining such things as Sandie Shaw's 'Puppet On A String' with well-crafted Hip Hop breaks. The real finesse of this LP's sound though, is in the way producers T-Swing and Mista-G can disguise a pop-tune inside a fairly-heavy Hip Hop track.

Such tracks as 'Teenage Sensation' and the infamous 'Call It What You Want' illustrate this 'Finesse' perfectly, providing catchy vocal and musical riffs that roll-around a backdrop of Hip Hop.

'Teenage Sensation' was the first (pre-album) single released, and was an instant success for the UK threesome.

It's sound centered around a vocal loop (in this case a whistling one), a funky drum pattern and an excellent performance by frontman MC Fusion.

Only 18 years old at the time of the LP's release, Fusion had found himself flung into the limelight considerably more than other (and often better) UK emcee's had.

After touring and recording a single with Chumbawumba, Credit To The Nation found a Student and alternative fanbase that boosted their fame beyond expectations.

Their more accessible take on Rap music was also easier to swallow than most other UK Hip Hop groups, their track 'Call It What You Want' even sampled the famous Kurt Cobain riff from 'Smells Like Teen Spirit' (a clever and bold move that sounded good AND ensured a listen from the 'Indie' fans).

There are many great moments on this album. Sounds range from the inane (aforementioned bare-footed songstress), Strange (a morris-dancing, merry-go-round soundtrack), Wise (on the track ' Lady Needs Respect ' in particular) and the Haunting (check the brilliant 'screeching' sample-loop on the track ' Rising Tide' and it's ingenious use of a volume fade in the mix). The only thing that occasionally lets this album down is the lacing naivity in the way the words are put together. MC Fusion's delivery is'nt his problem on this recording, maintaining a focused and mature approach that flits between 'Brummie' and a patois-variant throughout. The subject matter of his rhymes is well-chosen and admirable too, talking on such points as: Sexism in Hip Hop, Racism in the Police force, Putting 'Colour' in the Royal Family (very cheeky!) and the evils of corruption and money.

The trouble with 'Take Dis' at times is the WAY in which these subject matters are tackled by Fusion, often veering into obvious and cliche rhymes. The structure of the vocabulary lacks maturity and at several junctures the listener notices rhymes borne of necessity (depending on the last word of the previous line), rather than couplets that have been honed to perfection.

His integrity is strong however, and the Rapping skills displayed are pleasing enough to the ear. His vocally laid-back approach, sitting nicely with the beats and samples behind.

The anoraks and aficionado's will be pleased at the production to be found here, the album displaying some classic idea's and techniques. Jazz, Grunge, Funk, Ragga, Pop, Reggae and even a Cathedral Choir are all represented at some-stage during this debut, combining to make a distinctly individual and fresh-sounding Long Player.

It's a shame then, that their next two albums were frankly awful. After 'Take Dis' the group abandoned their Hip Hop sound almost entirely, choosing to focus on a more 'musical' and mainstream output (that didn't do much for their career).

You may require a taste for Hip Hop to fully appreciate this album's production and rhyming, but then to be honest it will appeal to many more of you than just the Hip Hop Die-Hards.

It's a strange piece of work to review as it doesn't sit comfortably in any category, and somehow defies an accurate description. It's easy to see how they may have chosen the 'Alternative Band' route, but it's also a shame that they didn't pursue the Rap path further. With a little more maturity and a few more years under his belt, Fusion would have matured into a solid UK emcee instead of an average ragga-singer.

Credit To The Nation then, provide us with a slice of UK 'Alternative' (?) Hip Hop in 1993. Tempting us with the prospect of a truly banging second album, by showing us the occasional snippet of British Hip Hop brilliance.

If only they had produced that follow-up to 'Take Dis', instead of morphing into a completely different band (to all intents and purposes).

If you can get hold of this Hip Hop curiosity, and it sounds like your cup of tea then grab-it!

For those of you who are more on the fringes of Hip Hop, check it out if for no other reason than to see how Nirvana can mesh with Birmingham Rap.

Credit To The Nation, Take Dis - A solid album worth getting if you are lucky enough to see it around. Not your typical hip hop sound at all (Lexus, Bling, 40z, etc.). If you like Jurassic 5 or mabye Rage (NOT Lexus, Bling, 40z, etc.), you'll like this. Rumour has it Matty Hanson is in a rock band now. Interesting....

Credit To The Nation, Take Dis - UNITY/ this album is heritage. Each track flows within children's songs, the monarchy, history and is overshadowed by a relentless voice that carries the ghosts of stories. Sowing the seeds will leave your head immersed within an area seldom traversed and carries a weight invaluable for today's society.

A true hip-hop album that broke the pop market. A MUST LISTEN.

Why this album has ceased production is shameful... find Credit for the Nation.