TREVOR NELSON SUCKS - Soul Nation Part 3 on UK TV and the fcuk'd scene in UK - Soul ?

**Martin Red** · 07-03-2003, 05:52 AM

Originally posted by mr startist:
<blockquote>quote:<hr />Originally posted by Mah'chew:
I like D&B but to call the Jungle Movement a Punk is laughable...

The whole Jungle thug element was laughable, same as Speed Garage...

Moshchino jeans at Twice as Nice, sucking on some Moet, pleazzze, it was made for Mixmag and the Sun and you bought into it...

To think, at the same time you had Basement Jaxx starting out in Brixton and Steatham Hill, you had Camoflage at the Angel, you had Harvey at 333 and running New Hard Left also at the Angel, you had the Nuphonic Crew and Idjuts plying at the DogStar in Brixton, you even got some good DJ's at Garage City and Mass...why the hell would you need to be stuck in a vortex of mindless consumerism and acting tough down in Vauxhall..?

Strictly for show if you ask me, more into being seen than being a scene

Again pure ignorance.

Jungle was a brand new sound created by the then youth & had all the attitude of punk including the "thug element". When you have music aimed at teenagers/early 20's you will get trouble. It was called being young and rebellious.

Designer labels & champagne were part of twice as nice way before the Sun or Mix Mag even knew it existed. This look started from jungle. Which is what made it like punk. A style, a look & an attitude. You obviously were a late coming and not there in the beginning. That isn't a bad thing but ignorance is.

[/QUOTE]You keep goign on about the begginning and people not understanding, you try understanding and get ouit OF ****ING LONDON and stop seeing the country at stopping at Watford Gap,

The differnce is people who don't live in London travel, you know like urrm LEAVE THE CITY THEY LIVE IN once in a while, rather than staying in London, even Fabio and Grooverider have said this.

we had clubs that led up the Jungle bullshit, you lot just gave it at name and got some glitter people at your venues, oh Bjork went let's call OK magazine, ****.

You think your the only ones doing anything, and you try to HOLD on to ANYTHING LONDON, at the end of the day the MUSIC that came out of LONDON WAS PONY , sorry if that is a direct attack on your londoncentric BS, but we left that shit for you lot, we didn't want it, cack. Crossbred Happy hardcore and Ragga MC's who sounded utter cack, I like people who can chat , but the MC's you lot had must had guns for the DJ not to tell them to shut the **** up, MCing came out of cracked up ragga boys wanting to put themselves on stage and no talent was present they probably thought they where god with all that Coke in their heads.

I come from the UK reggae capital, and the MCing on the London scene was shit, I wouldn't even call it chatting, insecent noise coming out of these IDIOTS mouths, lyrics as deep as a Moschino tag.

Did you ever go to the Eclipse in Coventry (Coventry = home of "The Specials")?

Now your just boring me , london london london, me us blah blah, get outta town it's affecting you.

"Avoid change for the sake of change and keep some purpose in mind"

Peace

P.S Did I metion Goldie was from Walsall (you probably haven't heard of it but it is near Birmingham)

**matthew** · 07-03-2003, 05:52 AM

Originally posted by Mah'chew:
<blockquote>quote:<hr />Originally posted by mr startist:
<blockquote>quote:<hr />Originally posted by Mah'chew:
You don't know me at all do you?

No I don't [/QUOTE]Okay, so go and download some So Solid Crew for your Nokia then. [/QUOTE]are you martin red in disguise?

**ladyboygrimsby** · 07-03-2003, 05:53 AM

'Soulful' house fans are the new northern soulies: 45-year-old blokes with pot bellies and moustaches. Discuss.

**Mah'chew** · 07-03-2003, 05:54 AM

Originally posted by matthew:
<blockquote>quote:<hr />Originally posted by Mah'chew:
Yes it was exciting to see them bastardise a sound and vibe that was too faggoty and slow for them to take in it's purest form (UKG).

Name me five UKG tracks after the term was coined that have any musical context in the DHP?

I've already said that D&B as a form is great, but the whole Jungle scene with it's gangster element and white kids at Oxford University slumming it as they move away from their Intelligent Techno puberty trip is laughable..

D&B broke boundries...

UKG set us back years

Bloody hell Mathius, that is utter shite. I bet you got all upset when Bob Dylan went electric.

How exactly did UKG set us back years. And who is 'us'?

why should the DHP have a 'musical context'? We have discussed almost every type of music on this site in the last three or so years - why exclude UKG?

Remember, House music arrived in the same way UKG did - and it pissed off the 80s soul mafia just like UKG is pissing you off. [/QUOTE]Wrong, House didn't really piss anyone off outside of London!

In fact it was taken on outside of London and the whole Soul Mafia stuff was just Londoncentric snobbery, no way were they going to dance to no electronic music that them cloggies up North were listening to...

Same as UKG was not really played or listened to outside of the Home Counties..

This is the crux, do you see?

[ July 03, 2003, 06:59 AM: Message edited by: Mah'chew ]

**Bran (Bad attitude and from London)** · 07-03-2003, 05:55 AM

Originally posted by ladyboygrimsby:
'Soulful' house fans are the new northern soulies: 45-year-old blokes with pot bellies and moustaches. Discuss.

An interesting angle but i fear too much controversy and differing thoughts may leave Martin Red to explode with rage.

**martin** · 07-03-2003, 05:56 AM

Originally posted by Bran W:
<blockquote>quote:<hr />Originally posted by mr startist:
<blockquote>quote:<hr />Originally posted by Bran W:
A lot of what you say is true. Just to add, I don't think you will find any UK garage 2 step whatever 'heads' in here and yes of course this is the Deep 'house' page but then some people simply want to discuss music, in general, and there are cross associations with scenes. Whatever music you like, its always going to have a commercial aspect and will get tarnished at some point. What can be good however is discussions on different musical tastes giving rise to people who may not have the same access to quality 'house' music but may read pages such as these and then get turned on to 'house' music for real. Its very un-fair to assume that anyone who speaks of music other than 'house' doesn't a) like or know house or b) like the other genre they are talking about.

Me, personally, I couldn't talk about house all day, hence I don't post here very often. I hopeyou find my small random contributions of some benefit.

Thank God, somebody with sense!! [/QUOTE]I am here to save you all [/QUOTE]God help us [img]smile.gif[/img]

**Bran (Bad attitude and from London)** · 07-03-2003, 05:56 AM

"stop seeing the country at stopping at Watford Gap,"

But it does?

Dude, you are so narrow minded in thinking that people who live in London don't go outside of London, why do you think we all have cars down here?

**mr startist** · 07-03-2003, 05:58 AM

Martin Red, we're talking about music not areas. Go and have a glass of water & then come back, you'll feel better.

**martin** · 07-03-2003, 06:00 AM

Originally posted by Martin Red:
You keep goign on about the begginning and people not understanding, you try understanding and get ouit OF ****ING LONDON and stop seeing the country at stopping at Watford Gap

You mean it doesn't? ;)

**Bran (Bad attitude and from London)** · 07-03-2003, 06:02 AM

Originally posted by mr startist:
Martin Red, we're talking about music not areas. Go and have a glass of water & then come back, you'll feel better.

Startist, you don't seem to understand. From this thread we now understand that everything began in Birmingham and Nottingham, maybe Walsall has an impact too but certainly not Africa as originally thought. The illusion that London ever had a dance music scene is merely that, an illusion.

**Martin Red** · 07-03-2003, 06:02 AM

Originally posted by mr startist:
Martin Red, we're talking about music not areas. Go and have a glass of water & then come back, you'll feel better.

You talking of Jungle (music ) coming out of London (area).

What the **** are you on, it's like talking to a 56 year old , now do one, this isn't going anywhere I said my bit take it on board and then traP.

WWW.ILOVEWICKEDWICKEDWICKEDINITMOSCHINOBOHEREMENOW HEREMENOWINMEXR3INHACKNEY.COM

THE END.

**mr startist** · 07-03-2003, 06:02 AM

Originally posted by ladyboygrimsby:
'Soulful' house fans are the new northern soulies: 45-year-old blokes with pot bellies and moustaches. Discuss.

This is so true. You only have to go to an "underground stand" sorry I mean dance to see it. They are afraid of anything new or any young blood. This board like so many other "house" boards are a testment of that.

**martin** · 07-03-2003, 06:03 AM

Originally posted by ladyboygrimsby:
'Soulful' house fans are the new northern soulies: 45-year-old blokes with pot bellies and moustaches. Discuss.

Sad but true - unless the scene can get some new blood (that isn't put off by a scene full of old gits who seem to deter anyone who hasn't put x amount of years in on the dancefloor and is a record bore)

**Bran (Bad attitude and from London)** · 07-03-2003, 06:03 AM

Originally posted by Martin Red:
<blockquote>quote:<hr />Originally posted by mr startist:
Martin Red, we're talking about music not areas. Go and have a glass of water & then come back, you'll feel better.

You talking of Jungle (music ) coming out of London (area).

What the **** are you on, it's like talking to a 56 year old , now do one, this isn't going anywhere I said my bit take it on board and then traP.

WWW.ILOVEWICKEDWICKEDWICKEDINITMOSCHINOBOHEREMENOW HEREMENOWINMEXR3INHACKNEY.COM

THE END. [/QUOTE]Martin Red, calm down. You needn't get so upset at the thought of people from different parts of the country coming to other parts of the country, namely cities like London, to further and expand their musical talents. Afterall, its hard to showcase your DJ'ing abilities in a barn in Lincoln.

**matthew** · 07-03-2003, 06:03 AM

Originally posted by Bran W:
"stop seeing the country at stopping at Watford Gap,"

But it does?

Dude, you are so narrow minded in thinking that people who live in London don't go outside of London, why do you think we all have cars down here?

So we can drive down to Brighton of course. Or maybe to ones darling little holiday cottage in Gloucestershire.

**mr startist** · 07-03-2003, 06:11 AM

Originally posted by Martin Red:
You talking of Jungle (music ) coming out of London (area).

What the **** are you on, it's like talking to a 56 year old , now do one, this isn't going anywhere I said my bit take it on board and then traP.

WWW.ILOVEWICKEDWICKEDWICKEDINITMOSCHINOBOHEREMENOW HEREMENOWINMEXR3INHACKNEY.COM

THE END.

Now I don't think you've had that glass of water.

**mr startist** · 07-03-2003, 06:13 AM

"I come from the UK reggae capital"

hahahahahahahaha, Jimmy Tarbuck is that you?

**Martin Red** · 07-03-2003, 06:31 AM

Originally posted by mr startist:
"I come from the UK reggae capital"

hahahahahahahaha, Jimmy Tarbuck is that you?

STEEL PULSE, started out performing on the British punk scene with groups like Generation X as part of the Rock Against Racism movement was founded in the Handsworth section of Birmingham by Hinds, and core members Selwyn Brown and Steve Nisbett. Their original Bass player, Ronald McQueen, named the group after a popular racehorse. Phonso Martin, another founding member of Steel Pulse left the group in 1991. Currently STEEL PULSE tour with a nine-piece ensemble that includes long standing musicians Clifford 'Moonie' Pusey on lead guitar, Alvin Ewen on bass, Sidney Mills on keyboards, Conrad Kelly on drums and percussion, and the recent addition of two female backing singers Sylvia Tella and Donna Sterling. Some of the band members remain steadfast to traditional Rastafarian beliefs, including wearing dreadlocks and daily prayer.

Probably the UK's most highly-regarded roots reggae outfit, Steel Pulse originally formed at Handsworth School, Birmingham, and comprised David Hinds (lead vocals, guitar), Basil Gabbidon (lead guitar, vocals) and Ponnic McQueen (bass). However, it is Hinds who, as songwriter, has always been the engine behind Steel Pulse, from their early days establishing themselves in the Birmingham club scene onwards. Formed in 1975, their debut release, 'Kibudu, Mansetta And Abuku" arrived on the small independent label Dip, and linked the plight of urban black youth with the image of a greater African homeland. They followed it with 'Nyah Love' for Anchor. Surprisingly, they were initially refused live dates in Caribbean venues in the Midlands because of their Rastafarian beliefs. Aligning themselves closely with the Rock Against Racism 1 organisation, they chose to tour instead with sympathetic elements of the punk movement, including the Stranglers, XTC etc.: 'Punks had a way of enjoying themselves - throw hordes at you, beer, spit at you, that kind of thing'. Eventually they found a more natural home in support slots for Burning Spear, which brought them to the attention of Island Records. Their first release for Island was the 'Ku Klux Klan' 45, a considered tilt at the evils of racism, and one often accompanied by a visual parody of the sect on stage. By this time their ranks had swelled to include Selwyn 'Bumbo' Brown (keyboards), Steve 'Grizzly' Nesbitt (drums), Fonso Martin (vocals, percussion) and Michael Riley (vocals). Handsworth Revolution was an accomplished long playing debut and one of the major landmarks in the evolution of British reggae. However, despite critical and moderate commercial success over three albums, the relationship with Island had soured by the advent of Caught You (released in the US as Reggae Fever). They switched to Elektra, and unveiled their most consistent collection of songs since their debut with True Democracy, distinguished by the Garveyeulogising 'Rally Around' cut. A further definitive set arrived in Earth Crisis. Unfortunately, Elektra chose to take a leaf out of Island's book in trying to coerce Steel Pulse into a more mainstream vein, asking them to emulate the pop-reggae stance of Eddy Grant. Babylon Bandit was consequently weakened, but did contain the anthemic 'Not King james Version', which was a powerful indictment on the omission of black people and history from certain versions of the Bible. Their next move was id Hinds of Steel Pulse to MCA for State Of Emergency, which retained some of the synthesized dance elements of its predecessor. Though it was a significantly happier compromise, it still paled before any of their earlier albums. Centennial was recorded live at the Elysee Montmarte in Paris, and dedicated to the hundred year anniversary of the birth of Haile Selassie. It was the first recording since the defection of Fonso Martin, leaving the trio of Hinds, Nesbitt and Selwyn. While they still faced inverted snobbery at the hands of British reggae fans, in America their reputation was growing, becoming the first ever reggae band to appear on the Tonight television show. Their profile was raised further when, in 1992, Hinds challenged the New York Taxi and Limousine Commission in the Supreme High Court, asserting that their cab drivers discriminated against black people in general and Rastas in particular.

**Mah'chew** · 07-03-2003, 06:32 AM

I see that my statement stands, thought it would, falsify that last statement if you will.

I'm off to listen to some Slipnot, Hatebread and Poison The Well in order to get in touch with the kids of 03.

That was some heated over-time [img]graemlins/rofl.gif[/img]

Gentleman I look forward to your next UKG mixes with glee. Make sure to put lots of Todd Edwards mixes on it ;)

[ July 03, 2003, 07:39 AM: Message edited by: Mah'chew ]

**Bran (Bad attitude and from London)** · 07-03-2003, 06:40 AM

Originally posted by mr startist:
<blockquote>quote:<hr />Originally posted by Martin Red:
You talking of Jungle (music ) coming out of London (area).

What the **** are you on, it's like talking to a 56 year old , now do one, this isn't going anywhere I said my bit take it on board and then traP.

WWW.ILOVEWICKEDWICKEDWICKEDINITMOSCHINOBOHEREMENOW HEREMENOWINMEXR3INHACKNEY.COM

THE END.

Now I don't think you've had that glass of water. [/QUOTE]I checked that website, it doesn't exist yet.

**Bran (Bad attitude and from London)** · 07-03-2003, 06:41 AM

Originally posted by Martin Red:
<blockquote>quote:<hr />Originally posted by mr startist:
"I come from the UK reggae capital"

hahahahahahahaha, Jimmy Tarbuck is that you?

STEEL PULSE, started out performing on the British punk scene with groups like Generation X as part of the Rock Against Racism movement was founded in the Handsworth section of Birmingham by Hinds, and core members Selwyn Brown and Steve Nisbett. Their original Bass player, Ronald McQueen, named the group after a popular racehorse. Phonso Martin, another founding member of Steel Pulse left the group in 1991. Currently STEEL PULSE tour with a nine-piece ensemble that includes long standing musicians Clifford 'Moonie' Pusey on lead guitar, Alvin Ewen on bass, Sidney Mills on keyboards, Conrad Kelly on drums and percussion, and the recent addition of two female backing singers Sylvia Tella and Donna Sterling. Some of the band members remain steadfast to traditional Rastafarian beliefs, including wearing dreadlocks and daily prayer.

Probably the UK's most highly-regarded roots reggae outfit, Steel Pulse originally formed at Handsworth School, Birmingham, and comprised David Hinds (lead vocals, guitar), Basil Gabbidon (lead guitar, vocals) and Ponnic McQueen (bass). However, it is Hinds who, as songwriter, has always been the engine behind Steel Pulse, from their early days establishing themselves in the Birmingham club scene onwards. Formed in 1975, their debut release, 'Kibudu, Mansetta And Abuku" arrived on the small independent label Dip, and linked the plight of urban black youth with the image of a greater African homeland. They followed it with 'Nyah Love' for Anchor. Surprisingly, they were initially refused live dates in Caribbean venues in the Midlands because of their Rastafarian beliefs. Aligning themselves closely with the Rock Against Racism 1 organisation, they chose to tour instead with sympathetic elements of the punk movement, including the Stranglers, XTC etc.: 'Punks had a way of enjoying themselves - throw hordes at you, beer, spit at you, that kind of thing'. Eventually they found a more natural home in support slots for Burning Spear, which brought them to the attention of Island Records. Their first release for Island was the 'Ku Klux Klan' 45, a considered tilt at the evils of racism, and one often accompanied by a visual parody of the sect on stage. By this time their ranks had swelled to include Selwyn 'Bumbo' Brown (keyboards), Steve 'Grizzly' Nesbitt (drums), Fonso Martin (vocals, percussion) and Michael Riley (vocals). Handsworth Revolution was an accomplished long playing debut and one of the major landmarks in the evolution of British reggae. However, despite critical and moderate commercial success over three albums, the relationship with Island had soured by the advent of Caught You (released in the US as Reggae Fever). They switched to Elektra, and unveiled their most consistent collection of songs since their debut with True Democracy, distinguished by the Garveyeulogising 'Rally Around' cut. A further definitive set arrived in Earth Crisis. Unfortunately, Elektra chose to take a leaf out of Island's book in trying to coerce Steel Pulse into a more mainstream vein, asking them to emulate the pop-reggae stance of Eddy Grant. Babylon Bandit was consequently weakened, but did contain the anthemic 'Not King james Version', which was a powerful indictment on the omission of black people and history from certain versions of the Bible. Their next move was id Hinds of Steel Pulse to MCA for State Of Emergency, which retained some of the synthesized dance elements of its predecessor. Though it was a significantly happier compromise, it still paled before any of their earlier albums. Centennial was recorded live at the Elysee Montmarte in Paris, and dedicated to the hundred year anniversary of the birth of Haile Selassie. It was the first recording since the defection of Fonso Martin, leaving the trio of Hinds, Nesbitt and Selwyn. While they still faced inverted snobbery at the hands of British reggae fans, in America their reputation was growing, becoming the first ever reggae band to appear on the Tonight television show. Their profile was raised further when, in 1992, Hinds challenged the New York Taxi and Limousine Commission in the Supreme High Court, asserting that their cab drivers discriminated against black people in general and Rastas in particular. [/QUOTE]Anyone actually have the inclination or time to read that?

**mr startist** · 07-03-2003, 06:42 AM

And your point is Martin?
Mah'chew : What statement?

**Martin Red** · 07-03-2003, 06:46 AM

Originally posted by Bran W:
<blockquote>quote:<hr />Originally posted by Martin Red:
<blockquote>quote:<hr />Originally posted by mr startist:
"I come from the UK reggae capital"

hahahahahahahaha, Jimmy Tarbuck is that you?

STEEL PULSE, started out performing on the British punk scene with groups like Generation X as part of the Rock Against Racism movement was founded in the Handsworth section of Birmingham by Hinds, and core members Selwyn Brown and Steve Nisbett. Their original Bass player, Ronald McQueen, named the group after a popular racehorse. Phonso Martin, another founding member of Steel Pulse left the group in 1991. Currently STEEL PULSE tour with a nine-piece ensemble that includes long standing musicians Clifford 'Moonie' Pusey on lead guitar, Alvin Ewen on bass, Sidney Mills on keyboards, Conrad Kelly on drums and percussion, and the recent addition of two female backing singers Sylvia Tella and Donna Sterling. Some of the band members remain steadfast to traditional Rastafarian beliefs, including wearing dreadlocks and daily prayer.

Probably the UK's most highly-regarded roots reggae outfit, Steel Pulse originally formed at Handsworth School, Birmingham, and comprised David Hinds (lead vocals, guitar), Basil Gabbidon (lead guitar, vocals) and Ponnic McQueen (bass). However, it is Hinds who, as songwriter, has always been the engine behind Steel Pulse, from their early days establishing themselves in the Birmingham club scene onwards. Formed in 1975, their debut release, 'Kibudu, Mansetta And Abuku" arrived on the small independent label Dip, and linked the plight of urban black youth with the image of a greater African homeland. They followed it with 'Nyah Love' for Anchor. Surprisingly, they were initially refused live dates in Caribbean venues in the Midlands because of their Rastafarian beliefs. Aligning themselves closely with the Rock Against Racism 1 organisation, they chose to tour instead with sympathetic elements of the punk movement, including the Stranglers, XTC etc.: 'Punks had a way of enjoying themselves - throw hordes at you, beer, spit at you, that kind of thing'. Eventually they found a more natural home in support slots for Burning Spear, which brought them to the attention of Island Records. Their first release for Island was the 'Ku Klux Klan' 45, a considered tilt at the evils of racism, and one often accompanied by a visual parody of the sect on stage. By this time their ranks had swelled to include Selwyn 'Bumbo' Brown (keyboards), Steve 'Grizzly' Nesbitt (drums), Fonso Martin (vocals, percussion) and Michael Riley (vocals). Handsworth Revolution was an accomplished long playing debut and one of the major landmarks in the evolution of British reggae. However, despite critical and moderate commercial success over three albums, the relationship with Island had soured by the advent of Caught You (released in the US as Reggae Fever). They switched to Elektra, and unveiled their most consistent collection of songs since their debut with True Democracy, distinguished by the Garveyeulogising 'Rally Around' cut. A further definitive set arrived in Earth Crisis. Unfortunately, Elektra chose to take a leaf out of Island's book in trying to coerce Steel Pulse into a more mainstream vein, asking them to emulate the pop-reggae stance of Eddy Grant. Babylon Bandit was consequently weakened, but did contain the anthemic 'Not King james Version', which was a powerful indictment on the omission of black people and history from certain versions of the Bible. Their next move was id Hinds of Steel Pulse to MCA for State Of Emergency, which retained some of the synthesized dance elements of its predecessor. Though it was a significantly happier compromise, it still paled before any of their earlier albums. Centennial was recorded live at the Elysee Montmarte in Paris, and dedicated to the hundred year anniversary of the birth of Haile Selassie. It was the first recording since the defection of Fonso Martin, leaving the trio of Hinds, Nesbitt and Selwyn. While they still faced inverted snobbery at the hands of British reggae fans, in America their reputation was growing, becoming the first ever reggae band to appear on the Tonight television show. Their profile was raised further when, in 1992, Hinds challenged the New York Taxi and Limousine Commission in the Supreme High Court, asserting that their cab drivers discriminated against black people in general and Rastas in particular. [/QUOTE]Anyone actually have the inclination or time to read that? [/QUOTE]YA want pictures . tuff

From: Handsworth Revolution & Soundsystem
(David Hinds)

I say the people of Handsworth, know that
One hand wash the other so they say
So let's join hands my bredren
Make the way for our children
(our children, our children)
And their children (their children, their children)
Ensuring that they get life's fair share of...
Equality...
Doesn't justice stand for all
Doesn't justice stand for all
Doesn't justice stand for all mankind
We find society putting us down
Drowning us, drowning us, drowning us, drowning us
A place of Evil, Oh, Oh,
Handsworth means us the Black People
Handsworth means us the Black People
We're talking now, Speaking Jah Jah language!

It's a long, long way we're coming from
To send this message across, across
Its been hidden, forbidden, concealed, unrevealed
Its got to come out in the open that --

BABYLON IS FALLING
BABYLON IS FALLING

It was foolish to build it on the sand
Handsworth shall stand firm -- like Jah rock
-- fighting back
We once beggars are now choosers
No intention to be losers
Striving forward with ambition
And if it takes ammunition
We rebel in Handsworth revolution

Dread town, dread town, dread town,
Dread town, dread town, dread town.

Dread we are for a cause
Deprived of many things
Experienced phoney laws
Hatred Babylon brings
We know what we got to offer
We know what's going on
Don't want no favours
Cause there is still hunger
Innocent convicted
Poor wage, hard labour
Only Babylon prospers
And humble suffer
They are brothers in south of Afrika
One Black represent all, all over the world
Can't bear it no longer
Blessed with,the power
Of Jah Creator
We will get stronger
And we will conquer
And forward ever, and backward never
Handsworth Revolution

Handsworth Revolution
Handsworth Revolution
Handsworth Revolution
Revo-Revo- Revolution
Revo-Revo- Revolution
Revo-Revo- Revolution
Revo-Revo- Revolution
Revo-Revo- Revolution