Why Ten Dixon's P Solja diss track ‘C’mon’ serves up as a grime banger

Jheeeeze! Ten Dixon’s ‘C’mon’ remix is an absolute fire example of real Grime, with outstanding production, well constructed and delivered bars, and a massive helping of war, for your headtops.

The history of the sends reveal PSolja requested a clash, for a Don’t Flop show, in London. Ten Dixon rose to the challenge, releasing a pre-show diss entitled ‘Grime Daily’, but after waiting some time for a response and getting nothing, Ten Dixon decided to release a second dub ‘C’mon’, in a bid to draw out his opponent , and that this was apparently enough for PSolja, who released an untitled clap back, via the Don’t Flop YouTube channel, shortly thereafter.

The first riddim Ten Dixon released ‘Grime Daily’, is a full on personal attack, using a sample of Wiley, and his infamous ‘Let’s fucking ‘ave it, Bruv’ call out, Dixon goes on to slew PSolja, with a string of personal insults, including claims about a man’s teeth, hairline, breath, age, mental state and financial status, whilst simultaneously claiming superiority.

The second riddim to be released was Ten Dixon’s ‘C’mon’, ft. NotStrictly, Prod. Shannon Parkes x Filthy Gears (bars discussed in the remix, further on). This riddim was hard in the first place, with a mad busy beat as a backdrop, including fully patterned drums, vocal synths, a deep muted bassline and a heavy synth melody, and was clearly enough to draw a response from PSolja. Ten Dixon explains that he had heard the stems of a Filthy Gears riddim, that Shannon was remixing for Filthy’s album, and jammed with it so much, he asked to jump on it first. NotStrictly (also known as NotStrictlyAmbs, Reprezent Radio presenter) is heard on the intro, saying PSolja had ‘already flopped it’, since it took 2 dubs to draw him out, after which PSolja followed up with his untitled release, via Don’t Flop.

PSolja’s track is comprised of heavy computer synths, an off kilter, stab-like melody pattern, a muted bassline and busy, but light drum patterns. His bars claim Dixon cats his flows from everywhere, he doesn’t even know who he is, he’s a feature rapper at best, and when PSolja shouts ‘Eh?’, the crowd goes ham. He even references a phonecall Dixon claims in ‘C’mon’, as a ‘failed attempt to contact him about clashing’, claiming if Dixon tried to call first, then this must be an admission of PSolja’s superiority.

Not content with the reach of his first ‘C’mon’ release, Ten Dixon remixed the dub, along with Shannon Parkes, giving it a second tour in the spotlight, and making it a stand out war dub, ensuring Dixon leaves a hard mark on the scene.

Coming with an insane beat, wavey enough to rave to all on it’s own, the riddim is full, but, not overpowering, so as to ensure Ten Dixon is front and centre. Starting with a muted melody pattern, and NotStrictly, talking about ‘Don’t Flop? You already flopped it’, and simply a couple of light symbols, the full beat drops in proper, at the same time as the bars, with a heavy muted bassline, and hard melodic stabs that follow the same pattern, as well as lighter melodies, interspersed and woven over the top comprised of haunting vocal choir synths, there are busy , patterned rolling hihats, symbols, and a heavy kick/snare pattern that also follows the bassline. At different points in the track, the music drops out completely in a stop start pattern at the end of each bar, which has a highlighting effect on Dixon’s rhymes and wordplay.

Ten Dixon comes even harder this time, with an almost growl-like, high-energy delivery that mimics the bass stabs. Coming with references to other MC’s for wordplay, like calling out Psolja, and claiming he’s ‘older than Wiley’, remixing some classic bars like Prez T’s ‘Kill Off Killy’, and coming straight for PSolja’s neck with an onslaught of personal insults and claims, including saying PSolja was booed off stage, that he called him about the clash, but P was too shook to answer, that he’s on drugs and is a nitty, he’s too rusty, he must be missing a chromosome, etc. Ten Dixon ends the riddim with a minute long, straight draw out, shouting over and over ‘C’mon!’, laughing, asking if man is ‘retiring’, telling him to get his ‘dictionary’ together, and to ‘get his bars up’. Ten Dixon is enjoying this clash, and it shows.

Whatever your affiliations, or even if you’re new to this war, or even Ten Dixon, this is war dub entertainment at its finest, the track is a no holds barred, straight shelly, pure fire riddim. Cop it!!!