Nasty Jack is an award-winning Grime MC/Artist, and Producer from West London. Jack’s incredibly successful career in the urban music industry has spanned two decades. Nasty Jack has released a tonne of tracks throughout the history of his career, starting in 1999 and lasting right up to the present day, and while there are far too many to mention here, the list includes tracks such as ‘Fakes’ 9 minute slew with Stormin, ‘My Name Is’, ‘Black Jack’, and ‘Nasty Bona, which he followed up in 2006, by co-producing the club hit ‘Girls Love N.A.S.T.Y’, with Nasty Crew, which earned him an Urban Music Award.
Nasty Jack's long list of releases and features have garnered him critical acclaim from the industry, and made him a popular figure within the U.K. music scene, and earned him a reputation as a prolific and outstandingly talented MC and Producer.
In 2007, Nasty Jack released his ‘Pimps On Flows’ album, which was his first solo release. Then in 2008 he released both ‘Shotta Music’, and ‘Shotta Music Instrumentals’ which included Dub Step Hit 'One Spliff A Day' Feat. Stormin Mc, the project stamping him firmly on the U.K. scene. In 2012 Nasty Jack released ‘Shotta Music 2’, which was nominated for best Grime Mix tape 2012 to 2013, and Jack followed this up in 2013, by releasing both the ‘My Cousin Jack Um’ album, produced by Skepta, and The Spacey Wave EP. In 2015 Nasty Jack released a number of tracks, including ‘The Art of Name Dropping’, ‘Hashtag Crazy T’ Feat. Saskilla, ‘187 Mob Special’, and ‘What Is It’ Feat Stormin MC, and Hitman Tiga, and Jack also joined Tizzy Gang around this time. Later in 2016, Jack released several more tracks, including ‘Juncrow Talker’, etc., and 2018 has already seen him release ‘Walk It Like A Dog’, ‘Swaggy In The Baggy’, and ‘King Kweffa’.
All this has led up to Nasty Jack’s 3rd ‘Shotta Music’ mix project, presented by Logan Sama, ‘Shotta Music 3’. A project as much about production as it is bars/flows, Nasty Jack brings to bear all his varying influences and skills to take you on another journey into Grime, Nasty Jack style, with a display of technical excellence that only a few artists possess.
Track 1. Uno No Me, Prod. Filthy Gears
Kicking the project off with a cacophony of vocals, with choir-like backing, singing, and punchy ad-libs, Filthy captures the range of vocal creativity we are about to receive during this project. Known for his ability to use his voice in a variety of styles and accents, to create atmosphere, the track suddenly kicks in hard with a hard hitting melody which follows the simple pattern of the low bass, and Nasty Jacks wavy, but driving hook, where he leaves no space unfilled. The whole track feels as if it’s building and building, and Jack references radio sets he’s shut down, and shares that he can shut you down anywhere, anyhow, nothing fazes him, he has it on lock.
Track 2. When We Roll Up, Prod. No1SpecialMusic
This track kicks in from the off with a deep, low, simple bassline and a flute melody, following a similar pattern. With a heavy kick, a light occasional snare and patterned hihats, Nasty Jack brings a completely different flow and feel to this riddim, with a real dancehall vibe, along with lots of ad-libs, and he shares his love for loud, throughout. A wavy, wavy riddim about being waved.
Track 3. All Kina Dan, Prod. Nasty Jack
This tune is a testament to Nasty Jack’s industry friends, where he shouts a lot of people out by name; ‘Meridian Dan’, ‘Big FlowDan’, ‘Riko Dan’ and ‘Wiley Cat Dan’, and claims ‘all kina Dan’. The track is built with steel drum patterns, busy hi hats and voices only with an Afro Beats feel to it, and Jack spits in a wavy Jamaican flow to carry us on the vibe. Sick riddim.
Track 4. Summer Bounce Riddim (Logan Sama Dub), Prod. Nasty Jack
With a driving hard brass bassline, fully patterned drums, backing singing and shout synths, Nasty Jack spits in both a Jamaican accent and a London Grime flow this time, about being the best there is, he also shouts out Logan Sama.
Track 5. Put On The Bally, Ft. Scrufizzer, Prod. Nasty Jack
Starting with an ascending melody and a bars to match, and changing every eight to a funkier low bassline for the hook, utilising shout synths, computer sounds, sirens, and spitting about doing road, guns, fighting and being able to beat all the mandem, in any arena, this one is for the dance 100, a mosh scene for real.
Track 6. Neck Like Exorcist (Pepper Pot), Prod. P. Jam
A fun Dance Hall inspired track, Jack spits in a Jamaican flow again, backed by a layered funky melody that is again ascending, there are also computer synths, full drums and a low, low bassline that follows the pattern. Nasty Jack spits the whole riddim about getting good neck from the gyaldem, etc., and half sings the riddim in a slightly off-key vibe which brings a softer punctured relief to the fast pace of the rest of the track.
Track 7. Thug Police, Prod. Nasty Jack
A harder riddim, this one kicks of with fully patterned drums, a hard, driving and slightly of key melody/bassline, claps and backing vocals on the end of each bar, Jack spits about doing road, not being shook by the police, and how hard he is throughout.
Track 8. Juncrow Talker Remix (Double 0 Riddim)
Characterised by vocal bark synths, a continuous heavy bassline with a mirrored melody, patterned drums, and taking on several different flows, accents and pitches, using his voice as an instrument and a melody in and of itself, Nasty Jack spits about being the best, and with all these different styles and flows at his disposal, it’s hard to argue with!
Track 9. Demon Music, Prod. Klapz
A drill inspired tune, built around a deep bassline, busy, fully patterned drums, eerie vocal backing and computer synths, Jack spits in an off key lilt for the hook, and in a straight London Grime style for the main bars, which are all about being a shooter, both on road and on mic. A hard hitting riddim, and a mosh scene for the rave.
Track 10. Welcome To North West (Tubby Riddim, Feat. Donaeo, Prod. Nasty Jack
In a tribute to Damian Marley’s ‘Welcome to Jamrock’, Donaeo brings us some serious vibes, while Jack provides the riddim, utilising samples from the original, and a drum pattern of his own, Jack and Donaeo have brought us a sick summer banger for the last of the sun.
Track 11. Love You Like, Prod. Nasty Jack
In another trip to the more light hearted side of Nasty Jack’s musical style, we get a second tune about the gyaldem. Backed with an extremely busy riddim, fully patterned drums, and a continuous bassline, using an underwater, muffled quality for his vocals, Jack spits about how much he wants the gyal, and how good she’s gonna get it, in his lazy Jamaican flow. A slower jam to vibe to.
Track 12. Japanese Ting, Prod. Nasty Jack
This track utilises the same bassline from the previous riddim, and just Jack’s soft sung Jamaican flow, about an Asian gyal. A tribute.
Track 13. Say Yes (Version Excursion), Prod. Spooky
Another riddim for the gyaldem, with a thumping bassline, female breathy synths, rolling high hats, and and empty kick/snare pattern, Jack spits relentlessly throughout the riddim, breaking only for the female sung hook, about being just what this gyal needs, how great she is, how he’s gonna treat her the best, and how he’ll blow her mind, still. A heavy, vibey riddim, the gyaldem are sure to love.
Track 14. When Me Buss My Ting, Prod. Nasty Jack
With a synth melody, hard bongo sounding drum patterns, and a muted simple bassline, Nasty Jack spits in his Jamaican flow again, about how he’s the best, the best sheller, the best dancer, he’s got the most money, etc., classic Grime bars, spat over a Dance Hall inspired beat.
Track 15. Chicken & Sorrel, Prod. Nasty Jack
Using a Garage inspired horn melody and a low bassline to match, singing back up vocals, using only hi hats to punctuate the track and weaving a couple of computer synths over the top, Nasty Jack provides us with a fully wavy tune, simpler in pace, using his signature Jamaican flow over a very different style, slow and empty and softly sung. Another display of his wide ranging technical abilities.
Track 16. Jammer (Hidden Bonus), Prod. Nasty Jack
Another slow jam for the gyaldem to go out on, using a piano melody, a couple of clackers and a bass guitar with a simple pattern, with choral singing in the hook, in a Jamaican flow, and then coming again in the verse in a London Grime accent, Jack details how much the gyal wants him, because he's the best.
Nasty Jack’s ‘Shotta Music 3’ is another outstanding success in terms of all the different styles, and skills Jack can bring to bear when creating Grime, and shows both how versatile the genre, and he himself, is. There is a degree of variety within Nasty Jack’s musical abilities, rarely seen within one artist, that is always impressive to decode. An excellently produced project.
Listen to the mix version via Spotify below: