After linking up over several riddims, a number of times in the last 10 years, OGz members P Money and Little Dee have come with a wicked EP for all you Grime Heads - ‘Back 2 Back’. With a slew of top notch Producers on beat, such as Audio Slugs, Swifta Beater, Rude Kid & Maniac, and a host of sick features, notably Footsie, Blacks, Safone and Capo Lee, P Money and Little Dee remind us all that Grime is very much alive and well, and isn’t going anywhere!
Having been friends for almost 20 years, the pair felt the project was ‘well overdue’, especially considering the reaction to the Back2Back freestyle, earlier in the year, and decided to capitalise on the public’s imagination, and bring us an entire EP’s worth of OG Grime, with that unmistakable P Money And Little Dee vibe we all fell in love with, and a glossy, top quality finish.
The artwork for the EP is just as sick. Using a simple grey background, P and Little Dee are seen standing almost back to back, mirroring one another. They are wearing all black clothing and baseball caps, emblazoned with a clever logo, artistically symbolising a p and a d, in a mirrored, or ‘Back 2 Back’ arrangement. The title uses the same mirroring technique by flipping the second ‘Back’ upside down. Slick.
Both skilled MCs, in possession of all the elements, lyrics, flows, story telling, emotive expression and vibey hooks, P Money and Little Dee compliment each other’s style, perfectly. The whole EP is a banging example of musical compatibility. Shelly indeed.
Track 1. Coldest Flows, Prod. Audio Slugs
Kicking the project off with a heavy brass bassline, Little Dee comes in immediately, followed shortly by P Money. We hear a light synth, and a rewound vinyl sound, then the kick/snare pattern comes in hard, with a continuous hi hat. At the hook the music drops out to just a lighter synth melody in the same pattern as the bassline, which builds to include the drum pattern again, and the hook is rapped by P in an ascending flow, which also adds to the build up. With both MCs spitting about having a mad work rate, no matter what and going after the P, hard, being the sickest MCs, how easy it is to get gyal, and about going just as hard when getting waved, this is one to shout in the dance. A fully vibey riddim.
Track 2. Paranoia, Ft. Footsie, Prod. Audio Slugs
Audio Slugs starts the riddim off with a haunting synth melody, which is present throughout, and some rewound vocal samples, before coming in hard with a heavy and offbeat kick/snare pattern, and later, an almost continuous hi hat pattern, that is faster in places, but mostly keeps pace, as well as a low, low bassline that is almost a muted growl, and which punctuates only occasionally. The whole tune has a dark feel to it, which works well with the theme of the track, being paranoid, because you’re high, because you’re on road, etc., making you feel the need to carry a weapon. Little Dee shares that he’s done time, he hangs with real ones; ‘kweffas’, who are proper about it, so he stays awake. P Money spits about having had such a rough road life, he trusts absolutely no one, using an Eastenders reference to illustrate his point ‘If I was Ian, when they killed Lucy, I still would’ve suspected Bobby/I know I’m sorry, what do you know about not trusting Donny’. Finally Footsie shares he’s done road, thinking that was the way to come up, but hated that you can’t trust no one on road, and since he wasn’t going to be a snake, he flipped it to make P from his pen. A dark hard riddim that would definitely go off in the dance.
Track 3. Bar 4 Bar, Prod. Swifta Beater
A track to illustrate their tight friendship and musical symbiosis, Swifta Beater has been selected on beat for this one, using a continuous, skippy (possibly string synth), high melody, a low low simple bassline, with a kick/snare pattern to match, some very high pitched synths floating over the top occasionally, as well as the whole beat changing completely, here and there, to be built around drum rolls. The riddim mutes in places, and drops out altogether at times to frame the bars differently. Swifta is the one, still. The bars are alternated between the two MCs, where it’s almost a question/answers type ting, where each bar leads to the response. The flows and accents compliment each other perfectly. A vibey one, still.
Track 4. Skatty, Prod. Maniac
With a muted string synth intro, the track kicks in with a busily patterned string melody, heavier string sounding bass stabs, an offbeat kick/snare pattern, and patterned hihats. Later there are different string melody’s over the top, and in places the track is muted, and, at times drops out altogether. This is a story telling jam, about a time police went looking for P Money and Little Dee, at P Money’s yard, and how they both nearly ended up on the run. A fully immersive track, that both the beat and bars contribute to, to give the listener a sense of the hype and urgency you might feel if you found yourself in that situation. Cold.
Track 5. Can’t See Man, Prod. Audio Slugs
Kicking of with patterned hi hats and a haunting synth melody, utilising lots of computer like synths, and a heavy kick/snare, offbeat rhythm, and a low, drawn out, simple bassline, Audio Slugs makes creative use of panning throughout the track, which adds to a sense of uneasiness. The bars are all about the snakes and fakes in the game, being breaded, etc. P explaining he’s seen it all on road, he knows a fake when he sees one, he’s had people he considered bros snake him, so he’s just in it for himself now, and Little Dee echoing the sentiment, explaining he’s really about it too, and is on license, still. A dark, wavy riddim.
Track 6. Snappin, Feat. Blacks, Prod. Rude Kid
Rude Kid brings us another dark OG Grime riddim, coming in with a heavy synth bassline, and a muted version of the hook panning in and out, lending it an eerie quality, the riddim changes and becomes clearer, the bassline is harder and the notes are shorter, and there are lots of light synths floating over the top, following the general pattern of the bassline as a melody. We get a heavy kick/snare pattern, and rolling hi hats, throughout, as Rude Kid peppers the tune with loads of vocal synths, like sinister laughing, and shouts, etc., and the different elements of the track are utilised at different times to provide alternate frames for the different flows used by the MCs. During the bars, they send for all them man who sit behind a keyboard, chatting breeze and fake sending for man, like they’re really about that life. P, Little Dee and Blacks all share similar tales of people starting trouble they can’t finish, because the three of them really are about it. There are so many good bars, from all three, the lyrical ability is top tier on all fronts, with clever wordplay and ‘inside’ references to earlier beefs. Clever, clever track, and a familiar keyboard warrior tale.
Track 7. Stone Island Ting, Feat. Safone & Capo Lee, Prod. Maniac
Maniac is back on the beat for this tune, with a heavy string synth melody, computer synths floating around, a full hard kick/snare pattern, a low bassline and skippy, rolling hi hats with the occasional pitch bent bassline flair, the track is busy. With a real OG Grime feel to it, all four MCs spit about being real, making all the P, being the best rappers, and being the hardest on road. All four are fully sick at what they do. A shelly riddim, for real.
Track 8. All For You, Prod. Rude Kid
This riddim comes in gently, apt for it’s subject, with muted water-like sounding synths, which become gradually clearer, as Little Dee comes in with the bars. At the same time we get a simple, light kick/snare pattern and later, lighter still hi hats, with the occasional snare roll, but for the most part, Rude Kid has made a pretty empty and light riddim, which, given the theme; doing all this work for their children, is perfect. During the tune, P and Little Dee share that they got their game together strong for the sake of their kids, and put all they had into music, to ensure their kids have a great future, and that they intend to go hard enough, for long enough to make that a reality. An emotional, wavy riddim, which shows another side to both MCs’ characters.
Track 9. Back 2 Back, Prod. Audio Slugs
Back to close the project with the tune that started the whole concept off, Audio Slugs brings us a pure OG Grimey banger. With a synth that sounds horn based, providing the vibey melody, a patterned, rolling hi hat that provides pace, heavy brass stabs, and a hard kick/snare pattern, Little Dee and P Money spit their bars in an ascending flow, which builds and builds until the next MC comes in. The bars are also OG Grime style, with both MCs spitting about gyal, road, weapons, radio sets, clubbing, fighting and being OGs. Still an absolute wave, scenes every time!
With definite replay-ability, P Money & Little Dee did exactly what they set out to do, produce a proper wavey OG Grime EP, full of well executed riddims. The project also shows the long standing friendship and loyalty between the pair, which is reflected in their musical compatibility, throughout. The whole project is an absolute vibe, throughout!