![]() ![]() Which makes the other extraordinary thing about it – how comprehensively Mark Morrison fucked his opportunity up – even odder and sadder. There was nothing even slightly apologetic about its utter self-possession: the kind of absolute, to-the-manner-born confidence that stars exude. It was very good, and very good in exactly the way American R&B could be. So one extraordinary thing about “Return Of The Mack” is that it seemed to have none of this cultural cringe. When Britain did manage something more creative or divergent, the hybrid quickly got packaged up into its own genre – trip-hop, or later grime – and the more standard local product lapsed into general adequacy. ![]() It’s the curse of the borrowing culture: you accept conventions as limits. News travelled faster, and production techniques were more transferable – the globalisation of pop apparent in the 21st century was well under way.īut they were also not so different – the British response to modern American music was still, typically, a slightly lead-footed imitation of it, just as it had been 40 years before. Productive mishearings ensued: the result, to a great extent, was the story we’ve been telling on this blog. Back in the 50s and 60s, British groups lifted American sounds, but the American originals weren’t easy to find, and the signal could be scrambled in transmission. British R&B – like UK hip-hop – has tended to suffer credibility issues*. ![]()
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