It took 15 years to clear his name. Sweet boyish Craig, good as gold, bullied out of his dream. How had it come to this? A star birthed from UK garage yet regarded as a footnote within it. Born To Do It, a multi-platinum hit parade that codified the wider world’s perception of what UKG was all about, reduced to the fine nub of a joke. For as long as there was a stigma attached to the sound, there was a stigma attached to its pin-up.
UK garage originally incubated in South London pubs, as DJs pitched up slabs of American garage house for buzzy ravers looking to push the feeling on to Sunday afternoon. A cut like Mood II Swing’s “Closer (Swing to Mood Dub)” was dynamite, sauntering about with a jazzy flair, but anchored by tough and unyielding drums. In Todd Edwards, the scene had an early unifier, a squeaky-clean sample wizard from New Jersey who gave himself to God first, garage second. His “Saved My Life” was released in 1995 but stayed in rotation for years as UKG developed, a benchmark for how creative the format could become in due course. Edwards showed you didn’t necessarily have to be a renegade club kid to cut it in this new world.
British producers upped the ante, making the basslines chunkier and altering the straight-ahead flow of garage house, so that MCs crossing over from hardcore and jungle raves could find moments within DJ sets to command and conquer the dance. In 1997, Kelly G’s wailing remix of Tina Moore’s minor R&B hit “Never Gonna Let You Go” was a radio smash, breaking the door down for the popularization of 2-step. This variant took the lightly swung drums of UKG and made them outright skippy. Even if this initially caught the unaware flat-footed in an attempt to follow the groove, dominant female voices filled the space left open once the consistent pulse of a four-to-the-floor kick was subtracted. Homegrown singers like Shola Ama, Kele Le Roc, and Anita Kelsey gave listeners something alluring to latch onto, as well as balancing the rowdiness of geezers on the mic.
By 1999, UK garage had gone national. No matter if you repped speed or soul or skip, the mood of the moment was intoxicating. Whenever the sun was out—far from a given in the UK, so appearances are celebrated with gusto––UKG blasted out of cars, ricocheted across council terraces, and accompanied grill smoke on its twist upward to the sky. People got dressed up to go out dancing: no hats, no hoods, no trainers; all smiles, everything nice ’n’ ripe. Champagne replaced H2O in the bloodstream. Times were as good as could be.