Let's be clear from the start. I'm about as urban as an otter. The threadbare credentials I have for this review are: I used to enjoy walking home from work in the mid 80's through Nottingham's The Meadows estate listening to reggae sound systems boom out from the terraced houses, I work in the same department as Jazzie B's brother, and I liked The Specials (a lot). When taking this Black Britanyaa release on for review it was touted as 'Black Britannia' - the ‘Yaa’ is from a West African name. I expected some kind of Blue Beat compilation album celebrating the influx of Caribbean music into the UK after the arrival of the first ship load of immigrants aboard the SS Empire Windrush. A bit of calypso, a bit of Prince Buster I thought. Instead, it's bang up to date but from a mature duo who are more interested in the second/third generation black British experience than bling and booty calls - "This is for those who go to shows / And haven't got their eye on hoes". Thank God for that, because it makes it far more than enjoyable if still never quite naturally my thing. So here goes - at least I can't be as embarrassing as Tim Westwood in Jay-Z's changing room prior to his Glastonbury appearance. Was I the only one who found that the most cringeworthy TV clip of 2008? Talk about out Ali G-ing Ali G. Segge Dan and Daddy Ash are the two East Londoners who are giving this white honky, as they say themselves, "a guided tour on their ghetto bus". Scattered through the CD are calypso, jungle, lovers rock, British soul, and ragga 'moments' ”“ atmospheric snippets of tunes down through the years. No Althea and Donna though - shame. Those moments give some idea of the variety of styles bubbling over from their hip-hop/ska melting pot. There's intelligent lyrics and an education/documentation thrust on a majority (without being overtly preachy), but tracks like 'Rise' still have a pumping bass beat heavy enough to exercise any cruising boy racer's sound system. The diversity of approaches is most prominent when South America pan pipes make an appearance on 'Wha Gwan', and the despairing and genuinely affecting rapping on a downturn in life in 'Devils Peak' is made over delicate Spanish guitar. Meanwhile, more tongue in smirking cheek, a world music feel also features on the latino 'Lonely Roads' - a Mike Skinner-esque tale of a 'Tenerifaah' holiday romance - though they did move on to talking about Malcolm X whilst making out.'Dem Mans Illin’' has the best loping groove that's impossible to ignore, with a Shaggy style vocal chorus and streetwise rapping, but most likely to lodge in the brain due to its easy familiarity is 'Illegal Aliens' - their reworking ("Black man in Babylon") of Sting's 'Englishman in New York' with a silky female guest vocal that belies some of the cutting words (Stephen Lawrence gets a name check for instance). There are a number of external contributions throughout, with famous soulster Omar featuring on the epic and powerfully personal closing track ‘Libation’ (a ceremonial dedication of some of your snifter to the ancestors) - trailed by an additional second phase giving that promised gritty East End tour with no holding back on the realities of life and some razor sharp smart rhyming. Gangsta paradise indeed.Plenty of praise is due for fucking with the hip-hop formula and producing a refreshingly innovative and honestly entertaining album that can reach out from its own community. Though laced with bitterness for what has gone before and continues to afflict, Black Britanyaa are looking for inclusive common ground and are proud in their righteous message to the black and most definitely British youth of the UK, whilst also being accessible through their obvious quality to the likes of me. It gets an admirable personal percentage score with an extra boost to allow for its extra appeal to someone more predisposed to the genre. Street music for the thinking man in the street: "Open up your eyes / Make up your minds". 78%Black Britanyaa on MySpace