10 Essential Goldie Tracks

Don't kid yourself: No one's career has touched what Goldie has done over the last 20 years. He's grown as an artist, buisnessman, and, more important

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Complex Original

Image via Complex Original

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Don't kid yourself: No one's career has touched what Goldie has done over the last 20 years. He's grown as an artist, a businessman, and most important, as a man. He has defined and re-defined the jungle and drum & bass sounds, both in his image and with an eye for where the scene could go. He's learned from a number of talented producers and engineers, and hasn't been afraid to experiment, break convention, and hone his vision of the dnb scene.

Be it as Rufige Kru, Metal Heads, or under his own name, Goldie has a number of classic tracks that should be required listening for any producer trying to get their dnb feet wet. From the way he layers breaks and bass in his tracks to finding the perfect vocal, Goldie has an always-evolving sound that is also definitive of the drum & bass scene as a whole. Chart his progression with these 10 essential Goldie tracks.

Rufige Kru - "Krisp Biscuit (Power Mix)"

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(Reinforced, 1992)

This is where it all began. For those of you who were there, you undoubtedly are geting emotional right now at the classic '92 rave sound on this one. Loads of ideas and samples running through this one, from a Public Enemy sample to kick things off to a bevy of rough drums and found sounds. One of those records that feels like it's DJing itself.

Metal Heads - "Terminator"

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(Synthetic, 1992)

The beginning of the proper Metalheadz sound, many would believe. Perfect subs, memorable stabs, some snippets of dialogue from The Terminator, and those time-stretched drums? This blew away what people though was rave music, and helped usher in the sound we now know as drum & bass.

Rufige Kru - "Menace"

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(Reinforced, 1992)

The use of female vocals would be a constant in Goldie's output, and this classic was one of the earliest examples of how he utilized vocals in his bits. This one is a huge bass beast; it kicks off with a funkier bassline, but once it gets going, you're in dangerous territory. Great use of the amen break as well.

Rufige Kru - "Fabio's Ghost"

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(Reinforced, 1993)

Goldie had a knack for creating tracks that be aural representations of those around him; for Fabio's tune, Goldie worked a mesmerizing group of loops and samples, creating a rolling, jazzy number that felt like everything Fabio was about, then and now. You could drop this today and find some blown minds on the dancefloor.

Goldie ft. Diane Charlemagne - "Inner City Life"

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(FFRR, 1995)

This record literally changed everything. This kicked off the next chapter of Goldie's sound, letting people know that drum & bass and jungle weren't just these quirky, dark sounds that were inaccessible to the masses. Goldie, along with the Diane Charlemagne's powerful vocal, destroyed any preconceived notions about this scene, and while he bowled over the mainstream, he held open the gate to let his crew in.

Goldie ft. Diane Charlemagne - "Angel"

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(FFRR, 1995)

"Angel," more than anything else that he dropped around this time, showcased how you could have a tune that was truly giving you both sides of the coin. For the first half of the track, you're given a beautiful tune about wanting to keep your angel with you... but then it mutates into something a bit darker, more edgier. Packing more of a punch. Call it the angel rejecting you or what happens when the angel accepts you, but it wields a power unlike many tunes, without being obnoxiously dark and menacing.

Rufige Kru - "VIP Riders Ghost (The Origin)"

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(Metalheadz, 1996)

Hypnotic. This is one of the blueprints of the Metalheadz sound, from the clipped vocal to the mutated bass that creeps in, all atop that steady, looped break. Doc Scott's "Unofficial Ghost" blew this one up, but the original carries the ethos of the man it's an homage to.

Goldie ft. KRS-One - "Digital"

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(FFRR, 1997)

Of course Goldie had to follow up Timeless and Metalheadz' success with something completely major, and that meant digging back into his hip-hop background and getting another bonafide legend, KRS-One, and help bridge that gap between hip-hop and drum & bass. It doesn't come off corny, or put-on. Goldie could've gone the jump-up/hardstep lane and been obvious about the half-time breaks, but its more like KRS adapted to the Metalheadz vibe. Are you representing like the Internet, though?

Rufige Kru - "Rhythm Killa"

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(Metalheadz, 2003)

This is a sneaky one. Not to say that Goldie couldn't bring the gritty, grimey basslines like this to the scene, but it's just not as expected. He kept it just as hypnotic and huge as anything he'd produced prior, but it was less about crafting an environment than this was about smacking you right in the face. Good wake-up call.

Goldie ft. Natalie Duncan - "Freedom"

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(Metalheadz, 2012)

For Metalheadz' 100th release, you know Goldie had to step up and blaze the trail for the next chapter. It'd been a long ride, and in some ways it feels like it's just began, but before he started anew (literally, the subsequent catalog numbering went back to 001), he dipped back into the future with a sound that combined everything he'd built during his rise, as well as elements of the next stage. Those strings are so necessary, and sit well between the guitars and breakneck beats. Deep bass. Beautiful vox. What more could you truly need from the alchemist?

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