After countless delays and push-backs it seems the moment is finally upon us. Wiley is set to drop his long awaited studio album Godfather at midnight. The title of the album couldn’t be more apt, because Wiley’s influence on grime simply cannot be overstated. Whether we’re talking about his flair behind the boards or inside the booth, there’s not an area of grime that the Godfather hasn’t helped shape.
It wouldn’t be right if we didn’t pay homage to the pioneer and driving force that Wiley has been, so we’ve carefully selected nine tracks that represent a timeline of Wiley’s illustrious career and evolution and show just how pervasive he has been after nearly two decades in the game.
“Eskimo Riddim”
It wouldn’t be much of a Wiley listicle if it didn’t include the legendary “Eskimo” riddim. Released way back in 2002 the beat was light years ahead of its time; fling it on now and you’ll see it hasn’t aged a day. It has been widely acknowledged as one of the first grime beats and went on to spawn its own subgenre “Eskibeat”. 15 years later, and it’s still easily one of the most recognisable grime beats ever made. It’s almost like what “Shook Ones Part 2” is to East Coast hip-hop.
“Wot U Call It”
Another early Wiley banger from his debut album Treddin’ On Thin Ice, which forms one half of the blueprint that many early grime artists took their cues from, the other of course being Boy In Da Corner. On this track Wiley triumphantly declares that the music he makes cannot be defined by any narrow industry standard. Eagle-eyed viewers might also spot some grime royalty popping up throughout the video.
“Stormy Weather”
Wiley’s sophomore release Da 2nd Phaze, saw him part ways with XL Recordings and he instead released the project with Boy Better Know. “Stormy Weather” has easily one of the grimoest baselines you’ll ever hear and it’s one of those tunes that’s impossible to listen to with a straight face. Of course Wiley is once again responsible for producing such utter filth.
“Grim” (ft. Jme & Ears)
This tune may have first reached you via Bluetooth, or you may have heard it being played at max volume at the back of the bus on your way to school, and as soon as Wiley’s verse began, it was always certain to start an impromptu back of the bus karaoke session. However the most quotable line of the whole track has to be from Jme’s verse; “If she’s already been sent around like a zoot, then I aint feeling the roach”.
“Gangsterz”
Another classic Wiley production, this track originally featured on Da 2nd Phaze, but was also re-released on Wiley’s third album Playtime Is Over. The tune sees Wiley briefly refer to the infamous beef between Megaman and Dizzee Rascal that took place in Aiya Napa, and which eventually resulted in Dizzee getting stabbed. Aside from the original incarnation of the track, many MCs have tackled the instrumental and tried to seamlessly weave the vocal sample into their bars.
“Bow E3”
The second track on the Godfather’s third album Playtime is Over. Although Wiley himself still retains production duties on many of the tracks on this album, he does hand over the reins more often than he has on his previous projects. This track in particular features production from fellow Bow native Maniac, who is widely regarded as one of the top producers in the scene. Wiley goes in over the absolutely insane instrumental and reminds listeners where he’s repping, in case you were in any doubt!
“Letter 2 Dizzee”
The youth of today have seen the “Letter to Krept/Letter to Cadet” saga, whilst the older heads amongst us grew up with this. Wiley and Dizzee had fallen out years prior to the release of this track and it was Wiley’s attempt at extending the olive branch. The true reason for fallout remains shrouded in mystery but many believe it has something to do with Dizzee getting stabbed in Napa back in ’03. Rather than send back a heartfelt letter like the Cadet/Krept situation, Dizzee instead chose to respond with the track “Pussyole (Old School)” on his album Maths + English. We can only hope that the two find a way to settle their differences and can get back in the studio together.
“Wearing My Rolex”
Most early grime artists were forced to veer off course if they wanted to make a living from music, as during much of the early days no one was paying much attention to the genre. Many of them did just that. This was Wiley’s crossover song and it was a hugely successful one at that, selling over 400,000 copies and peaking at number two on the charts.
“Numbers in Action”
After Wiley dabbled in pop music with “Wearing my Rolex” many fans were worried that Wiley had gone past the point of no return. However Wiley’s creativity would never have allowed him to stick with making a slew of “Wearing My Rolex” esque tunes. “Numbers In Action” sees Wiley back in effect and the video is easily the most creative one he’s done to date.