|October 26, 2019|
|8:00 pm||to||10:00 pm|
|8:00 pm||to||10:00 pm|
As part of #BlackHistoryMonth celebration DJ Lynx
will be live on Code of the Streets Ujima Radio 98fm Sat 26th Oct tune in from 8-10pm. Lynx’s has been one of the formidable Hip Hop DJ’s from the mid 80’s where he has been rocking venues throughout Bristol, touring with 3PM & working with producers Smith n Mighty. Also being amongst the original DJ’s to be on early Pirate Bristol Station B.A.D Radio, and eventually cementing a regularly spot on Galaxy Radio with the 3PM Experience Show. The programme built a strong listenership throughout the city & further a field, also Lynx’s Mixtapes were highly in demand which would feature some of the biggest tunes out at that time, with some fresh exclusive joints. (The following is taken from thegoldenera.blogspot.com)
“You might not know 3PM like you know, for instance, London Posse, Massive Attack or Soul II Soul – their contemporaries in the coming of age of hip-hop’s influence on Britain. But in their hometown of Bristol, hip-hop trio 3PM enjoy legendary status. That’s not a word we use lightly. MCs Krissy Kriss, Kelz and DJ Lynx have a backstory entwined with the very roots of modern Bristol music. As emcees, they graced the earliest, and now classic, recordings by bass pioneers Smith & Mighty (check 1988’s ‘Anyone (Rap ‘ for the 3PM prototype). Before that, Krissy Kriss was a charismatic mid-1980s presence on the storied Wild Bunch sound system. Yet to concentrate on the provenance of the group’s connections, is to downplay what a generation of South West rap fans already knew by 1990: 3PM were a hip-hop powerhouse in their own right.The most influential group in creating a distinctive identity for Bristol rap, 3PM was at the forefront of British hip-hop’s quest for legitimacy – as significant in melding rap to black-Britishness as better-known contemporaries from the capital, like London Posse and the Demon Boyz. Records like ‘St.P’ (1990) and ‘Better Late Than Never’ (1993) combined a ruinous low-end and smile-inducing musicality with a verbal ag ility that showed easy confidence in the group’s black Bristolian heritage. To put it simply, 3PM told tales of the city they lived in, in the language of its inner-city neighbourhoods like St. Paul’s and Easton: Kelz’s so-called ‘countryfied bumpkin patois’. Perhaps most importantly, in doing this, Kriss and Kelz seemed every bit as magically paired as hip-hop’s most charismatic tag-teams. To those following 3PM’s tantalising scatter of vinyl between 1988 and 1995, the recipe was always there to make them one of the great British rap groups of their generation.