In 1979, the American release of two unusual records heralded the early stages of a new musical movement that would develop into a multimillion-dollar industry. Produced by New York City based labels (Spring and Sugarhill, respectively) during the sunset of the disco era, The Fatback Band's ‘King Tim III (Personality Jock)’ and The Sugarhill Gang's ‘Rapper's Delight’ were typified by loosely structured rhymes spoken with speed, cadence, syncopation and boastful humour over funk backing tracks.

Although the second of these records turned out to be a substantial commercial success, there was little contemporary awareness of the indigenous rap scene that inspired the releases, let alone the tremendous impact that this new style of ‘hip-hop’ (or rap, as it came to be known) would have on the mainstream recording industry in the future. As for the deep historical roots of this innovative form of musical expression, the prevailing prejudice against popular music at the time, particularly a youthful black dance music, ensured a generally dismissive response, an assumption that the music was transient, a juvenile fad with no ties to any community or body of tradition. The artistry essential to success in rapping – an ability to use the voice, to write, retain in memory and spontaneously embellish rhymes that might be rapped for hours at a stretch in highly competitive, if not combative, environments – was awarded scant value until a combination of overwhelming commercial success, critical attention and academic interest offered redemption.