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'Run Riddim' is a new series within the no long talk reasonings. The sole inspiration is celebrating classic riddims. The classic riddims we all buss gun finger, a dance, hold a meds or partner to. Dancehall isn't an album-driven genre, it's about riddims. While others celebrate albums, we'll celebrate riddims.

I'm a fan of every decade of dancehall. I'm not a fan of people who believe nothing great was made after '90s.

With that being said, this special episode is a 10 year celebration of one of dancehall's definitive riddims, Anger Management. Though it was officially released towards the end of 2004, it's all about the impact year (a.k.a. when it buss). The riddim buss in 2005, hence ten years.

When it comes to gun man spewing venom, Anger Management is the usually soundtrack. Just watch Sting every year and you'll basically hear it on loop, including the end of the famous Mavado vs Vybz Kartel clash in 2008. And I struggle to name five bigger gun man riddims over the last decade.

no long talk reasoned with composer of the dark symphony, Serani (formerly of Daseca). While better known for solo hit 'No Games' on the self-produced Unfinished Business riddim, he is one of the most profilic producers behind many of the other biggest hits of the noughties (2000s) including Tony Matterhorn 'Dutty Wine', Elephant Man 'Willie Bounce', Mr. Vegas 'I Am Blessed' and Sean Paul 'We Be Burnin'. This is strictly a chat with the producer side.

We speak about the Anger Management riddim's making, stories about the hits, struggle to break a (then) new artist named Mavado (you may know of him!), its impact, influence and legacy. He also gives valuable insight into the Bounty Killer-led Alliance camp, Vybz Kartel's departure, Gully vs Gaza and state of dancehall 10 years later.

As someone who spent many a night bussing gun finger to this riddim with my bredrins, this is was a bit surreal for me.

Side note: My bredrins and I have spent so many hours of life answering/debating 'You're playing in a dance and can only select three songs on the riddim, which ones and why?' Would like to know your answer.

Big up Julian Jones-Griffith for the extra information and link.

As a Londoner of Jamaican heritage, I've grown up on different eras of Jamaican music, plus London created music which often contains Jamaicans influences from jungle to UK garage, grime to UK funky and dubstep etc.

For that reason, I've always admired foreigners who have re-interpreted Jamaican music into their own thing. Black Chiney have always had my respect and similarly, I respect what Major Lazer do. May be controversial to some but whatever, bro. They don't take away from dancehall to me, they do their own thing with dancehall.

So I linked up with the only man who has the two in common. I wanted to hear his story from attending dances with brother, world-record breaking West Indies fast bowler Courtney Walsh to touring the world with Major Lazer via Black Chiney. This came about after he heard my reasoning with Kabaka Pyramid, which he compared to old skool Rodigan interviews.

Walshy Fire recalls growing up in Jamaica, moving to America, favourite selectors and parties, making Black Chiney mix CD's, Black Chiney vs Tony Matterhorn beef, how Major Lazer 'Bumaye' changed everything in Jamaica, making Chronixx 'Start A Fyah' mix CD and refusing to do another Red Bull Culture Clash after controversial defeat to Boy Better Know in 2012.

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no long talk with Mr. Vegas.

Heads High was the third reggae album I got in my life. Been a fan ever since Nike Air (and that's not me airbrushing my history, it's the truth), so been following from the beginning.

I wanted to know if girls really "got slam (had sex) for a (pair of) Nike Air (trainers)". I also remember watching him perform Heads High at the MOBO Awards - one of the most memorable moments in MOBO history, let it be known. He said he hated it. So I asked his standout moment of its near 20-year lifespan.

Rest is about darkness that inspired "I Am Blessed", experiencing three decades of dancehall, 90s dancehall, what he'd change about now, international love over Jamaican and new album Lovers Rock and Soul. We also speak on the very public outing of the relationship that ended as a result of his ex cheating on him. It's all love. Short and truth. Stay locked.

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It is black history month in the UK, so I linked up with Tippa Irie from London's world-famous Saxon Sound posse. As someone who wasn't around at the time, I wanted to know about Tippa's journey from Brixton beginnings to world-famous, Grammy-nominated microphone controller.

Saxon Sound toured the globe; from Lewisham to Japan and USA, including the home of it all, Jamaica. Together they pioneered the fast chat style frequently used by jungle MCs (Stephen Marley used it on Rock Stone last year), plus the first British MC's to use London accents and score national chart hits. But their impact and influence still goes largely uncredited by mainstream press.

Tippa shares experiences growing up in Brixton, racism, leaving a Brixton sound for Lewisham-based Saxon, rival sounds, making official Arsenal FA cup 1993 song, fellow members laughing at national top 40 hit "Hello Darling" and lessons learnt after failing to match its success. We end on why he feels Saxon aren't giving their dues. Stay locked.

no long talk with Assassin aka Agent Sasco. After a two-parter with Kabaka Pyramid, this is a very short one in comparison.

I wanted to know about growing up in a one room, board house (house made with board) with his family and lessons learnt.

- sound system beginnings, ghostwriting for one of his childhood icons, Spragga Benz.

- shares the stories behind "Ruffest", "Anywhere We Go" and "Do It If Ya Bad" (aimed at Vybz Kartel).

- taking time out of blossoming career to get a degree.

If there's one area I feel Assassin isn't strong at, it's the chorus. However, this year saw him deliver a world class one for Kendrick Lamar on "Blacker The Berry". I ask if that was meant to be a verse to which he replies with the verse he actually demoed.

Having been a fan of Assassin from the top end of the noughties, many feel he hasn't delivered on his early promise or is under-rated. I suggest it's because he isn't the badman or the gallis. Also why he hasn't dropped a definitive body of work.

So yeah, stay locked. This ain't a catch-up, it's no long talk.

(p.s. I said We Bad From was on Mad Instruments. The popular version was mixed on to it. The original is a different riddim.)

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Welcome to part 2. Part 1 - a.k.a. Uptown Top Rasta - was about experiences that lead to Kabaka Pyramid's lifestyle, which in turn informs his lyrics.

This part (2) is an insight into the self-proclaimed artists' artist. This is music life, experiences since making music.

We speak about his transition from making hip hop to reggae, how friend's death inspired him, current wave reggae movement capitalising off dancehall's "lowest point", meeting Chronixx at Protoje's house, the "uptown" label hindering the movement's impact in Jamaica, his relationship with dancehall artist's, importance of making money and whether Rasta label holds him back.

Had to touch on social side, so there's a conversation about the uptown/downtown divide in Jamaica, uptown youths making downtown music and "getting a fight" because he's uptown.

not a catch up, it's no long talk.

Available on iTunes and Soundcloud. Search: no long talk
Follow on Twitter: [@]itsnolongtalk
Temporary email: itsnolongtalk[@]gmail[.]com