• ' Released: 26 May 2003 • ' Released: 18 August 2003 • ' Released: 24 October 2003 Boy in da Corner is the debut studio album by English rapper and producer. It was first released in 2003 by in the United Kingdom before being released the following year in the United States. A widespread critical success, Boy in da Corner became one of the most acclaimed records of 2003 and went on to win the for best album from the UK and Ireland. It also peaked at number 23 on the and sold over 250,000 copies worldwide by 2004. With the album's success, Dizzee Rascal gave mainstream exposure to while becoming the UK's first internationally recognized rap star. Contents • • • • • • • • Background [ ] Around the age of 14, Dizzee Rascal became an amateur DJ, also rapping over tracks as customary in culture, and making occasional appearances on local stations. Two years on, aged sixteen, he self-produced his first single, ', which was included on his debut.

Buy Boy In Da Corner by Dizzee Rascal on Bleep. Dizzee Rascal ReleaseProduct Boy In Da Corner. Redeem Download Code.

The same year Rascal, signed a solo deal with the. Release and reception [ ] Professional ratings Aggregate scores Source Rating 92/100 Review scores Source Rating B+ 9/10 9.4/10 A− A− Boy in Da Corner was released on 21 July 2003 in the United Kingdom by and 20 January 2004 in the United States. In the UK, it reached number twenty-three on the and was gold by the (BPI), having shipped 100,000 copies there.

By 2004, it had sold over 250,000 copies worldwide, and over 58,000 copies in the US by 2007. Boy in da Corner received widespread acclaim from critics. At, the album received an aggregate score of 92 out of 100, based on 28 reviews. Called it 'Startling, tirelessly powerful, and full of unlimited dimensions, nothing could truly weigh down this debut'.

In, wrote that '[as] someone who mocked the minimal means of and considered barely music at all, I was captivated by Dizzee's sound the moment I heard the import'. Fellow Village Voice critic stated, 'When Dizzee thinks very deeply--worrying about growing up, about those around him who won't grow up, about dying before he grows up--he sounds like, what else can we call it, the real thing'. Entertainment Weekly stated, 'Combining U.K. Garage beats and a distinctly British sensibility, Rascal spits out phrases with the energy and finesse of a championship boxer'. Rolling Stone wrote, 'If you want a vision of the future of hip-hop and techno, get this record'.

Called it 'one of the most assured debut albums of the last five years'. 's Scott Plagenhoef stated, 'Dizzee's despairing wail, focused anger, and cutting sonics places him on the front lines in the battle against a stultifying Britain, just as,, and have been in the past'. Stated, 'Most of Boy in Da Corner's most compelling moments come from this uneasy interaction between irrational youth and ultra-rational mechanized society'.

From called Dizzee 'the most original and exciting artist to emerge from dance music in a decade'. According to, Boy in da Corner was the third most ranked record on critics' year-end lists of the year's best albums and eventually the 298th most ranked on subsequent all-time lists. It won Dizzee Rascal the 2003, an annual music award for the best album from the United Kingdom and Ireland, making him the second rapper to win the award. In 2009, it was voted the sixth greatest album of all time.

The album was included in the book. According to B.J. Steiner from, ' Boy in Da Corner brought grime—an influential subgenre of hip-hop birthed from the endless creativity of a bunch of kids from the United Kingdom—to the rest of the world and made a young Dizzee Rascal, his country's first international rap superstar.' Legacy [ ] In 2016, Dizzee Rascal performed Boy in da Corner in full for the first time first in New York and then in east London at the Copper Box Arena. Contemporary critics praised the album's continuing influence on grime and ageless sound. In late 2016, a bootleg fan mixtape of rare recordings from the Boy in Da Corner era called Left in da Corner was released. Track listing [ ] All tracks were produced by Dizzee Rascal, except where noted.

Driver Usb Serial Port Octopus Box Card there. Title Writer(s) Length 1. 'Sittin' Here' 4:05 2.

'Stop Dat' Mills 3:40 3. ' Mills 4:05 4. 'Brand New Day' Mills 4:00 5.

'2 Far' (featuring ) Richard Cowie, Mills 3:07 6. ' Nick Detnon, Mills, 3:44 7. 'Cut 'Em Off' Mills 3:53 8. 'Hold Ya Mouf' (featuring God’s Gift) Jerome Dow, Mills 2:55 9. 'Round We Go (Ain't No Love)' (co-produced by Chubby Dread) Hector, Mills 4:13 10. ' (featuring Taz) (co-produced by Taz & Vanguard) Mills, Tesmond Rowe, Vanguard Vardoen 3:39 11. (featuring Caramel) Mills 4:50 12.

'Jezebel' Mills 3:36 13. 'Seems 2 Be' Mills 3:46 14. 'Live O' Mills 3:35 15. Mills 4:06 US edition bonus track No.

Title Writer(s) Length 16. 'Vexed' Mills 4:11 Personnel [ ] The album's credits are adapted from. • Armour – background vocals • Gareth Bayliss – sleeve design assistant • Caramel – vocals • – sleeve photo • Chubby Dread – producer • Claire Cottrell – vocals • Nick Detnon – A&R • Ben Drury – cover design, logo design • God's Gift – performer • Nick Huggett – artist coordination • Dylan Mills – composer • Tesmond Rowe – composer • Vanguard Vardoen – composer • - performer Charts [ ] Chart (2003–04) Peak position 16 14 23 References [ ]. • DJ Vlad (17 March 2016),, retrieved 10 August 2016 •. The Independent.

12 August 2004. Retrieved 8 May 2009.

Retrieved 8 May 2009. Retrieved 3 May 2011. • ^ Kellman, Andy... Retrieved 3 May 2011. • Weiner, Jonah (January 2004)..

Archived from on 30 September 2007. Retrieved 8 March 2015.

• ^ (16 January 2004)... Retrieved 3 May 2011. • ^ (18 July 2003)... Retrieved 3 May 2011. • 'Dizzee Rascal: Boy in da Corner'. • ^ Pattison, Louis (21 July 2003)...

Archived from on 5 March 2016. Retrieved 3 May 2011.

• ^ Plagenhoef, Scott (6 July 2003)... Retrieved 16 December 2012. • ^ Blashill, Pat (5 February 2004)... Archived from on 11 June 2008. Retrieved 22 April 2008. • (February 2004)...

20 (2): 95–96. Retrieved 3 May 2011. • ^ (10 February 2004)... Retrieved 3 May 2011.

• Morris, David (24 October 2003)... Retrieved 8 May 2016. • ^ Thompson, Ben (20 June 2004)... Retrieved 3 May 2011. Archived from on 6 February 2013. Retrieved 14 April 2010. • Weiner, Jonah (7 September 2004)..

The Village Voice. Retrieved 3 May 2011. • Martens, Todd (23 May 2007).. Retrieved 3 May 2011.

• Chang, Jeff (13 January 2004)... Retrieved 3 May 2011.

• Mueller, Gavin (1 September 2003)... Archived from on 30 June 2011. Retrieved 3 May 2011. Retrieved 6 May 2016. 9 September 2003. Retrieved 3 May 2011. Archived from on 10 March 2009.

Retrieved 3 May 2011. • Dimery, Robert, ed. • Steiner, B.J. (6 May 2016)...

Retrieved 7 May 2016. • Halls, Eleanor.. • Yates, Kieran (7 May 2016).

– via The Guardian. • Fourth Mason (22 December 2016). – via YouTube. Retrieved 27 July 2011. Retrieved 27 July 2011. External links [ ] • at (list of accolades) • at (list of releases).

Variant of: manufactured by Sonopress, not by MPO. Packaging: standard jewel case with transparent tray and a 12-page booklet. All tracks written & produced for Dirtee Stank Productions. Engineered, mixed & additional production for Belly Of The Beast Productions. Track 9 co-produced for Platinum 45's. Track 6 features a sample of 'The Big Beat' by Billy Squier.

Recorded between October 2001 & March 2003 at Raskits Lair / Belly Of The Beast Studios, London, UK. Mixed in April 2003 at www.kenwoodstudios.co.uk, Sheffield, UK.

Sleeve/logo design: Trust Me London™. The copyright in this recording is owned by XL Recordings Ltd ℗ 2003 XL Recordings Ltd © 2003 XL Recordings Ltd Made in England.

Often teetering on the brink of either cracking a smile or bursting into tears while delivering his boastful, wistful, and dread-filled rhymes, the hormonally charged voice of East London's can be instantly singled out after the first introduction. Birthed by U.K. Garage and seasoned through pirate radio, the terrain carves out remains worlds apart from that of and, two MCs who have come from a fractious-as-ever scene -- one that 's apart from as much as he's a part of -- with similar fanfare. And despite comparisons to and that won't cease at any point in the foreseeable future, the parallels drawn to stateside rappers haven't often looked beneath the surface. If he were (mis)placed in a pool of U.S.

MCs, there'd be few comparisons that would make full sense. The fact that 's from England is an obvious factor; his accent and own cultural slang will be an instant deal-breaker for most of those who have hunted for bootlegs.

From a production standpoint, we're talking about splayed-out beats and deflated basslines that, heard through a state-of-the-art stereo, might as well be blaring from the ravaged stock system of a 1974 Dodge Dart. If there are any likenesses, the dense production work -- carried out mostly by the MC on his own -- is somewhat akin to prime, if only because no level of familiarity can acclimate the ears completely. Get lost in the swaying chime melody of 'Brand New Day,' the low-slung industrial-punk grind of 'Jus a Rascal,' or the stunted gait of 'Do It,' and risk missing out on all of the deeply hidden inflections that help make the whole album so unique. Despite the grime, the violence, the conflicted romantic entanglements, and the jagged productions that characterize the album, the moment that hits hardest is also the most fragile: 'Do It,' with a resigned line that goes 'If I had the guts to end it all, believe -- I would,' begs for misinterpretation, so it should be pointed out that it (and the album as well) draws to a close with 'You can do anything,' an encouragement that holds much weight in its context. Startling, tirelessly powerful, and full of unlimited dimensions, nothing could truly weigh down this debut -- not even a Mercury Prize. Version, released through Matador half a year after the original XL U.K.

Release, wisely added the B-side 'Vexed.'