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In the early 1980s, Mike West formed the Double Trouble who released "Just Keep Rockin" on the Desire record label in 1989 as Double Trouble and Rebel MC. The single was a UK Top 20 hit, and the follow-up "Street Tuff" (1989) was his biggest success, reaching #3 in the UK Singles Chart.

Because of the style and content of these releases, West was often dismissed by a British hip-hop community, distrustful of pop success and "selling out". The release of his first album Rebel Music (Desire, 1990) did little to change their views. This album included the popular dance track "Better World".

This was soon to change, however, as West used the money he had made from his pop successes to record his second album. Black Meaning Good (Desire, 1991) was a complete change of style for West, mixing his former pop-rap influences with reggae, hip hop, dance and the emerging jungle styles. It featured ragga notables like Barrington Levy, Tenor Fly and Dennis Brown crooning and toasting on top of reggae-house music rhythms.

Forming the Tribal Bass label, Rebel MC released "Tribal Bass" (1992) and the Demon Boyz "Dett" (1992) and "Jungle-ist" (1993) which were hip house tracks. The X Project label followed shortly with the "Old School Ting" (1993) single. As Conquering Lion, West, with help from DJ Ron and Jumping Jack Frost, released the sound system mash up "Lion of Judah/Innah Sound/Dub Plate Special" (1993). With vocals from Supercat, Conquering Lion's "Code Red/Phenomenon" (1994) caught the attention of 4th & Broadway who re-released the track along with "Rastaman/Word, Sound and Power/Code Black" (1995).

Tribal Bass gradually mutated into Congo Natty, and West himself released some material under this name, before settling on the Conquering Lion name. However, this was not the last the world heard of Rebel MC. Despite his continued success with his new style of music (West is one of the few artists from the first wave of British hip hop to continue recording throughout the years to the present day), West released the single "Junglist" (Congo Natty, 2004) under the Rebel MC name, and followed this up with a greatest hits album Born Again (Congo Natty, 2005)

Method Man was the first - and biggest -solo star to emerge from the groundbreaking Wu-Tang Clan. His mush-mouthed, sandpaper-rough bellow (at times recalling EPMD's Erick Sermon) and imaginative rhymes, easily made him one of the most recognizable, unpredictable MCs in the group, yet his flow was more deliberate and laid-back than the Wu's then resident loose cannon, Ol' Dirty Bastard. On his solo records, Method Man developed a persona that swung from offhand, understated menace to crazy stoner humor. Toward the end of the '90s, his frequent team ups with his cousin Redman produced not only a terrific musical chemistry, but an eventual big-screen comedy team as well.

Super Cat made his recording debut in 1981 with the single "Mr. Walker," recorded for the Techniques label and produced by Winston Riley. A succession of singles for various labels followed, as did his debut album Si Boops Deh, which appeared on Techniques in 1985. Settling for a short time on the Skengdon label, Super Cat recorded another album, Boops, but soon grew dissatisfied enough with the business aspect of recording to start his own label, Wild Apache Productions. The self-produced album Sweets for My Sweet followed in 1988, as did a number of singles produced for other artists on the Wild Apache imprint; Super Cat also teamed up with Nicodemus and Junior Demus for the first triple-team DJ album in dancehall history, Cabin Stabbin'.

Emboldened by success, Super Cat decided to move to New York City and attempt to crack the American market. He secured a major-label deal with Columbia and landed the track "Nuff Man a Dead" on their compilation Dancehall Reggaespanol; in 1992, he issued one of the first major-label dancehall albums, the acclaimed Don Dada. Several high-profile TV and concert festival appearances followed, and Source magazine named Super Cat their Dancehall Artist of the Year for 1993. The following year, he reunited with Nicodemus and Junior Demus, adding Junior Cat to make the resulting album The Good, the Bad, the Ugly, and the Crazy a four-way collaboration. Super Cat's own fusion of dancehall, roots reggae, hip-hop, and R&B was next showcased on the proper follow-up to Don Dada, 1995's The Struggle Continues. While the album was another success.