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Some interesting points thus far, many of which should be seen in conjunction with others made. Largely I believe it to have been due to the quality (or lack thereof), availability (in product terms) and lack of avenues for exposure in the UK (which radio stations would have played Miami Bass?). Culturally I'm not convinced that the Miami Bass aesthetic transfers so readily to a UK context - and I also think that in the mid to late 1980s UK Hip Hop artists slowly began to emerge in to the wider context - with many drawing on a fusion of Hip Hop elements and their own (predominantly black / Afro-Carribbean) heritage (reggae/ragga/dancehall). In this respect Miami Bass wasn't going to compete against the high energy of Soca.
Furthermore there was the fact that the impact of 'house' music wasn't as deeply felt within the communities I saw, particularly when it morphed in to Acid. Miami Bass would have been seen (rightly or wrongly) as part of that tradition - and there was a very real antipathy between the 'house' sound and the audiences 'discovering' rare groove - often ironically having been pushed to do so through Hip Hop's re-discovery of breaks after Electro Funk. The short lived genre called 'Hip House' has to be seen within this context.
It's mad but back in maybe 1987 but defo in 1988 i think House music,Miami Bass,the Detroit sound and the stuff from L.A. like Techno Kut label could have all been played together.
I never heard The Unknown DJ's 'Basstronic' back in 1988 which was a shame as iam sure the Electro sound could have surived in some form back in the UK back in 1987/88 or did it