“I’m not that ‘Ghetto’ person anymore,” Ghetts proclaims about his name cha… Read Full Bio ↴“I’m not that ‘Ghetto’ person anymore,” Ghetts proclaims about his name change from his previous street moniker. “I’ve grown out of it.” At 24 years of age, Justin Clarke is finally maturing into the artist he has always strived to be; or ‘Grime star’ as he puts it. From Justin to Ghetto to Ghetts, the east London native has seen the lows of being behind bars to the highs of sell out concerts all in a short space of time; the sum of which have contributed to the well rounded individual who is ready to embark on the next stage of his promising career.
Growing up in a Christian household, the sounds of G’s childhood is that of prayer and gospel music. His aunt Andrea sung in the church choir and the soulful hymns left a huge impact on the young Ghetts. His mother recalls him as a three year old jumping out of her arms and running to the stage at a religious camp meeting in front of 15,000 people. It was then she says that she knew he was destined to be performer. Ghetts had also developed a sense of rhythm from his father who surrounded himself with jazz music. Once the beat got into him G would beating out rhythms on the tables and the floor in his house until his mother was driven to the point where she had to get him a keyboard to satisfy his musical curiosity. It was on this that Ghetts first experimented with writing songs as he’d try putting verses together over the pre-set percussion demos.
And it was music that was set to be Ghett’s saviour as his restless nature caused problems for him during his education. Unable to concentrate in class, the Plaistow citizen continually found himself getting into trouble and as a result never really being able to settle at a school. “I couldn’t really concentrate at school,” Ghetts states about his academic unrest. “The only thing I could concentrate on was music, not even girls. It was the only thing I enjoyed.” This soon transferred to the streets and like many who grow up in areas forgotten by the government, Ghetts found himself turning to crime to pacify his inattentive mind. Naturally it was only a matter of time before Ghetts found himself living at Her Majesties Pleasure. At the age of 16 Ghetts was in and out of jail at a scarily frequent rate which made G realise that if things carried on the way they were then his whole life would be spent behind bars. It was then he sought refuge in the only thing he found peace in; music.
At the age of 14 Ghetts visited a day time rave in Leyton to see the Heartless Crew. The experience cemented his ambition to make it in the music world. “I had this thing in my chest,” G reveals about the defining moment. “I could feel my heart beating and I was drawn to the mic. I knew I wanted to do something like that!” At the same time as Ghett’s legal woes, a new sound was emerging from east London. Born out of Garage; Grime was taking over the pirate airwaves and artists such as Wiley, Dizzee Rascal and Kano were beginning to get heard across the capital. Close friends with the Nasty Crew’s Sharky Major, Ghetts began reciting some of his rhymes for the Newham favourite. Sharks soon let G know that he was ready to be heard and Ghetts began recording tracks and performing on radio and at clubs with the collective. The artist known as Ghetto was born.
With a street buzz steadily growing, Ghetts developed a relationship with fellow Nasty Crew member Kano who had just begun promotion for his major label debut ‘Home Sweet Home’. Featuring on two of the tracks from the disc, including the single ‘Typical Me’, Kane took G on the promotional merry go round for the album that included taking part in tours with Nas and The Streets, as well as opening up for Juelz Santana in New York and performing at the MOBO Awards. Around this same time Ghetts released his first mixtape ‘2000 & Life’; a disc which drew on his experiences of growing up on the streets of Plaistow and of being behind bars. Still heralded as an underground classic the disc was full of angry bravado and vicious rhymes that fuelled favourites such as ‘Simple Minded MC’s’ and the anthem ‘Skinny Sort’. The experience of going on tour with Kano however soon showed Ghetts a side of England that he’d never seen before and this resulted in a change of perspective for the young MC. “Going on tour and seeing the people who would turn up the shows and the reaction they would give us, I realised that my ignorant attitude wasn’t gonna get me anywhere,” Ghetts describes of his revelation. “As soon as I got rid of my attitude things started happening for me.” It was then that Ghetts began recording his second mixtape; ‘Ghetto Gospel’.
One negative by-product of touring with Kano had been that G had been labelled as Kane’s hypeman. Wanting to be recognised as an artist in his own right and whilst also dispelling myths that he could only make angry songs; ‘Ghetto Gospel’ was filled with tracks that discussed the pitfalls of living in a deprived area as well as dedicating tracks to his best friend and his mother. “She cried when I first played it for her,” Ghetts recalls of playing ‘Closest Thing To Heaven’ to his mum on Mother’s Day. The mixtape also included a track for which Ghetts would shoot his first video; ‘Top 3 Selected’. The radio favourite sat alongside songs with fellow members of The Movement; a collective of likeminded MCs that included Scorcher, Wretch 32 and Mercston with whom G had released a CD entitled ‘Tempo Specialists’.
Ghetts quickly followed this up with ‘Freedom Of Speech’; another disc of entirely original material which channelled the reckless attitude of ‘2000 & Life’ and combined it with the refined wordplay of ‘Ghetto Gospel’ to make for a truly epic listen. Combining cold, nihilistic moments with bursts of untamed energy, the disc addressed and resolved issues that had arisen between Ghetts and other artists in the scene who had attacked G whilst he moved away from confrontational music during ‘Ghetto Gospel’. Tracks such as ‘Mountain’ and ‘Who’s Got?’ soon reasserted Ghetts as an underground favourite as well as satisfying the new fans he’d acquired from ‘Ghetto Gospel’.
Composing himself as a complete artist, G signalled his growth by changing his performance name to Ghetts and begun work on his debut album which is due for release in 2009. “I’m ready to make the best album I can make,” G affirms of his mind state. “It’s a bit like the TV programme ‘Heroes’. I’m just finally learning how to use my powers.” The first single from the album – ‘Sing For Me’ is already a favourite and has been snapped up by record label All Around The World to come out in early in the new year. As a division of Universal and home to artists such as N-Dubs, the track is set to be Ghetts’ first chart hit and finally propel him into the mainstream – an accolade well deserved and long overdue. “I made this tune for the clubs,” he speaks on the single. “When I’m in there I feel like I wish that it was my tune that everyone was dancing to so that’s why I made that.” And now that he’s had his first taste of success is Ghetts likely to turn his back on the Grime scene that has bred him? “I do Grime!” he proudly boasts. “I love Grime and it’s in my roots. It has been from when I saw Heartless all them years ago. A lot of people ain’t comfortable with that but I’m telling you from now that I’m gonna be a Grime star!”
Growing up in a Christian household, the sounds of G’s childhood is that of prayer and gospel music. His aunt Andrea sung in the church choir and the soulful hymns left a huge impact on the young Ghetts. His mother recalls him as a three year old jumping out of her arms and running to the stage at a religious camp meeting in front of 15,000 people. It was then she says that she knew he was destined to be performer. Ghetts had also developed a sense of rhythm from his father who surrounded himself with jazz music. Once the beat got into him G would beating out rhythms on the tables and the floor in his house until his mother was driven to the point where she had to get him a keyboard to satisfy his musical curiosity. It was on this that Ghetts first experimented with writing songs as he’d try putting verses together over the pre-set percussion demos.
And it was music that was set to be Ghett’s saviour as his restless nature caused problems for him during his education. Unable to concentrate in class, the Plaistow citizen continually found himself getting into trouble and as a result never really being able to settle at a school. “I couldn’t really concentrate at school,” Ghetts states about his academic unrest. “The only thing I could concentrate on was music, not even girls. It was the only thing I enjoyed.” This soon transferred to the streets and like many who grow up in areas forgotten by the government, Ghetts found himself turning to crime to pacify his inattentive mind. Naturally it was only a matter of time before Ghetts found himself living at Her Majesties Pleasure. At the age of 16 Ghetts was in and out of jail at a scarily frequent rate which made G realise that if things carried on the way they were then his whole life would be spent behind bars. It was then he sought refuge in the only thing he found peace in; music.
At the age of 14 Ghetts visited a day time rave in Leyton to see the Heartless Crew. The experience cemented his ambition to make it in the music world. “I had this thing in my chest,” G reveals about the defining moment. “I could feel my heart beating and I was drawn to the mic. I knew I wanted to do something like that!” At the same time as Ghett’s legal woes, a new sound was emerging from east London. Born out of Garage; Grime was taking over the pirate airwaves and artists such as Wiley, Dizzee Rascal and Kano were beginning to get heard across the capital. Close friends with the Nasty Crew’s Sharky Major, Ghetts began reciting some of his rhymes for the Newham favourite. Sharks soon let G know that he was ready to be heard and Ghetts began recording tracks and performing on radio and at clubs with the collective. The artist known as Ghetto was born.
With a street buzz steadily growing, Ghetts developed a relationship with fellow Nasty Crew member Kano who had just begun promotion for his major label debut ‘Home Sweet Home’. Featuring on two of the tracks from the disc, including the single ‘Typical Me’, Kane took G on the promotional merry go round for the album that included taking part in tours with Nas and The Streets, as well as opening up for Juelz Santana in New York and performing at the MOBO Awards. Around this same time Ghetts released his first mixtape ‘2000 & Life’; a disc which drew on his experiences of growing up on the streets of Plaistow and of being behind bars. Still heralded as an underground classic the disc was full of angry bravado and vicious rhymes that fuelled favourites such as ‘Simple Minded MC’s’ and the anthem ‘Skinny Sort’. The experience of going on tour with Kano however soon showed Ghetts a side of England that he’d never seen before and this resulted in a change of perspective for the young MC. “Going on tour and seeing the people who would turn up the shows and the reaction they would give us, I realised that my ignorant attitude wasn’t gonna get me anywhere,” Ghetts describes of his revelation. “As soon as I got rid of my attitude things started happening for me.” It was then that Ghetts began recording his second mixtape; ‘Ghetto Gospel’.
One negative by-product of touring with Kano had been that G had been labelled as Kane’s hypeman. Wanting to be recognised as an artist in his own right and whilst also dispelling myths that he could only make angry songs; ‘Ghetto Gospel’ was filled with tracks that discussed the pitfalls of living in a deprived area as well as dedicating tracks to his best friend and his mother. “She cried when I first played it for her,” Ghetts recalls of playing ‘Closest Thing To Heaven’ to his mum on Mother’s Day. The mixtape also included a track for which Ghetts would shoot his first video; ‘Top 3 Selected’. The radio favourite sat alongside songs with fellow members of The Movement; a collective of likeminded MCs that included Scorcher, Wretch 32 and Mercston with whom G had released a CD entitled ‘Tempo Specialists’.
Ghetts quickly followed this up with ‘Freedom Of Speech’; another disc of entirely original material which channelled the reckless attitude of ‘2000 & Life’ and combined it with the refined wordplay of ‘Ghetto Gospel’ to make for a truly epic listen. Combining cold, nihilistic moments with bursts of untamed energy, the disc addressed and resolved issues that had arisen between Ghetts and other artists in the scene who had attacked G whilst he moved away from confrontational music during ‘Ghetto Gospel’. Tracks such as ‘Mountain’ and ‘Who’s Got?’ soon reasserted Ghetts as an underground favourite as well as satisfying the new fans he’d acquired from ‘Ghetto Gospel’.
Composing himself as a complete artist, G signalled his growth by changing his performance name to Ghetts and begun work on his debut album which is due for release in 2009. “I’m ready to make the best album I can make,” G affirms of his mind state. “It’s a bit like the TV programme ‘Heroes’. I’m just finally learning how to use my powers.” The first single from the album – ‘Sing For Me’ is already a favourite and has been snapped up by record label All Around The World to come out in early in the new year. As a division of Universal and home to artists such as N-Dubs, the track is set to be Ghetts’ first chart hit and finally propel him into the mainstream – an accolade well deserved and long overdue. “I made this tune for the clubs,” he speaks on the single. “When I’m in there I feel like I wish that it was my tune that everyone was dancing to so that’s why I made that.” And now that he’s had his first taste of success is Ghetts likely to turn his back on the Grime scene that has bred him? “I do Grime!” he proudly boasts. “I love Grime and it’s in my roots. It has been from when I saw Heartless all them years ago. A lot of people ain’t comfortable with that but I’m telling you from now that I’m gonna be a Grime star!”
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Fine Wine
Ghetts Lyrics
Jump to: Overall Meaning ↴
I just hit the belly
I just hit the belly
I just hit the belly
I just hit the belly
Rudeboy, I'm the certiest
A thank-you ain't enough for my services
I was probably an accident, but I know what my purpose is
My skin is immaculate, but I've done some dirty tings
Tss
Serving it
Trap
Strap on the lap like a serviette
Bang
Sammity Sam
Circling
But, but, fam
When them man had the van
I was hurdling
Fast forward, one foot in the industry door
Which way should I go, can't call it, same time they gave thing 24
I wish you could ask Stormin, but I can't give him a ring anymore
You see when I feel cornered all I do is think of before
I drive back to the house I struggled in
(What was that like?)
The one bed with a bathroom, the kitchen in the front room
My front room had a oven in
We was suffering
Still loading, just buffering
I'm upstairs writing bars and my daughter's coloring
Embarrassed
Had a bill to pay and my girl had to cover it
My guy said I should come on the move
All he needs me to do is just cover him
But Lamzi got me a job when the Ps weren't coming in
Popular guy
Delivering pharmaceuticals, I asked God for a sign
Nine to five
Got me watching the time
Somebody asked for a pic
And I lost me some pride
Started praying again
My van never came
How's that for a sign
I couldn't stay in the end
Then I got the hunger back from Deja FM
Had to make a boy know he can't play with the pen
Fuck making amends
I was twenty-one, en route to making a M
Where's that guy gone?
What's that guy on?
Had to remember myself like mum said
Where'd you get that vibe from?
I went back to the essence
It's not only bars, my brudda
I'm a man with a message
It's much more than slapping and cheffings
What about family settings?
What about actual blessings?
That new-year-new-me talk
What about January lessons?
The mic is my therapist
I'm just having a session
Them man there won't tell you this
They're capping, I'm shelling
They must've thought I had writer's block
The way these pricks try and write me off
Rap, grime or not
I'm a pocket finder, I find the spot
And me nah worship them and their idol gods
So man ah just come through with the Bible cocked
I come here for everything these lot owe me
Bro just rolls off the tongue, but he's not homie
Things ain't what they seem, please watch closely
James, Jordan, Steven, Kobe
About Gs not GOATly
I manifest things before the secrets shown me
Had the codes and leaked them slowly
Had to show these people grown me
Can't talk bad about Ghetts round here
That look says "Don't speak on brodie"
When you got real niggas
Bill Withers, they'll lean on broski
Let's talk about legacy
I don't care about nostalgia
My best years are ahead of me
When I signed to Warner, my brudda
I was already me
That's fifteen years hard work, no breaks or therapy
A cappella on DVDs, no beats, no bass or melodies
What the fuck you telling me?
Most my peers in the cemetery
Can't do an album, putting out mixtapes
Can't do a thousand, whatever they do does terribly
Can't do a show, can't do a tour
Same lyrics from 2004
And these are the bruddas that you rate heavily
'Llow me please
Just crown me please
Furthermore, I love converting the non-believers
So, yeah, go ahead and doubt me, please
All they do is talk about drip
Ooh, don't drown me, please
I've had you here for way too long now
Hear the rest of the album please
(Party, yeah)
(I'ma go up and away, and just have a party, yeah)
(I'ma go up and away, and just have a party, yeah)
(I'ma go up and away, and just have a-)
(I'ma go up and away, and just have a party, yeah)
(I'ma go up and away, and just have a party, yeah)
(I'ma go up and away, and just have a party, yeah)
(I'ma go up and away, and just have a party, yeah)
(I'ma go up and away, and just have a party, yeah)
(I'ma go up and away, and just have a party, yeah)
(I'ma go up and away, and just have a party, yeah)
I just hit the belly
I just hit the belly
I just hit the belly
Rudeboy, I'm the certiest
A thank-you ain't enough for my services
I was probably an accident, but I know what my purpose is
My skin is immaculate, but I've done some dirty tings
Tss
Serving it
Trap
Strap on the lap like a serviette
Bang
Sammity Sam
Circling
But, but, fam
When them man had the van
I was hurdling
Fast forward, one foot in the industry door
Which way should I go, can't call it, same time they gave thing 24
I wish you could ask Stormin, but I can't give him a ring anymore
You see when I feel cornered all I do is think of before
I drive back to the house I struggled in
(What was that like?)
The one bed with a bathroom, the kitchen in the front room
My front room had a oven in
We was suffering
Still loading, just buffering
I'm upstairs writing bars and my daughter's coloring
Embarrassed
Had a bill to pay and my girl had to cover it
My guy said I should come on the move
All he needs me to do is just cover him
But Lamzi got me a job when the Ps weren't coming in
Popular guy
Delivering pharmaceuticals, I asked God for a sign
Nine to five
Got me watching the time
Somebody asked for a pic
And I lost me some pride
Started praying again
My van never came
How's that for a sign
I couldn't stay in the end
Then I got the hunger back from Deja FM
Had to make a boy know he can't play with the pen
Fuck making amends
I was twenty-one, en route to making a M
Where's that guy gone?
What's that guy on?
Had to remember myself like mum said
Where'd you get that vibe from?
I went back to the essence
It's not only bars, my brudda
I'm a man with a message
It's much more than slapping and cheffings
What about family settings?
What about actual blessings?
That new-year-new-me talk
What about January lessons?
The mic is my therapist
I'm just having a session
Them man there won't tell you this
They're capping, I'm shelling
They must've thought I had writer's block
The way these pricks try and write me off
Rap, grime or not
I'm a pocket finder, I find the spot
And me nah worship them and their idol gods
So man ah just come through with the Bible cocked
I come here for everything these lot owe me
Bro just rolls off the tongue, but he's not homie
Things ain't what they seem, please watch closely
James, Jordan, Steven, Kobe
About Gs not GOATly
I manifest things before the secrets shown me
Had the codes and leaked them slowly
Had to show these people grown me
Can't talk bad about Ghetts round here
That look says "Don't speak on brodie"
When you got real niggas
Bill Withers, they'll lean on broski
Let's talk about legacy
I don't care about nostalgia
My best years are ahead of me
When I signed to Warner, my brudda
I was already me
That's fifteen years hard work, no breaks or therapy
A cappella on DVDs, no beats, no bass or melodies
What the fuck you telling me?
Most my peers in the cemetery
Can't do an album, putting out mixtapes
Can't do a thousand, whatever they do does terribly
Can't do a show, can't do a tour
Same lyrics from 2004
And these are the bruddas that you rate heavily
'Llow me please
Just crown me please
Furthermore, I love converting the non-believers
So, yeah, go ahead and doubt me, please
All they do is talk about drip
Ooh, don't drown me, please
I've had you here for way too long now
Hear the rest of the album please
(Party, yeah)
(I'ma go up and away, and just have a party, yeah)
(I'ma go up and away, and just have a party, yeah)
(I'ma go up and away, and just have a-)
(I'ma go up and away, and just have a party, yeah)
(I'ma go up and away, and just have a party, yeah)
(I'ma go up and away, and just have a party, yeah)
(I'ma go up and away, and just have a party, yeah)
(I'ma go up and away, and just have a party, yeah)
(I'ma go up and away, and just have a party, yeah)
(I'ma go up and away, and just have a party, yeah)
The lyrics of Ghetts's song "Fine Wine" delve into various aspects of his journey as an artist and the challenges he has faced. The repeated line, "I just hit the belly," can be interpreted as Ghetts celebrating his success and achievements. It signifies the impact he has made with his music, hitting the core of his listeners.
The first verse highlights his confidence and self-assuredness in his abilities. He refers to himself as the "certiest," indicating that he knows his worth and the value of his services. He acknowledges that he might have had a turbulent past, referring to "dirty tings" he has done, but his talent and potential are undeniable.
Ghetts reflects on his come-up in the music industry, unsure of which path to take but determined to make a mark. He references Stormin, a fellow artist who passed away, implying that he cannot seek advice from him anymore. Ghetts reminisces about the days when he struggled, living in a small one-bedroom house with a combined kitchen and front room. Despite the hardships, he remained focused on his craft, upstairs writing bars while his daughter colored in the same room. Ghetts also mentions the humbling experience of having to rely on his girlfriend to cover bills.
As the song progresses, Ghetts highlights the transformation he underwent and his return to his roots. He mentions the loss of motivation and then rediscovering it through his connection to Deja FM, a prominent grime radio station. Ghetts emphasizes that his music goes beyond just bars; he has a message to convey and wants to address topics such as family, blessings, and personal growth.
Ghetts challenges those who underestimate him, stating that they thought he had writer's block, but he proves them wrong with his lyrical prowess. He asserts his refusal to conform to the norms of the industry, distancing himself from idol worship and staying true to his own principles. Ghetts also speaks about his legacy and his determination to keep pushing forward despite the opinions of others. He dismisses artists who rely on nostalgia and refuse to evolve, expressing his belief that his best years are yet to come.
Overall, "Fine Wine" showcases Ghetts's growth, resilience, and his desire to make a lasting impact with his music.
Lyrics © BMG Rights Management
Written by: Justin Clarke Samuel, Tj Amadi, Rio Romaine Willis
Lyrics Licensed & Provided by LyricFind