of some British-born hip hop artists – for example Monie Love, Slick Rick, Young MC and MF Doom, who all moved to the US – the majority of the scene was still underground and small scale. Kinetic Effect joined the scene in the early 1980s and was part of rap outfit 2 the Top as D-Koy; later, in 1991, he teamed with Insane Macbeth to record "Borderin' Insanity" (released in 1993) and in 1995, he recorded "Man Bites Dog"/"The Effect of Fear" Their song "The Rhythm I Give 'Em" made the UK Top 10 Hip Hop chart. In 1987, Positive Beat Records came out of the hotbed of early UK hip hop, Ladbroke Grove in London with two releases. The label followed up the single "It's Getting Rough" by Rocky X and D-D Dance with the Various Artists' Known 2 Be Down album. This featured Sir Drew (of KREW and Newtrament), MC Flex, She Rockers, Rapski and more of West London's finest rap talents. Other notable labels at the time included Liberty Grooves in Tooting, South London. The label itself started in late 1989 with the first release in 1990 by Whirlwind D & Johnny F of Solid n Mind. Other artists included Gutter Snypes, True Style and DJ Noize. Liberty Grooves was also a shop and many notable artists such as MC Mell O and Braintax would perform there. In 1988, Rapski released "The Connection" on 12". The track was taken from Known 2 Be Down and was an early example of mixing hip hop and reggae in a (London) style. More was to come in the early 1990s in the form of MC Reason (a.k.a. Voice of Reason) with "Symbolise"/"HouseQuake" and Jonie D with "Which Base"/"Ride On" which was performed live on ITV in 1991. A mindset began to develop – typified by the Gunshot tune "No Sell Out" (1991), or Son of Noise's "Poor But Hardcore" (1992) — that distrusted successful artists who did not utilise the hardcore style most associated with the scene. Silver Bullet's chart success was applauded due to an uncompromisingly rapid delivery, whereas Derek B and Rebel MC were scorned when their more pop influenced styles earned them success. Such artists were often branded "sell outs". As the scene grew, it became less common for British rappers to imitate US accents (those who did were often ridiculed) and British rap became more assured