What's there to say about this label?
Other than that it's a bootleg label..
The people behind it seem to know their stuff, bootlegging some of the biggest jungle classics, alongside some of the better, though less known stuff that you may know from downloaded sets or mixtapes, or maybe as the less known tracks on popular legal compilations.
It's not very clear when these records started to get released, but it has to be said there's a good taste for artwork, unlike a lot of other bootleg labels or one-off bootlegs.
As a matter of fact, i've only heard of 1 bootleg being released with complete artwork, as a way to make people believe it's a legal full release.
Even the catalogue number got indications to the actual track on the bootleg.
About Jungle Warfare being such a popular bootleg label i think it's a pitty people buy the stuff, sure, the artwork is nice and the selection may not be findable that easy, but it doesn't support the artists featured on the bootlegs in any way, many of those don't seem to be still active in jungle/dnb but i'd rather purchase the original copies on their original releases, no matter how much time and value the complete selection on Jungle Warfare is worth.
good taste nonetheless.

"Black" sure is one of the better tunes on the Formation Colour Series, and probably the most sought after one, the quality and the content of this track leave the other records in the serie miles behind it.
Where other tracks build up progressively this track starts of with some nice dark atmospheric sounds, to have the bassline kick in mercyless as the second element.
pretty hard drums which seem to be able to describe the "changeover from jungle to drum'n'bass at that time".
The element that will probably have most people brocking out, except the bassline that is, is the vocal.
after a good two minutes you hear a female voice starts to sing.
"and iiiii, and iiiii, and iiiii, and iiiii,.. will always, love you".
Straight from the mainstream soundtrack of a mainstream movie you are able to distance yourself from looking at this track as a cheap bootleg, remix, or anything in those lines.
This track with those vocals just manage to lift them up to another level and it all seems correct.
This is one of the tracks you could mix in any kind of jungle/dnb sets, one of the greatest classics on Formation, that you won't find very easy, unless you go for the Formation Colour album, which at 5 records sells cheaper than the 12" release of "Black".
Near perfection.

This release is something kind of special, if not realy odd.
Trippin on Sunshine starts very atmospheric, slightly depressed.
But where you'd expect happy hardcore breaks and a repetitive hardcore kickdrum to drop in you hear chopped junglistic breaks instead.
storming it's way towards a first drop no other signs of happy hardcore are shown expect in the intro, to then find another way into this track in the breakdown.
A kind of nogalastic voice sings the title of the track, with not much more to it than just the synthetic sound of it, but at the same time this makes this track so catchy.
Even though there's no over-use of elements, or elements too much tout court, they manage to sound all chopped together randomly, this track sounding weird is no coincidence.
The b-side is on the same tip, but the female vocal in this track sounds, the title says it all, much more funky melody-wise.
classic breakbeats used in the intro aswell, and a more party-rinsing feeling to it than the a-side, with ragga vocals programmes shouting "dubplate style, COME ON!!"
other than that you can expect some scratch samples, downtempo breaks in between the faster jungle chops, and as said before an awesome combination of happy hardcore style female vocals and breakbeat usage.
To sum up all of the above this release is something that could appeal to you if you like jungle or happy hardcore, but at the same time it might not work for you at all.
This one was categorised as hardcore and breakbeat, but jungle is certainly a part of these tracks, no matter how odd it makes these 2 pieces of neutral creativity.

Seeing no one commented this record i feel forced to do so myself.
This record, being from an alter ego of Luna-C, delivers.
the B-side called "What Goes On" is a pretty laid back tune, no sign of drums mashed up too hard or complex this is a rolling track, with a somewhat Eastern melody line making the track a bit mysterious and giving it a unique touch.
The track that will cause real damage though is "Pow Pow".
Beginning with a couple of chopped drus fadding away and kicking in again it is clear this track was produced for dj and dancefloor purposes.
after a couple of bars a patois speaking voice kicks in and the drums fade away completly.
a Bassline enters with again a somewhat epic dark melody, making the tracks on both sides recognised as a whole.
Voice goes "Pow Pow" having drums kicked in at the second "Pow", and getting Response from two gunshots.
This is pure darkcore ragga jungle, the same that will have the media talking negative about, but i for one love it.
This track having been released in 1993, being pretty mashed up and pretty fast sounds nothing like Kniteforce's Happy Hardcore.
Not to be underrated.

Did anyone say Classic?
this one is the release on FFRR, the original first release was on Philly Blunt.
On side one there's the two versions that each had their own side on Philly Blunt, and which i think do not need any introduction.
The B-side are remixes which seemingly function as mashed up versions for DJ-use.
not sure if this release was necessary, but undoubtfully people, including me, can be happen that it exists as the original release on Philly Blunt is not that easy to find, and without the existance of this FFRR release it would certainly not be any cheaper if you happen to find it.

A rather dissapointing release.
Give me a Dub is another version of the classic "Give me a Dub Plate/Mash Dem Down", which are allready both the same track with a couple of edits (different intro etc..)
On this One Give me a Dub Plate gets a small rework dropping out the continuity of the vocals, the amen break and the gut-wrenching outro.
Murder De Boy is actually "the" track on this record with a late jungle-feel to it.
a bassline that sound a bit jazzy (and that slightly reminds of the bassline in Smokey Joe's VIP remix of give me a dubplate), a couple of sudden breakdowns and drops, and a very hostile phrases, the title says enough.
The outro sounds like the one on Give me a Dub Plate worked really well.
It's hard not to relate to Give me a Dub Plate/Mash Dem Down with this release but that's only because the most dissapointing track on this one is the one that should be the one to convince people because of the succes of "the classic release"
Be sure to check it somewhere before you pay 30 pounds or more in the hope that it rasembles to the original because the A-side certainly doesn't

The best thing with this release is that the remix is a remix in the sense of the remixer, L Double, making a new track with it.
Whereas a lot of records with an original and a remix on each side just give you edited tracks made harder, having changed structure or having made the track more atmospheric, this record gives you 2 tracks both worth playing out loud.
the original of Gangsta is the "harder" on this one though, because that difference is existing.
i heard before that this was the first version of Original Nuttah but i'm not sure if that's something sure.
the drums do sound like original nuttah, but there's a different mc on this track, being MC Gunsmoke.
"who's Gunsmoke", "I'm Gunsmoke, and wot?" - gunshots.
The remix seems to be build on another break, which make the track more enjoyable in my opinion.
I don't like to refer to a track as "a dancefloor track" or to say that a track is ment to listen at home, music is created so that people can enjoy it, but Gnagsta 2 will definatly be the one to lay back with.
the track uses Reggae samples and the way the vocals seem to be different from the first version you actually feel sorry for Gunsmoke singing "always wanted to be a gangster", as if you know it's not good to give a child everything they want but you can't look it in the eyes either because it will start to cry so you give them what they want.
One Record, One Remix, Two Classics.

GREAT release on Ron's London Something label.
Mr Fix It holds its place between heavy mash up and deep emotional jungle.
It starts of with one of the main melodic samples into drums, and a first breakdown that is only the beginning of a collection of patterns that are made in order to tear the listener down.
The first breakdown includes dubby vocal samples and little much more than that.
The drums kick in a bit chaotic, but when a second pattern of drums kick in the chaos is unbeatable, only because of the repetitive seemingly abstract beats.
The second breakdown contains an uplifting violin and bells, which are a perfect combination as you also hear both samples appart from each other in this track, and you therefor actually hear how these two elements together create a really beautifull atmosphere.
Don't get me started on the second track "BOB"
this one is almost as powerfull, with it's Reggae skanks, Ragga vocals and it's Patterns that are mathematically not correct.
This one's a Classic with a big C

This is probably one of the best jungle ep's out there!!
Lend me, Truth over Falsehood, Love for the World..
These tracks come to mash up but at the same time can make you go quiet because the beauty of these tracks just tear you apart.
This doesn't go for the lyrics, which are about the same "give me a dub and i will mash dem down" or "you want kill sound" theme a lot of ragga jungle tracks from this era are about, but the atmosphere of these tracks, like the female vocal used in truth over falsehood or the instrumentation in lend me take you a lot deeper.
If you haven't heard this, check it out!!

What a great release!!
It's weird,but it had to kind of grow on me
the B side has never been my thing and still isn't,
it's a remix of the A side,and sounds like an update of the track,coming with changes in sound inside drum'n'bass,
so the spirit of the original track gets kind of lost, because the track doesn't sound that "natural"
The A side though,is very uplifting
using a great vocal about Selassie I/Binghi Man,some nice old school jungle-sounding breaks and bass and a laser sound,
This is probably my favourite Congo Natty track,
and in my opinion his most under-rated classic