A little bit about "Drum and Bass"

First of my opinion is, there are two ways to hear Drum and bass, the one is to hear the and dance by the beats, the other way is to listen and let the melody drives you away.
Drum and bass began as a musical paradigm shift of the United Kingdom breakbeat hardcore and rave scene of the late 1980s; and over the first decade and a half of its existence there have been many permutations in its style, incorporating elements from dancehall,...

electro, funk, hip hop, house, jazz, heavy metal, pop-created fusion of hardcore, house and techno (with a strong accent of both the UK industrial and Belgian New Beat sounds), pioneered by Joey Beltram, L.A. Style, Frank De Wulf, CJ Bolland, Richie Hawtin and others. This scene existed briefly from approximately 1989-1993, a period of cross-pollination with the UK hardcore sound. This sound did survive in various forms in its mother countries - primarily Belgium, Holland and Germany - beyond 1992, but by then the general scenes in these countries had moved forwards to trance, industrial techno or gabba (with happy hardcore/hard house being the equivalent 'Belgian Techno' - derivative sounds in the UK). London and Bristol are the two cities which are most associated with Drum and Bass. Returning to the UK, drum and bass (as jungle) has its direct origins in the breakbeat hardcore part of the UK acid house rave scene. Hardcore DJs typically played their records at fast tempos, and breakbeat hardcore emphasised breakbeats over the 4-to-the-floor beat structure common to house music. Breakbeat hardcore records such as Lennie De Ice's "We are I.E" (1991), The Prodigy's "Experience" (1992), Rebel MC's "Comin On Strong" feat Tenor Fly (Rough Neck Mix) (1990), 'African' (1991), 'Wickedest Sound' (1991) and "Tribal Bass" (1991), Euphoreal's 'Jungle Music' (1991), Project One's 'Ferrari' (1990), Noise Factory's 'Jungle Techno' (1991), Top Buzz 'Jungle Techno!' (1991), A Guy Called Gerald's 'Anything' (1991) & '28 Gun Bad Boy' (1991), Shut Up And Dance's "£10 to get in" / "£20 to get in" (both 1989), the Ragga Twins' "Spliffhead" (1990) & '18 Inch Speaker' (1991), Genaside II's "Sirens of Acre Lane" (1990) and "Narramine" (1991), G Double E's 'Fire When Ready' (1991), DJ Dextrous' "Ruffneck Biznizz" (1992), Nightmares On Wax's "Aftermath" (1990) and LTJ Bukem's "Demon's Theme" (1992) are generally credited as being among the first to have a recognizable drum and bass sound.[1][2] The very first record would arguably be Meat Beat Manifesto's "Radio Babylon", recorded in 1989, and is still recognisably 'drum and bass' in sound today. Some hardcore tracks at the time were extremely light and upbeat; the most extreme example of this were the so called "toy-town" tracks such as Smart E's' "Sesame's Treat" which features the children's show "Sesame Street" theme song. This style of hardcore would many years later be known as happy hardcore. In response to these lighter tracks, some producers started focusing on darker, more aggressive sounds; this style became known as darkside hardcore, or darkcore. Strange noises and effects, syncopated rhythms made from rearranged funk breaks and loud bass lines defined the genre. Examples of darkcore include Goldie's "Terminator" (1992), Rufige Kru's 'Darkrider' (1992), Top Buzz's "Living In Darkness" (1992) and Nasty Habits' (aka Doc Scott) "Here Comes the Drumz" (1992). These took their cue from the darker sounds of 'Belgian Techno', as found in tracks such as Beltram's "Mentasm" and "Energy Flash" (1991), as well as the dark breaks of 4 Hero's "Mr Kirks Nightmare" (1990) and The Psychopaths' "Nightmare" (1991) among other examples. These tracks were not widely called jungle or drum and bass by the mainstream media at their time of creation (although the terms "jungle" and "jungle techno" were in common use in the rave scene by then, with "drum & bass" appearing here and there on particular mixes of several vinyl releases), but they can nevertheless be found on later jungle and drum and bass compilations. The first major round-up of these tracks which was to use the term 'drum & bass' was probably "The Dark Side - Hardcore Drum & Bass Style": a compilation on React Records, released March 1993, which featured both "Here Comes The Drumz" and "Terminator".[3][4][5][6][7][8][9][10][11][12] This darker, more aggressive sound appealed to many in the dancehall and reggae communities. Both darkcore and dancehall shared an emphasis on rhythm and bass, and the tempos were well suited to be mixed together. Soon many elements of dancehall reggae were being incorporated into the hardcore sound. The Jamaican sound-system culture began to influence the emerging sound through the use of basslines and remixing techniques derived from dub and reggae music, alongside the fast breakbeats and samples derived from urban musics such as hip hop, funk, jazz, and r&b alongside many production techniques borrowed from early electronic music such as house, and techno. As the yet un-named genre evolved, the use of sampled funk breakbeats became increasingly complex. Most notable and widely spread is the Amen break taken from a b-side funk track "Amen, Brother" by the Winston Brothers (The Winstons).[13] During this time producers began cutting apart loops and using the component drum sounds to create new rhythms. To match the complex drum lines, basslines which had less in common with the patterns of house and techno music than with the phrasings of dub and hip hop began to be used. As the beat-per-minute range rose above 165, the emerging drum and bass sound became incompatible for straight-forward DJ mixing with house and techno, which typically range dozens of beats-per-minute less (making it impossible to play the tracks at the same speed on club equipment). This sonic identity became highly-distinctive for both the depth of its bass and the increasingly-complex, rapid-fire breakbeat percussion. Vastly different rhythmic patterns were distinctively being used, as well as new types of sampling, synthesis and effects processing techniques, resulting in a greater focus on the intricacies of sampling/synthesis production and rhythm. This notably included early use of the time stretching effect which was often used on percussion or vocal samples. As the influences of reggae and dub became more prominent, the sound of drum and bass began to take on an urban sound which was heavily influenced by ragga and dancehall music as well as hip hop, often incorporating the distinctive vocal styles of these musical genres.This reggae/dancehall influenced sound is most commonly associated with the term jungle.My opinion is, there are two ways to hear Drum and bass, the one is to hear the and dance by the beats, the other way is to listen and let the melody drives you away