WE NEVER LEAVE THE CLUB: Quarterly Baltimore Club Music Update

Whether you like it or not, this guy had the best year in Baltimore club music. By a long shot.

As 2010 draws to a close, Baltimore club music is in an unusual place. On one hand, the music is more mainstream accessible than ever. Blaqstarr is positioned to become and underground pop icon and everything that was either directly or indirectly attached to the hipster movement from Pabst Blue Ribbon beer to Diplo is achieving a place in the mainstream. Usher’s “OMG,” a Baltimore club track disguised as a pop song was voted by MTV as the channel’s favorite pop tune of the year. Baltimore club tracks are now a staple of mainstream R & B and dance releases for the time being as well, as acts ranging from the expected Black Eyed Peas to the unexpected newcomer Miguel incorporating the sound. On one level, between that and internationally popular DJs like Trouble and Bass’ Drop the Lime and Zombies for Money, along with kuduro club smasher Munchi making waves in club music the dream has been realized. Club music is global, in a major way, and shows no apparent signs of slowing down. However, as rapper Redman once entitled an album, “Dare Iz a Darkside.”

 We No Speak Bmoreo by James Nasty

On the veteran front, Unruly’s Say Wut had another terrific year, releasing an album length mix, and with King Tutt promising a 2011 release that will venture deeper into the electro side of club music, Unruly has transferred quietly from being a leader in club music to being the genre’s most respected brand. Hearing Scottie B drop bombs at the Baltimore Bass Connection Xmas Party at Sonar wasn’t the life altering experience it normally is, instead it was met as the expectation of the DJ and the music he plays. In having harnessed the titanic strength of club music for so long, and being the brand that carried it into the mainstream, Unruly no longer needs to be a leader, but it rather can be the steward, the respected folks at the top of the game.

http://www.youtube.com/v/IK4BSndto8Y?fs=1&hl=en_US

It is important to also note that the Baltimore game has changed. When the city was widely regarded as the predominant world underground leader, club music was swept into that. Now, as Baltimore has faded back into being a weird, yet still vibrant musical enclave, still local Baltimore club needs to be, well, back in the clubs. The growth that occurred in the sound between “Watch Out for the Big Girl” and “I’m the Shit” needs to be replicated yet again. There needs to be an emphasis on not just producing, but the actual art of DJing the music. Mainstream success is always just around the corner for club music. It reflects popular culture and features intensely catchy dance breaks. Jonny Blaze is an urban legend and Benny Stixx may not be a household name, but they are DJs adept at  producing and spinning the sound and getting people moving. Philly’s DJ Sega is a prodigy and everyone is aware of that. KW Griff and DJ Booman are holding down breaking songs on the radio. Between those names and a plethora more, there needs to be work done amongst DJs who still want to advance club music. While names like Usher are toying with the sound, enormous mainstream exposure isn’t exactly possible. However, working hard in the lab and concocting where the sound can be headed in the shadows of these giants is of ultra importance.

In final, club music truly became pop music in 2010. Of course, as when anything underground goes pop, it immediately causes tension in the underground, a sea of angry emotions, hurt feelings and rash decisions borne of confusion. All of these things happened in club music this year. However, with a quick change of gears, club music can survive, and actually get stronger for the next major boom. As the King James Version states in Ecclesiastes 9:11, “I returned, and saw under the sun, that the race [is] not to the swift, nor the battle to the strong, neither yet bread to the wise, nor yet riches to men of understanding, nor yet favour to men of skill; but time and chance happeneth to them all.”

We Never Leave the Club! – TGRI’s Quarterly Club Music Update…

Is this really the new face of club music?

Noted music scribe Al Shipley of the Baltimore City Paper has recently announced his intention to write Tough Breaks: The Story of Baltimore Club Music. Intended to be a comprehensive look at the history and influence of the house and bass influenced regional sound, the book, when completed may indeed be the best way of writing the closing chapter to the first and second generations of this influential sound. If anything, from what we have seen in 2010, the subsequent generations of club music will be truly international in scope, and in providing challenged for purveyors of the sound in Baltimore and Philadelphia, it would appear as though comeptition is only going to get hotter from here.

I can say without holding my breath or with the slightest modicum of shock that some of the hottest club music released in 2010 has absolutely nothing to do with its founding locales. I attribute this to the fact that the influence of club music is far more accessible now than ever. Instead of having to venture out to Rod Lee’s record store or purchase one of the vaunted (lol) “Scottie B Hard Drives,” producers can flip on a radio and/or search online for an afternoon and if they’re of a level of truly professional musical acumen, production of a “club banger” isn’t a matter of if, but a question of when.

Need proof of my statement? Rye Rye’s “Witch Doctor,” which sounds like it comes from the mind of Blaqstarr? No, that’s Chicago’s Million Dollar Mano, DJ for Hollywood Holt. “Sex Sax,” a warm, horn friendly house banger that sounds like KW Griff? Nope, that’s Brooklyn and Trouble and Bass Crew’s Drop the Lime and appropriately named Dutch master Bart BMore. “Git Em,” which sounds like something that Philly’s Brick Bandit maestro Tim Dolla created? Nope, check for DC’s Steve Starks on that one. And the world’s hottest underground DJ tandem right now are Portuguese duo Zombies For Money, who, if you listen closely, use yes, club music as a backdrop for Bhangra and tribal themed sonic journeys.

This isn’t to say that Baltimore and Philly aren’t still hit making locales. It’s just that their scope is different. Being the epicenter of the sound, the ability of local DJs from these areas has completely switched in expectation. DJ Class is an international phenomenon now, taking “I’m the Shit’s” success into the big rooms and Vegas parties at Body English, as he has recently joined again with Jermaine Dupri on Sparks’ latest “Favorite DJ.” Class is a frequent collaborator now with the “Get Familiar” spouting DJ, having left Alameda and Coldspring behind for the comfort confines of comped suites at The Palms. Also making waves as well is DJ Sega who has become a superstar in 2010. His track “Get Naked” with yes, Lil Jon is everything you’d expect the man whose “What?!?!?!” sample is a key component of Philly’s club sound, to be. Hard breaking and frenetic, Sega, with Toddla T and Drake remixes as well that are phenomenal has truly evolved into not just the most inventive DJ, but possibly one of the top DJs of the sound. And as far as the future is concerned, if you’re not fully aware of the dominance of DJ Pierre, Murder Mark and TGRI’s own stamped artist James Nasty, you’re playing yourself.

As for the veterans, you can’t really go wrong when DJ Booman goes in on Lazerbitch’s “Twilight.” As well, Say Wut’s familiar “Go” just got the dubstep treatment from Foamo, and still as far as live performances go, My Crew Be Unruly 3 is scheduled for July 30th, and is expected to once again be the epic throwdown of club music we all expect.

Club music in 2010 is an extremely bizarre place. Rod Lee is doing remixes for Steve Aoki. Usher has taken a leap into the club sound. Portuguese post teens are probably gettin’ their car washed in the club, as per instructions of KW Griff’s “Chris Rock Joint.” The sound that never fails is winning more than ever. Bitter and angry that it’s someone else making the money instead of the originators? Well, as with all movements, it’s never the ones that open the door who reap the benefits, but the ones who walk through. Instead of being at the head of the line, Bmore and Philly are just as important now as pretty much everywhere else in the world. The competition is now fierce and wide. Expectations for a new collection of legendary club bangers for a new generation is high. We never leave the club. In fact, the club just went worldwide.

TOP 5 BALTIMORE CLUB ANTHEMS OF 2009

Yesterday, Al Shipley of the Baltimore City Paper, a journalist whom I respect and look at as a definite and most appreciated peer in the industry of discussing club music, released his list of the top 10 Baltimore club tracks of 2009. Upon reading, I definitely felt compelled to drop my own version of a “Top Bmore Club” list as well, for the sake of adding more fuel for discussion about what was a year that saw the pool for the far reaching effects of club music deepen and widen significantly with the mainstream success of DJ Class, as well as nods to work by Bmore Original Records by the mainstream as well. Club music is at a definite crossroads, which you will tell by the content of this list.

Honorable mention:
James Nasty “Dance Motherfucker,” – Owes a lot to Griff’s “Chris Rock Joint” for its success, but the Katt Williams sample NEVER gets old. Track breaks down on the chorus in a magical manner.

DJ Class feat. Fatman Scoop “Dance Like a Freak,” – Before adding Scoop, was okay. With Scoop, outlandishly street and much harder edged.

DJ Pierre “Let Me Get That” – So minimal, so tight, and Pierre’s so young. I strongly feel that the entirety of Baltimore should get together and give this young DJ one hint each to being better han he already is. Protecting and developing the future is ALWAYS important. There’s an entire crew of solid young DJs in the Bmore club scene who deserve it, not just Pierre, but with him having the spotlight most often, he’s a solid place to start.

5. I’m the Shit – DJ Class: Okay. So why, #5 for the track that clearly opened all the doors. Well, here goes nothing. “I’m the Shit” deserved so much better. Within three months of release, Lil Jon, Jermaine Dupri, Trey Songz and Kanye West had all recorded remixes of this song. It then hit urban radio nationwide like a left/right combination from Floyd Mayweather. Before anyone knew it, Class was a superstar (think I’m kidding? At SXSW, for an entire week of March 2009, I, and a 12 block radius of the most important people in music had “I got diamonds on my neck and patron in my cup” likely literally tattooed on our brains). However, there were problems we were all overlooking. Foremost he had no album or no other tracks available for release. This then led to a stall where the song had NO VIDEO, which killed it as far as making it to MTV. And when the song DID get a video? It was dimly shot and frankly poorly produced, and not TV ready. This track was the little engine that could, though, but it’s finally run out of major label gas. It was a fun ride while it lasted, and definitely opened a million doors, and made DJ Class the “it” producer of the moment for remixes, having worked with Beyonce most recently. This track had ALL the sizzle but none of the steak. The song became far, far, far more than JUST a fun club number, and the palpable depression of not seeing the closest thing club music has had to a #1 jam slide was in my mind a tough pill to swallow and a rallying point for producers within the city.

4. James Nasty ft. Maggie Horn – “We All Want”: I think that James Nasty is the closest thing we have to Rod Lee’s style and type of production in club music right now. The scary thing with him is that he’s still very much a work in progress, burning through work at a rather herculean pace of releases as compared to other more veteran producers. Easily his most accessible track is with NYC club hopping songstress Maggie Horn, “We All Want.” Minimalist with a “Think” break, I can’t think of a better hook than “Get buck, tear it up, baby work it out.” The song walks the fine line between house and pure straightforward club music quite well, and has infinite appeal in my eyes. As with most things in Baltimore in 2009, the track definitely got lost by most eyes under the deluge of mainstream attention centered at Unruly Records and the label’s attempt at shifting from *just* being a club label to being a more well rounded entity. Do give this a listen though as it’s a solid marraige of producer and singer here, as this is by leaps and bounds the best thing Maggie Horn has recorded so far in her career. James has already worked with Maggie, Menya and Ninjasonik so far, and is truly the connection between the hipster mecca of Brooklyn and the Charm City. Definitely watch him in 2010.

3. KW Griff – “Swift’s Revenge”: I think KW Griff can make club fire in his sleep. Taking MIA’s “Boyz” break and Swift’s radio bumper and combining the two is a work of a genius. Griff has been at this for a while now, and never loses ways to keep his samples, breaks and style fresh and entertaining. His musicality is always the most telling thing with him, as with a background spinning house music, everything has that glossy, ultra smooth feel to it that makes him a legend at his craft. K-Swift’s death has easily been the most damaging issue with club music, as somehow, things unraveled following her untimely demise, and it’s taken at least a year for many in the game to get back on track. Swift’s importance as a mentor, talent and influence cannot be forgotten, but must also be carried forth to ensure the continuance of the brilliance of the sound.

http://www.youtube.com/v/PgHlEdNgwUw&hl=en_US&fs=1&color1=0xe1600f&color2=0xfebd01

2. DJ Booman – “Warface”: I love club music that inspires violence. This is the angriest club track I’ve heard in a long time, and is a return to a staple form by Booman, famed for tracks like “Pick Em Up.” I’m not a fan of Booman re-editing top 40. I’m a fan of DJ Booman creating tracks that involve samples of rappers screaming bloody murder, or tracks that are a literal call to arms. Taking the sample from the best scene of Full Metal Jacket, this one definitely goes above and beyond, and deserves much credit. Insistent drum and triumphant horns looped over a club track? Too hot for any more words. Listen above. Props also to DJ Excel for one of my favorite video clips of the year.

1. Say Wut – “Streets of Baltimore”: From my review earlier this year: “As if manna from heaven comes Say Wut’s latest. The producer, a longtime veteran of the scene and perpetual banger creator samples the theme of the well respected early seventies crime drama “Streets of San Francisco” by Henry Mancini’s Orchestra. The sample of trumpets and drums seemingly involved in a impossible, perilous and perpetual high speed chase up and down Lombard Street with the break beat from Sagat’s classic hit “Funk Dat” definitely lifts the track from the west coast, and dumps them somewhere zipping along Howard Street or MLK, making their way to Charles Street to have a showdown at the Paradox, true Baltimore flavor. The track is massive, and has already been added immediately to most if not every major underground DJ in the country’s set list. Do take a listen, and hear the sound that everyone will be getting down with that is sure to keep the clubs warmer as the temperature grows colder.”

SHIT I’M DIGGING THIS WEEK

TGRIONLINE x BMORE ORIGINAL – NEW WEEKLY CONTENT!

Happy to announce to everyone that as of this week, we’re proud to announce a syndication agreement with Baltimore’s Bmore Original Records to be a syndication point for their online broadcasts. Bmore Original features legends DJ Booman and “Watch Out for the Big Girl” creator Jimmy Jones, alongside up and comer DJ Benny Stixx and rising national talent rapper Mullyman. Bmore Original’s been on fire as of late with some classic style Bmore club releases, as well as some top 40 re-edits in a club style that are guaranteed crowd movers. Do check out Bmore Original.com, and keep your eyes peeled here for more exclusives and radio shows from the label.

Starting things off, we have a video just in time for the spookiest holiday of the year, as DJ Booman remixes the everpopular “Monster Mash.”

http://www.youtube.com/v/6gEqWZ_O1AY&hl=en&fs=1&color1=0xe1600f&color2=0xfebd01

As well, here’s the latest radio for your listening pleasure!

Bmore Original Radio “Benny Stixx” 10-21-09
http://rapidshare.com/files/297042749/BMORE_ORIGINAL_RADIO_-_BENNY_STIXX_-__WWW.BMOREORIGINAL.COM__10-21-09.mp3

DJ Excel – The Underground Files pt 2
30 min mix:
http://rapidshare.com/files/297042754/DJ_EXCEL_-_the_underground_files_teaser.mp3