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.
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