KEEPIN’ THE FAITH an enormous success and the best DC DJ night of 2010.

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Government Issue – Plain to See (Stereo Faith Intro) Trevor Martin’s HUGE night closer!

There are indeed occasions where words cannot effectively cover how massive something was. Many say the key to journalism is to efficiently use wordplay to be able to conjure images that make actions come to life. I don’t think those words exist to describe last night. If you gave of yourself entirely, gave in to the concussive impact of the U Street Music Hall Soundsystem, and found the cause for the event right and just, then you literally felt every emotion music allows humanity to feel. In six hours, kingpin selectors ALL played sets that were ethereal, sublime and completely and undeniably the best of their kind heard in the city all year. When asking every single DJ to a man what propelled this destructive blast of soulsonic force out of them? They all had the same answer: “I had to go in for Steve.” Stone, deadfaced serious each and every time. The delirium caused by the level of excellence of these sets proved an undeniable fact to be true. Steven McPherson, aka DJ Stereo Faith is maybe one of the best dudes ever in underground music. If we harness the force of sound and human energy contained in U Street Music Hall last night, there’s no doubt that not only will Stereo Faith overcome his brain tumor, but he will come back renewed, with a vigor and excellence never before seen or heard.

All of the folks came out. Taxlo’s Simon Phoenix and Cullen Stalin. The Brick Bandits/Mad Decent afilliates Dirty South Joe, DJ Sega and Guns Garcia. Crossfaded Bacon’s Uncle Jesse. The Nouveau Riche crew. Tabi Bonney. Representatives of every major clothing brand, venue and independent record label in the Northeast. Nobody’s a celebrity on the underground, but game recognize game and all respect all. It was an event for the ages for a man of all time.

Will Eastman opened huge with some punk rock. Jerome Baker played classic house, then Scottie B started to make things serious. Scottie plays these house sets every week at the party he curates at Bmore’s Metro Gallery with Cullen Stalin that are so great that you almost want to feel depressed that you got into the party for free. Scottie’s excellence is so understated, his style so impeccable that you lose sight of how magnificent he is at what he does because it doesn’t slam you over the head, but instead causes your feet to dance for themselves.

Speaking of, I thought Dave Nada had forgotten how to punch people in the face with bass and pistol whip them with rhythm during a set. The Nadastrom combination has in many ways smoothed out Dave’s edges and taught him how to harness his never-ending desire to cause criminal and passionate energy from playing club music. Last night, homie threw down the gloves and engaged a throng of people ready to wild out in a musical battle of Survival of the Fittest that he won. It felt like being transported back to Krunk for an hour. Dave’s club edit of the MC5’s “Kick Out the Jams” fell into classic Blaqstarr, which headbutted KW Griff and Porkchop which piledrove DJ Class and elbowed DJ Booman and Diamond K in the face. The hardcore fanatic came back out to play last night, and, yeah. When it comes to club music, Nada’s still got it.

On any other night, that set would be the star. But Jesse Tittsworth is one of the owners of the venue, and there was absolutely no way he would be upstaged. Tittsworth cut his teeth as a DJ on drum n bass and hip hop. Therefore, it goes without saying that in going back to his roots, those would be the hallmarks of his excellence for the night. Tittsworth looked like a kid at Christmas spinning the obscenely percussive music, as always engaging in an epic battle of fisticuffs with the bass register of the U Hall soundsystem. Last night was a time for mainstream club folks who have never been to U hall to get a taste of what the room has to offer, and I think that when the sound waves from the bass began to make people’s hair stand on end and skin begin to vibrate, and nothing was lost in the quality and levels of the sound, people were shocked, amazed, and kept on dancing. When the lights hit these people in a certain manner, it appeared to be a sea of psychedelic drones descending upon the DJ booth. It was proof that the sound has a possibility of truly making converts in the musical mainstream, and was utterly amazing.

Trevor Martin and Jerome Baker III stood up and became superhuman last night. Neither did anything particularly different than what they usually do, Martin holding down the mainstream spots and Baker one of the crown princes of “jiggy” posh locales around town and cruise ships as well (so serious, he just did a tour as a DJ on a cruise ship). Given the nature of the event and the hyperkinetic energy of the room, Martin and Baker proved that mainstream club style, when delivered by spinners who know what they are doing, can read a crowd, not let the energy dip, and take risks (Baker dropped Zombie Nation’s “Kernkraft 400” AND Darude’s “Sandstorm”), can make phenomenal feats of magic overwhelm a crowd.

It’s often been said in this gestation period for U Street Music Hall that the venue can’t be everything to everyone. Well, what if you’re honoring someone who already is. I guess for one night, it’s possible to make an exception to the rule.

THE DROP: The Scottie B Interview

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Scottie B is a musical institution. A key creator and visionary force of Baltimore club music, the 20+ year veteran of the sound, with an eye cast toward the future and a vibrant memory of the musical past is one of the most valued DJs, remixers and producers in all of music. As one of the cornerstones of Baltimore’s vaunted Unruly Records alongside label head Shawn Caesar, their shared belief in the interconnection of all musical styles is a blueprint that strengthens not just their legendary club sound, but also their forays into hip hop and pop music as well, areas of equal importance to the label.

The list of names that have recorded with or are directly influenced by the label is truly illustrious. From fellow Bmore club smasher DJ Booman to current mainstream club kingpin DJ Quicksilva, to Diplo, DJ Class and a legion more, the levels of influence are strong and deep and allow Unruly to have a well earned place of respect in the annals of not just local music, but now trending toward national and international sounds as well.

On Monday evening, while at Unruly’s joint branded J. Cole listening party event with East coast urban athletic apparel powerhouse Downtown Locker Room, I had the chance to catch up with Scottie, and as well chatted with Shawn Caesar and DJ Quicksilva as well regarding the history and nature of the future of Baltimore club. As well, Unruly’s growth and management model for having such a level of importance in the music industry was discussed, alongside some thoughts about the many unique stops along the way for club music, including but not limited to Diplo’s appropriation of the sound and a terrific story about the rise of DJ Class’ most important club winner, the ubiquitous “I’m the Shit.”

Overall, an eye opening and engaging discussion with some of the true kingpins of the Baltimore sound.

Deep Sugar and Unruly Records U Hall Takeover – 4/22/10 – REVIEWED!

I should’ve known this night was going to be different when the house heads from Bmore sprinkled baby powder on the dance floor of the U Street Music Hall in order to really get down.

On some nights you learn that certain DJs are lifted by the spirit of dance, and have a unique connection to music that allows them to play in such a manner that elevates the soul. On Thursday night at the Temple of Boom we’ve come to know and love in DC as the U Street Music Hall, the Deep Sugar and Unruly Records crews combined for a night that was not just a reflection of all being great spinners with a deft touch and agile mind, but that they know how to take music and use it to achieve a desired reaction and interaction with the very essence of a person.

The Deep Sugar crew was represented last night by Lisa Moody and internationally renowned legend Ultra Naté. Not aware of Lisa Moody, I can understand that, and will even give you a late pass. She’s an incredibly underrated Baltimore house DJ. But Ultra Naté? Her major international mainstream hit, 1997’s “Free” has sparked an enormous and legendary dance music career for her, as she perpetually tours the world and is a bankable hitmaker. Over the last six years, on the second Saturday night of every month at Baltimore’s vaunted Paradox usually until 7 AM, and with literally every house DJ and diva singer legend you can imagine, you’re invited to “fall in love again on the dance floor.” What is likely commonplace for the duo was like a blast of cool air on a sweltering summer day to DC, as Lisa, and especially Ultra, played with effortless magnificence. Back to back Winter Music Conference crushers Michael Cleis’ “La Mezcla” and Dennis Ferrer’s “Hey Hey” can melt ice in snowstorms, but were turned into sonic blowtorches as the highlights of Ultra’s magnificent set.

Unruly was not to be outdone, as King Tutt, an excellent all around DJ, Scottie B disciple and rising producer played two sets, one after Lisa Moody with numerous highlights hearkening back to the days of Club Choices and other legendary spots in Baltimore lore, and another more soulful set to close out the night. Unruly, as the most notable production team in Baltimore has an unusual place, as they could either be completely welcoming of everyone and everything Baltimore has to offer and put everyone on the map, or, they could be scientific about the process, and work with the exact right people at the exact right time. Unruly always attempts to err on the side of the latter, and while known for club tracks like “Takeover,” Tutt has also worked with Ultra Naté as a producer on a few house tracks as well, and has shown a breadth of talent that was on display Thursday night.

But, as with most nights, the night was turned into a sweaty and ridiculous mess by Scottie B, who, after last night, deserves all the credit in the world as being one of the elite house music DJs in the world. For years, people have associated Scottie with being one of the elite Baltimore club DJs of all time. To state that is to make a condemning and limiting statement regarding the man’s multitude of talents. Scottie has a way of spinning a track and working it as well that elevates the commonplace to the legendary. Yes, there was Duck Sauce’s “aNYway,” Silvio Ecomo and Chuckie’s “Moombah,” DJ Class’ “I’m the Shit,” new tracks by the most criminally slept on producers in the house music world, DC”s Dmerit of Outputmessage and Micahvellian and a phenomenal club edit of Drake’s “Over,” that wasn’t DJ Sega and Esentrik’s manic hollow 808 workout. But it was deeper than that. Scottie’s set was so great that it ended up with a gigantic danceoff where breakers and fashion voguers and house freaks engaged in a United Nations summit of dance. Dance floor denizens raised their hands over their heads as if to proclaim that the entire experience was religious and sanctified. DJs in attendance swore that they likely needed to quit after hearing the skill and talent with which Scottie spun the exact same tracks that they had as well. And for the most part, people smiled and literally laughed. No, not because this was funny, but because it was fun. Pure, real, unadulterated entertainment. It was the sonic equivalent of watching King Arthur pull the sword from the stone and slay the U Hall’s titantic dragon of sound.

Talks are in the works for the crew to return on a more regular basis which would be a wonderful addition to DC’s music scene. The U Street Music Hall has been open for nearly one month. In one month’s time, the U Hall has changed the nature of club promotion and necessity for sound quality for an entire city. The space, on many levels for the EDM scene, was EXACTLY what the city needed. House music has a very real tradition in this city that had become almost nearly forgotten by the average citizen of the community. U Hall is centrally located, dance friendly and something in the way that space is constructed allows sounds to give off some of the most real, loving, positive and beautiful vibes I’ve felt from music in a long time. More importantly, the right people, the legends and the truly skilled and talented in the craft of DJing are allowed to ply their craft like kings instead of succeeding in the face of situations that often present them as paupers. And that’s wonderful. Nights like last night being the norm at U Hall are a welcome and appreciated shift in the universe.

SEAL OF APPROVAL – (Bmore) PedX ALWAYS DOPE feat. Shawn Caesar and Scottie B’s "Where Were You in ’89 – Friday Nights at Club Fantasy Tribute" – 4/6/10

Scottie B is maybe having the best week ever in club music history. Hot off the heels of a titanic bass boom birthday bash at DC’s U Street Music Hall with Nadastrom, Tittsworth and Cullen Stalin, the party doesn’t end as at Baltimore’s Red Maple at 930 North Charles Street, he opens for Unruly Records label head Shawn Caesar at the “Where Were You in ’89 – Friday Nights at Club Fantasy Tribute” party for PedX’s Always Dope party from 9-2. The capo of Unruly is a legendary top DJ in Baltimore, so spinning a set that recalls the wild times at Club Fantasy in 1989 is a recipe for nothing but a good time.

Bmore clothier PedX has been throwing this Always Dope function for quite a few months now, and with guest spots from the likes of planet Brooklyn’s Jasmine Solano and site homies Ninjasonik, and local Bmore TGRIOnline “STAMPED” club DJ James Nasty, Bmore rappers like Greenspan and DC’s Jerome Baker III amongst many, they certainly know how to throw a party.

This one will be epic, and will be absolutely off the chain as well. I’m expecting to hear stories of more Miss Tony and so many more classic club hitmakers getting their tracks dropped tonight. Bmore, as always, goes hard, and knows how to throw a party.

Scottie B’s Birthday @ U Street Music Hall, 4/3/10 – REVIEWED!

It’s fair to say that without Scottie B, the U Street Music Hall wouldn’t exist. So for the Godfather of Baltimore club to grace the stage on Saturday – celebrating his birthday, no less – was kind of a big deal.

Opening for Scottie B, sets by Cullen Stalin, Nadastrom, and Tittsworth were punctuated with signs of appreciation and birthday well-wishes. As talented as they are, this is a group of DJs that owe their careers to Scottie B, a fact of which they are fully aware. Pulling out all the stops, the sets were heavy in B-more club, but also veered into different territory. As Scottie has returned in part to his house roots, Tittsworth and Dave Nada freely experiment with dubstep and moombahton, respectively. Apparently, the lessons never end.

Highlights of the night included B-more standards like Scottie’s own edit of A Tribe Called Quest’s “Find A Way” and DJ Class’ ubiquitous 2009 club banger “I’m The Shit,” infectious tracks that always get a crowd moving. Wu-Tang, it turns out, is not just for the children, but for club music, too; Bird Peterson’s “Torture Motherfucker” and DJ Class’ “Shimmy Shimmy Ya” re-fix have beats as sick and grimey as their Shaolin lyrics.

As the night wound down, Tittsworth paid tribute to Scottie B with a half hour setlist of Scottie’s tracks. The unassuming DJ pioneer in the Baltimore Orioles bucket hat could only stand back and take it all in, as if to say, “Yeah, I did all that.” Not a bad way to celebrate your birthday.

PERMANENT SEAL OF APPROVAL: U STREET MUSIC HALL, WASHINGTON, DC

Well, let’s hope that this isn’t the last time we have to do this.

TGRIOnline.com is giving the U Street Music Hall a permanent Seal of Approval. In the first two weeks of the venue’s existence, an unbelievable energy has permeated the city’s EDM culture. No, it’s not the 20,000 watts of sub-atomic bass that Jesse Tittsworth turned on a slightly thinner than expected but ultra appreciative crowd at last night’s Plant Music showcase like a bunch of kids on a hot summer’s day on a street corner. No, it’s not the fact that Tittsworth gave us a preview of Nadastrom’s “Punk Rock Latino” and a bunch of other forthcoming Nada and Nordstrom goodies that will be the soundtrack to what promises to be an EXTREMELY rowdy summer. Nor will we claim that it was NYC legend Stretch Armstrong spinning an incredibly solid set of hip-house, body jacking, classic Chicago reminiscing set of house music.

No, we won’t point to Will Eastman and his now ubiquitous Giorgio Moroder moustache smiling mirthfully as his ten years of dedication to Blisspop turned into a sonic cold rush of blood to the head at the venue last Saturday night. It wouldn’t be watching ex-Glitch Mob member Kraddy work himself into a frenzied state of hysteria building his set of hip hop inspired dubstep to a crescendo. No, I won’t even point to the soft opening week with Tittsworth, Nadastrom and Dubfire sets. Or to Harry Hotter lifting his stock as a DJ in the city for those who just weren’t aware with kingpin selections on two separate occasions in a 72 hour period. And, we won’t point to the venue resurrecting Red, which may be one of the most personally gratifying occurrences of the year so far.

Happy Birthday, Scottie B!

I’ll point to the seeming perpetual standard the venue sets for excellence on a nightly basis. Tonight, for instance, it’s probably the best DJ in Washington, DC, Sam “The Man” Burns at Red Fridays. Tomorrow, Unruly Records kingpin, Bmore legend and godfather of club and house music Scottie B has a birthday party with confirmed spinners listed as his NO RULE cohort Cullen Stalin and the “U Hall Crew.” What exactly is a U Hall Crew, and, just how many local DJs claim Scottie B as inspiration and teacher and will spin as well? I think a blind, dumb and deaf man knows how we feel about #MOARCLUBMUSICS on this site, so, on that system, this is a necessary event for sure.

NYC’s Flashing Lights Crew of DJ Ayres, Nick Catchdubs and Jess Jubilee are in town next week, and, well, they’re all just superior talents bringing one of the universe’s best known affairs to DC. DJ Stylus spins Red Fridays, and, well, Gavin Holland, Nacey and Steve Starks, the young guns of DC EDM now get to throw Nouveau Riche as an 18+ event. This is the same Nouveau Riche that involved people swinging like orangutans from the rafter beams at DC9 and parties based around 1991 rave culture, and ass well was founded by Gavin Holland, the guy who throws parties where people are forced to wear shorts and can play in ball pits. There’s already a ridiculously high juvenile quotient to Nouveau Riche which is going to skyrocket in a wonderful way.

U Street Music Hall is the touchstone point for DC’s arrival as an international powerhouse. Have you ever complained that DC isn’t this or isn’t that or can never be what you want it to be? Definitely stop by 1115 U Street sometime. It’s proof that DC, at least for dance music, is exactly where you want to be. It demands and deserves a permanent seal of approval.

WE NEVER LEAVE THE CLUB: A Quick Baltimore Club Music Update…

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The ever entertaining Jonny Blaze has dropped a cartoon themed video (available after the cut) for new single from his forthcoming album, “Here We Go.” The fanciful and fun attitude mirrors that of Blaze these days, as one of the most positive and God-fearing men in well, music anywhere continues along a more enlightened path.

Have a need for what Jonny refers to as his “sinful” tracks? Or just want some of his guaranteed to cause wildness club bangers? Visit his online store, and check that he’s got some UK 2-step/club heat that’s available for preview and purchase. Jonny is always a strong proponent of being two steps ahead of everyone for sure.

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One of the more entertaining young lions of Baltimore, and the young man responsible for our own #MOARCLUBMUSICS Vol. 1, DJ Pierre has dropped the eighth volume of his VERY entertaining mix series. If you’re looking for where the smooth, house music related influence of club music went, look no further than Pierre, who consistently impresses with a eminently danceable and very mainstream style. Check his latest “Watch How I Do It” another solid track that has Pierre on the vocals and features spaced synths and a deep house vibe.

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The house and electro influence in Philly club is stronger than ever. DJ Sega’s at the forefront of it, taking his manic and inventive style away from kiddie remixes and into a much more serious direction, as his remix of Toddla T and Herve’s “Shake It” proved. Well, now he’s taken the acapella of Drake and Weezy’s new Young Money label single “Over,” and taken it to a much more ravey yet club centric home, with the aid of NY’s DJ Esentrik. Philly’s really taken the bull by the horns as of late for having the best of all worlds when it comes to the necessary innovation of electro sounds blending with traditional club music.

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Educational content on this history of club music from the master, Unruly Records’ Scottie B, taped at the home of Cullen Stalin and Scottie’s Monday night throwdown, the NO RULE party, Baltimore’s Metro Gallery.

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

Welcome to the first of many quarterly club music updates. Read, click links, but do enjoy the vast diversity that is Baltimore Club music.

The first quarter of 2010 has proven already to be very active in the club music world.

The Philly and Jersey based Brick Bandits crew have in the mind of this journalist produced the most intriguing and voluminous body of work this quarter. DJ’s Tameil (check the No Floors and Left Field mixes for some mind bending club excitement), Tim Dolla, Sega, and newcomer Nadus have spread the interests of the harder than hard bass loving crew to the absurdist limits of club music. Lady Gaga, Major Lazer, Toddla T, the Beastie Boys, and so on, and so forth, and the music just keeps on coming. Yes, they’re favoring an electro and house bent as well as of late, but to be a fan of club music in 2010 is like going back to the early days of Baltimore as well, where the vibrant house scene spawned so many legends who extended the sound in so many intriguing directions. The sheer volume of the work coming from this posse is quite outstanding and deserves commendation.

Hot off of the success of producing the remixes of Beyonce’s “Video Phone,” Unruly Records has laid forth their aggressive new plan to truly expand past having an influence just in the sphere of club music. King Tutt’s “Takeover,” which samples The Doors’ “Five to One” sample used in Jay-Z’s The Blueprint’s massive battle track against Nas has the bass that typifies club music, but as is the feel now for most of the city, warping electro trending synths dominate the landscape upon which the track is made. The involvement of electro in club music is certainly a nod to the dominance of the David Guetta and Dr. Luke productions dominating the pop charts, as club producers attempt to cash in on the mainstream’s turn to the underground for support.
Unruly’s DJ Class may be one of the more interesting cases as of late, as the “I’m the Shit” and “Dance Like a Freak” producer still with an unreleased Alameda and Coldspring album is favored by the likes of bottle service destroyer Clinton Sparks and having those sort of Vegas aspirations seemed to lend themselves to his refix of ODB’s “Shimmy Shimmy Ya,” one of the few Bmore club influenced tracks with elements of electro, dub and numerous disparate influences. Moreso than electro, the hard bass and massive sounds of that rising genre being indoctrinated into club music really makes for an interesting take on the sound.

Scottie B is busy too, but in a most interesting way, having opened a Facebook Fan Page and having not one, but two old school Bmore club mixes available for download. The legend and cornerstone figure of the genre spins weekly at the party he curates with TaxLo DJ Cullen Stalin, and while he rarely errs to the club side, his opening of the party house mixes at the party are truly worth a weekly visit to the free event.

The most important party in the city at the moment may be the hipster dominated, Radell Kane organized, young Moustache Crew DJed Moustache Party. The key to this party is that outside of the young spinners, it is the weekly residency of the classic club, no frills, low electro influence James Nasty, the most hyped DJ in club’s underground. He has an EP forthcoming, but with tracks featuring Ninjasonik, Maggie Horn, Menya and DC’s Roll Wit Us All-Stars and possibilities of some grand slam names from club music lore forthcoming, he may be the retro link to the early days of club music’s rediscovery by the underground. The maintenance of that link is firmly in his hands every Friday night at the Ottobar’s upstairs, and in viewing the party, you see that he sees it as a positive advancement of his career, sharpening his skills as a live DJ buoyed by his excellent productions.

Classic party starter Jonny Blaze is back, too, now claiming a religious overtone to his club productions after some unusual life occurrences. His new track “Here We Go” features Blaze on the mic and has a Charleston bounce and religious themes. The invocation of religion and club music is a positive move, and outside of his own creations, possibly grabbing some Mary Mary acapellas could lead to some really fantastic tracks, as they, alongside Kirk Franklin in the genre are the most musically forward thinking to benefit from the club treatment. Blaze has an EP dropping soon as well, and fully expect an interview with the legend to drop here soon at TGRIOnline.com

Youth has been served as well, as DJ Pierre and Murder Mark both have done mixes as of late for this site, and continue to hold down the 18+ scene. Mark, along with his “Yo Boyz” cronies have an album dropping later this year with Aaron Lacrate’s Mikcrate Records which is vital sounding and entertaining at first listen and puts the young producer in a good situation for career growth. He’s also decided to possibly release a new track a day for the month of March. If any of them are as hot as “Cherry Hill and Down Ya Block,” the buzz will be high. As well, he’s recorded with TT the Artist, who, if you like Rye Rye (who’s back in the studio by the way) is absolutely one to watch as TT has recorded with DC’s Will Eastman amongst many others. Pierre is in the lab as well working on the eighth volume of his mix series as well as new tracks, his rapidly developing smooth as silk mixing style blends well with his minimalist, groove centered productions.

DJ Excel’s Bmore Original label, home to Benny Stixx and DJ Booman amongst others still stays adamant along the Top 40 path, Excel’s refix of Ludacris’ “How Low” another in a long line of top 40 edits some that hit, and hit hard, others that sound like ClearChannel radio aimed remixes. Neither is a bad look, as from “That’s What A Pimp Does” to Benny Stixx’s refix of Twista’s “Wetter,” there are giant jams that the style can produce.

If you have tracks or events that you would like to see profiled on the Quarterly Bmore Club Update, email dowling.marcus.k AT gmail.com for more information.