Baltimore club

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Baltimore club, also called "Bmore Club", "Bmore House" or simply "Bmore" is a breakbeat genre. A blend of hip hop, R&B, post-disco, with chopped, staccato house and bounce music, it was created in Baltimore, Maryland, United States in the late 1980s by 2 Live Crew's Luther Campbell, Frank Ski, Big Tony (or Miss Tony), Scottie B. and DJ Spen.[1]

Baltimore club is based on an 8/4 beat structure, and includes tempos around 130 beats per minute.[2][3] It combines repetitive, looped vocal snippets similar to trap, bounce, ghetto house and ghettotech. These samples are often culled from television shows such as Sanford and Son and SpongeBob SquarePants,[3] though can also be simple repeated calls and chants. The instrumental tracks include heavy breakbeats and call and response stanzas similar to those found in the go-go music of Washington, D.C.. The breakbeats are pulled from samples, with the most prominent being "Sing Sing" by disco band Gaz and "Think (About It)" by Lyn Collins.[4] Much like the rave-era genre known as breakbeat hardcore, Baltimore club sounds as if the music was intentionally hurried, as each song is made with a limited palette of sounds and is based on similar frameworks.[citation needed]

Development[edit]

Baltimore club was born in the record stores of Baltimore first by Scottie B, Shawn Caesar and DJ Equalizer. They were then joined by DJ Patrick, Kenny B, DJ Class, Diamond K and others. They took some inspiration for their sets and production from British breakbeat hardcore records.The Blapps! Records (UK) label released several records between 1989 and 1992 that are considered classics in the Baltimore genre, as well as in the British rave scene. "Don't Hold Back", "Too Much Energy" and "Let the Freak" were sampled and played heavily by DJs and producers, and would define the Baltimore club sound.

In the early 1990s, Baltimore club music developed a cult following in the North Jersey club scene, particularly in the Brick City club genre of Newark, New Jersey developed by DJ Tameil. This spread stems from the distribution of mix tapes from traveling Baltimore Dj's. There were also a number of Boston-area radio shows in the mid-nineties that played Baltimore club music. It has also spread south to Virginia club scene (VA 757 Club) and even farther south in Alabama with DJ Seven formally known as DJ Taj developed Bamabounce. It has also started to spread to New York City.

Recently[when?] the genre has gained popularity in Baltimore's rock underground, due to Baltimore club nights at the Talking Head Club and others. Baltimore club was featured in Spin Magazine in January 2006.

Rod Lee was described as "the original don of Baltimore Club" by The Washington Post in 2005.[5]

Now, the style and its direct derivatives are becoming exceptionally popular on the internet due to music sharing websites such as soundcloud.com, and is becoming popular across the United States, Australia and Europe.

References[edit]

  1. ^ Deveraux, Andrew (December 2007). "What You Know About Down the Hill?": Baltimore Club Music, Subgenre Crossover, and the New Subcultural Capital of Race and Space". Journal of Popular Music Studies 19 (4): 311–341. doi:10.1111/j.1533-1598.2007.00131.x. Retrieved 2008-01-19. 
  2. ^ Reid, Shaheem; Paco, Matt (2007). "Young Leek & the Baltimore Scene". MTV Networks. Archived from the original on 11 January 2008. Retrieved 2008-01-19. 
  3. ^ a b Bernard, Patrick (2006-07-03). "Scottie B and Baltimore Club". The Wire. Archived from the original on 2008-01-12. Retrieved 2008-01-19. 
  4. ^ Shipley, Al (2006-01-19). "The Best Of Both Worlds". Baltimore City Paper. Retrieved 2008-01-19. 
  5. ^ Inoue, Todd (July 31, 2005), "Rod Lee, Putting B-More On the Map", The Washington Post 

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