Tear the club up

By MIKE MCKAY  |  August 22, 2006

Right. So it wasn’t really a dance music once it got off and running, it was more of a hip-hop based crowd.
It was like the next level of hip-hop. You know what I mean? It was a very black, street, club, urban dance music.

Could you explain the difference between Club Crack and Gutter Music, what you guys are doing with those two things?
Basically, a perfect example of gutter music is the “Blow” track that we did [for Amanda Blank]. It’s not sample-based, it’s not  the Lyn Collins, it’s not the Sing Sing [two of the most-often breaks sampled by B-more producers], it’s not any of the loop stuff, it’s freshly created breakbeats and there’s no samples in it. It’s our own sound, it’s a keyboard-generated sound, so we really pushed the club thing to be an original music form – not for any reason, it’s just what ended up happening. Then, adding the lyrical element to it, there’s really never been very many club songs, maybe one or two [that have done that]. Now basically what Club Crack is, we just decided to slow down the club beats to hip-hop tempo because there’s only gonna be so many kids that can get with 120 beats-per-minute dance music. There’s just always gonna be that hard-headed hip-hop kid that’s like, “This shit is gay.”

Yeah, well, those dudes are gonna say that about everything so what are you gonna do?
Exactly, and to a certain extent it’s not your traditional hip-hop thing, so they have every right to think what they want to think. But that’s why we came up with, sort of by accident, two different genres that sort of cover all the bases.

It seems like a cool evolution to go beyond sampled music to step into this new realm. Do you see the music going more towards a front-man based, star-based thing, or is it gonna stay with the producer as what sort of holds the track together?
That’s an interesting question, I mean, I’m still waiting to see. There’s still sort of a touchy area about which artists are willing to rhyme over that club beat, it’s still a bit of an avant-garde thing. But recently it’s going more urban. I definitely don’t think that “Blow” was the first thing, but “Blow” may have been the one that got world-wide recognition and showed people B-more. There has been a debate for years in B-more, “We don’t have our own identity, we’re never going to get on,” versus “Well we got this club shit,” but hip-hop people would be like, “I’m not fuckin’ with that, that’s not hip-hop.” So it was always  this NY mentality against this local, more original mentality and the feud still goes on to this day. But now people are starting to rap over club beats which is great, I mean, I think that’s the way people are gonna win.

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