Tear the club up

By MIKE MCKAY  |  August 22, 2006

B-more’s starting to get some major-radio play in Philly, obviously in Baltimore, and all up and down the east coast. Do you see B-more as a sustainable element of commercial hip-hop or is it more of a subgenre that’s gonna have it’s moment then kinda go back into the underground?
I think it definitely has all the elements to be major. If you look at what the Neptunes have done, and Missy has done, and Timbaland, that’s all very mid-Atlantic, very B-moreish. Even Justin Timberlake’s new song is very B-moreish: it’s like a lot of chopped up vocals, repetitive shit over top of like crazy hard beats. That wasn’t really being done before, and that’s been the B-more formula since 1990/1991. So that pre-dates a lot of other shit in hip-hop.

And hip hop’s been kinda starving for some new material for a while, it definitely seems like that’s an interesting direction for it to head in.
And that’s straight urban, it's urban music crossing over to suburban mainstream, you know what I mean? You have girls like M.I.A. who definitely took the club thing in a whole other direction, so I think of it being nothing but positive when you can have M.I.A. and then you could have other people all sort of interested in the same thing. Everyone's really trying to do something, no one’s really just hating on it, everyone’s trying to do something nice with it.

It seems like one of the few sub-genres you can just play it and even if people haven't heard it before it will get them to dance, it really gets people going.
Exactly. I think it will always have its spot, at least, in every DJs crate from now on. It just depends artistically on what vocalists want to do. I know the whole Spank Rock guys don’t want to be associated with club music or B-more club music and now they want to rep Philly, which is very odd. I don’t understand why. I guess they just don’t want to be categorized or they don’t want to be typecast, and if it does become a fad or a trend they don’t want that to affect them. It’s a shame because, to me, that’s what everyone thought was fresh about them. They were like the first people trying to put a face to producer-based music, so it depends on what artists are involved. We’re developing a number of different people right now to see where it goes.

What do you on the way for commercial remixes and stuff like that?
What we’ve done so far is the Jurassic 5, I don’t think that’s out yet, we did Lily Allen, obviously, that came out as the number one record in the UK. The thing with “Smile” was outrageous. We just finished up the E-40 remix [for “U & Dat”], which is Warner Bros. largest radio record in history. It’s on more radio formats than any Warner Bros. record. There’s so many stations now that are playing hip-hop it’s crazy, it’s like added to – well, obviously the hip-hop station, then like the ’KTU sort of dance station, then to four or five different genres of radio.

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