Baltimore club

Baltimore club was born in the record stores of Baltimore. Early adopters included Scottie B, Shawn Caesar and DJ Equalizer . They were later 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 later 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 Jersey club genre of Newark, New Jersey developed by DJ Tameil. This spread stemmed from the distribution of mix tapes by traveling Baltimore DJs. There were also a number of Boston-area radio shows in the mid-1990s that played Baltimore club music. It also spread south to the Virginia club scene (VA 757 Club), and even further south to Alabama where DJ Seven, formerly known as DJ Taj, developed Bamabounce. It had also started to spread to New York City.

Recently the genre has gained popularity in Baltimore's rock underground, due to "Baltimore club nights" at venues such as the Talking Head Club. Baltimore club was featured in Spin Magazine in December 2005.[6]

Rod Lee was described as "the original don of Baltimore club" by The Washington Post in 2005.[7]

Baltimore club dancing works in tandem with Baltimore club music. This wild-legged dance style is native to Baltimore and the dance culture offers the city's youth a platform for self-expression and an alternative to the treacherous realities of life in the streets.

What Started as an Annual Dance Event, King of Baltimore; Creator Errigh LaBoo Jr, has evolved into a network of over 100 dancers, producers, djs, and mc's all under the organization of Bmore Than Dance! Bmore Than Dance provides outlets and showcases to inspire, and evolve the way our youth looks at their talent and help them mold it into financial success for the future! Starting with a dance style originated from baltimore, Bmore Than Dance provides endless events, competitions, sessions, and opportunities to allow the dancers in the network to flourish with their talent.

Philly and Jersey club music are both subgenres of Baltimore club music, but they each have their own individual history and evolution. The vocals in Baltimore club music one of the factors that sets this style of music apart from the rest. The vocals are raunchy, repetitive, and choppy, and often based on rap acapellas. For the technical aspect, Baltimore club music incorporates a "think break," which is a bass drum pattern that signifies this style of music. As this style of music has evolved, the tempo has increased, and background noises such as gunshots, "What!", and "Hey!" have been increasing in popularity. As these sounds spread into Philadelphia, the city developed them into their own. This genre became known as Philly club, otherwise referred to "party music." This style is much faster than Baltimore club music and includes elements of hardstyle such as sirens. In contrast, Baltimore club music spread into New Jersey in an entirely different manner. New Jersey DJs were taking runs to Baltimore to pick up the latest club records and bring them back to New Jersey to play at parties. Once this occurred, the sounds began to mutate with what local DJs and producers added on and changed. This style became known as Jersey club, which smoothed out the rugged, raw, and violent edges of Baltimore club music. Similarly, Jersey club dance is simpler and more universal in response to the smoother sounds.

Baltimore club dance became very popular with Baltimore's African-American community. Throughout the city, there were dance crews who battled against each other at recreation centers and nightclubs, and music from famous disc jockeys was at its peak. These dance moves, created from Baltimore club music, were usually high-paced and intense due to the fact that Baltimore club music evolved from house music, with a mix of hip hop, two fast-paced music genres. One of the many moves born out of Baltimore club music is the "crazy legs", a fierce shaking of both legs combined with simultaneous foot tapping and shoulder shrugging. Another dance move evolved out of Baltimore club music was the “what what”, a dance move involving difficult footwork where one raises up one bent leg over the other, in a fast, hopping-like movement. During its peak, Baltimore club DJs received international recognition and were featured on the records of major artists. Due to this publicity with Baltimore club music, naturally, Baltimore club dance became popular internationally. But international recognition given to Baltimore club music and dance was short lived. Many attribute the downfall of Baltimore club culture to the radio. limiting club music to less than an hour a day of live radio play, but that still was actually a lot more than it received during its initial heyday, the formula of going to the club to hear the newest and freshest had been broken.the nightclub experience of going to the club, hearing it on the loud sound systems that it was custom made to be heard on and danced to had been breached, and it started to lose its audience and " cool factor" . Though many credit radio with the downfall of Baltimore club culture, it also can be attributed to the closing of major Baltimore clubs, such as Paradox and Hammerjacks.actually though the downward spiral of baltimore club had pretty much completed while the paradox was still opened. Nightclubs like these are where Baltimore club culture was born, and by these clubs closing as well as the producers giving the radio the songs first just to selfishly hear their names loudly overtop of the tracks to get some sort of fleeting notoriety and therefore taking "the club" out of the formula, it prohibited the experimenting and practice that was necessary for Baltimore club dance.[8]

• Inoue, Todd. "Rod Lee, Putting B-More On The Map." The Washington Post. 07/31/2005. N02.
• Janis, Stephen; Lee, Rod; Young, Omar Akbar. "Labtekwon & Rod Lee Interview" (PDF). Link. 9: 56–64.
• Soderberg, Brandon. "61 Digressions About Baltimore Club Music." City Paper. 06/22/2016.

• Baltimore club blog