Why do people in D.C pretend go go is good?

[Laidbackman]

This cut by RE almost made one of my best friend's mother dance in the kitchen, until she caught herself, lol.

 

[2 Up 2 Down]

I always thought go go didn't make it because they spent too much time singing about the hoods in DC/PG. This often caused fights to break out. Like what did they expect. Even though they started recognizing other areas in their songs, it was too area based. NY didn't like it, until Spike Lee's movie "School Days", when most of us first heard "The Butt" by EU. I still have photographic memories of that sister shaking her butt in that bikini at the beginning of that song, when it played in the movie.

It felt like it lost something when more hip hop was added to it. Not saying it still didn't have some classics though

 

[Laidbackman]

It felt like it lost something when more hip hop was added to it. Not saying it still didn't have some classics though

I noticed that too.

 

[2 Up 2 Down]

I noticed that too.

Go go was like a modern version of the Big Band era. You had the brass instruments, guitar, keys, drums, congas, all of that blended together which made the music feel more alive and electric

 

[Laidbackman]

Go go was like a modern version of the Big Band era. You had the brass instruments, guitar, keys, drums, congas, all of that blended together which made the music feel more alive and electric

This got me thinking when my best friend in high school was the lead bass player for this go go band from NW, named the Pump Blenders. He got with them in the very early 80's, around the time they first started...I guess that's when they started. He also played guitar for them. I use to use some of their bold rap lines while passing the girls walking the street, while I rode shotgun with my buddy...lol. I would never use those kinda lines on a girl I was really tryna holla at on foot. You could tell those lines came straight from one of those practicing go go bands...lol. What would you expect from a 19 year-old.

 

[Peauxboy]

Had no idea…. Another N.O. gem. I gotta visit DC

 

[downtheline]

 

[shopthatwrecks]

fukk yall tombout

 

[BuckFilly]

Negged

 

[boogers]

If I was a DC breh i'd be bringing up Bad Brains instead

its kind of funny to me the backlash bad brains got from the punk scene for their homophobia. like they thought rastas were all just peace and love and smoking weed or something, then acted surprised when they called a gay band bloodclots... what did they think they thought all along?

'dont blow bubbles' is kinda gross to me. i dont care about the homophobia, its the.. visual 'blowing bubbles' gives me. like bubble gum?

 

[Fill Collins]

its kind of funny to me the backlash bad brains got from the punk scene for their homophobia. like they thought rastas were all just peace and love and smoking weed or something, then acted surprised when they called a gay band bloodclots... what did they think they thought all along?

'dont blow bubbles' is kinda gross to me. i dont care about the homophobia, its the.. visual 'blowing bubbles' gives me. like bubble gum?

Compared to other bands that had pedophiles, junkies, and even more egregious homophobia, Bad Brains were saints

Cacs still complain about them on Reddit, but will turn around and listen to GG Allin and Darby Crash

I always thought the song was really about sharing needles (bubbles) and being a junkie faggœt because of it tbh

 

[Smashius Clay]

Hey OP

 

[IllmaticDelta]

There is no New Orlean Bounce without DC Go Go. There is no Nelly Hot in Heere, Herby Luvbug, Beyonce Crazy in Love, Amerie 1 thing,

There would be no "New Jack Swing" either w/o GoGo. That bouncy swing/swung 16th pattern that became the foundation of NJS came right out of GoGo music (informed by Jazz)

.
.



Miami Bass wouldn't exist w/o it either


Go-Go Bites: Country Cousins

Taking a different approach to this series, I wanted to look at the less obvious influence of go-go, rather than direct and blatant biting. Yesterday I ran an old interview with Miami bass legend and 2 Live Crew godfather Luther Campbell on my own site. At some point our conversation shifted to D.C. and its music:


[W]hen I was a rough kid my mom sent me to stay in DC, I stayed in Oxon Hill with my brother... Man, Rare Essence, Chuck Brown, that was my thing. I used to go to a lot of the go-go shows at The Armory and when they used to have it at the Cap Center I’d be there. That’s really where I got a lot of call and response from. I was a DJ and I did call and response, but I never [knew] how to apply it on a record. So when I did spend my time up there, I would go to these shows and I would see Chuck Brown up there and Rare Essence and I would see the battles. Because back then, they would be battling and shyt, they would be getting down, it’d be like battle of the bands. So I heard that and I kind of applied a lot of that into me as an artist. Keeping the party started, coming up with different call and responses. I learned a lot from go-go music.

This is not an uncommon sentiment. I've dedicated a large chunk of my life to phone conversations with old school Southern hip-hop artists and it's surprising how many of them, often tipped off by a 202 area code, start reminiscing about go-go music and whatever tenuous connections led them to it in the '80s. New Orleans bounce godfather DJ Jimi mentioned discovering the genre while living in P.G. County, Geto Boys DJ Ready Red (a N.J. transplant who had his biggest impact in Houston) used to cop go-go 12-inches through an uncle in Silver Spring. (Another short term Geto Boy, Big Mike, once reminisced on "jamming that Trouble Funk" at New Orleans block parties with "Southern Thang.")


Quiet as kept, those early D.C. jams went big throughout the South. While not technically being hip-hop, go-go was in a sense one of the earliest branches of "regional rap" to pop up. And in a lot of ways it provided the blueprint for what would the South would turn into an international industry in the years that followed—-the heavy call-and-response factor that Luke mentions, the local specificity of it all, the aspect of black-owned labels. Echos of these trends could be heard throughout bounce, bass, and crunk music. And sure, similar things were happening in the early days of New York hip-hop as well, but that as that city began to move toward a more lyrical and cerebral focus, it was D.C.'s formula that helped keep the party going in the rest of the country.

Go-Go Bites: Country Cousins

 

[br82186]

Don't y'all disrespect DC Go-Go knowing damn well y'all come from cities with shyt you hear at a EDM club or mortuary

 

[King_Kamala61]

There is no New Orlean Bounce without DC Go Go. There is no Nelly Hot in Heere, Herby Luvbug, Beyonce Crazy in Love, Amerie 1 thing,

This is a flat out lie. Jazz was created in NO and Jazz is behind NO Bounce along with Mardi Gras Indians and New Orleans rap.

NO Bounce don't sound shyt like DC pots and pans go-go.

Y'all need to quit this shyt.

Louisiana is its own world and New Orleans is its own country.