It seems Baltimore provided the answer to the ‘what’s next?’ question that left many scratching their heads as hip-hop’s former appeal dulled out and the youth of today were left needing something to claim as their own once again. It’s also fair to say that
provided a much-needed dose of energy and fun to the dancefloor, with its bass-heavy, cut up approach proven to achieve the ‘
hands in the air’
seal of approval.
Smack dab in the middle of this wave is
, who for the past few years has been lighting up blogs and dancefloors with re-edits and remixes galore which have taken this formerly obscure music man on a non-stop whirlwind of touring; notching up festivals and headlining clubs in just about every place on earth where club music means anything.
Tittsworth's debut album
, the not so annonymous
showcases his talent as producer, not content with simply editing and remixing other people's music. Instead, he has crafted an original record of beats and songs that draw from different genres and places on the map, demonstrating the full gamut of Tittworth's vision. The first guest vocalists heard on the record is none other than
Fool's Gold/Downtown Records’ Kid Sister
from Chicago and
Pase Rock of Spank Rock
fame. On WTF, a club record that kicks like a mule, Kid Sis and Pase drop clever, party-flavoured speed raps while
Santi White of Santogold
lays down the unforgettable chorus. From there, Tittsworth invites Detroit kind of ghetto-tech,
, a legend of ridiculous proportions, to get behind the boards and mic, resulting in a collaboration that is not only a party monster, but one of the funniest raps you have heard since the humpty dance. Taking a slight left turn,
mellows things out a bit but still keeps it club with a sweet and sexy R&B number written and performed by NYC veteran songwriter
, who has penned hits for Mary J Blige, Jennifer Lopez and others.
continues to entertain and keep it club with the unabashedly titled "
Drunk As F*ck"
featuring west coast hyphy group
. Here He Comes, with it R&B/pop flavor, featuring Jamaican songstresses
as well as a
from Cuban-American and Miami-based
, who’s fast, aggressive emceeing has always lent itself well to Baltimore club music, and here is no exception. Taking it back to B-more,
then revisits the monster club classic by
Tear The Club Up
, but updating it for 2008.