While a member of the band Los Latinos, Brown developed an awareness and love of the Latin percussion groves, prominent in the band’s repertoire. Similar to many genres born from the call and response tradition, go-go needed a bandleader or, in its case, "a talker." And Chuck Brown emerged as the one to take the culture forward.īrown, affectionately known as the Godfather of Go-Go, became the face of the genre. Go-go became the voice of Chocolate City, a name given to the District of Columbia because of its abundance of Black residents. Go-go’s history predates that of hip-hop music by nearly 10 years.īy 1965, go-go’s self-professed godfather, Chuck Brown, fused what he had learned as a supporting guitarist for soul artists including Jerry Butler, and joined the Los Latinos band in 1965īecause of that band – and others – playful melodies, percussion and interactive performances, go-go spread throughout the city and its surrounding suburbs. Heralded by young people, who created and innovated on the genre, the sound evolved into a movement.ĭespite sharing a similar origin story to hip-hop, go-go was always the preferred sound of D.C. Known for its high-spirited live instrumentation and boisterous call and response, the post-funk, percussion-heavy music was born in the Black neighborhoods of a then-majority Black Washington, D.C. Sound Of Go-Goīefore hip-hop, there was go-go.
The future of hip-hop in the DMV would be inextricably linked to go-go for the rest of time.īustin' Loose: Creating The D.C. As a result, DMV hip-hop had a unique musical center that differentiated it from hip-hop from other regions. and the surrounding areas of Maryland and Virginia - every song, album, and artist had a go-go reference. When hip-hop began to emerge in the DMV - the district. clubs largely favored go-go over the emerging sounds of hip-hop - and that dissonance would give rise to a unique sonic palette in the city. In fact, the majority of club and radio friendly songs of the 1980s had some linkage to D.C.'s homegrown sound. Salt-N-Pepa weren't the only New York City based hip-hop act to incorporate go-go beats. Built around a sample of Grover Washington Jr.'s "Mister Magic," the go-go beats were a clear call to the other place producer Hurby "Luv" Bug the song’s producer, was a clear call – down I-95 in Washington, D.C. In 1987, Salt-N-Pepa 's "My Mic Sounds Nice" became an instant favorite in clubs and radio stations across America. Read on for a history of the genre and how it influenced the many sounds of DMV hip-hop. and the surrounding areas of Maryland and Virginia, every song, album, and artist had a go-go reference.
Note: When you embed the widget in your site, it will match your site's styles (CSS).When hip-hop began to emerge in Washington, D.C.
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