Earl “The Goat” Manigault never played an National Basketball Association game. This fact is one of the great shames in the eyes of true basketball historians. You know, the guys who live for the game, who just as soon would go to Madison Square Garden in the 80s to watch Patrick Ewing and the New York Knicks, or who even moreso enjoyed going to Holcombe Rucker Park in Manhattan to watch Manigault. While his extra-curricular activities and freewheeling spirit cancelled his NBA aspirations, he shone in the legendary Rucker Summer League Basketball tournament, the pinnacle of underground, inventive and progressive basketball, alongside a plethora of other talents that the bright lights and big time passed by. It was there where Earl Manigault cemented his legacy. His “Goat” nickname is considered the impetus for calling artists the “Greatest of All Time,” and with his ability to dunk two basketballs at the same time and dominate the game with the type of spirited play now commonplace with the likes of Boston Celtic Kevin Garnett in the current NBA, set an uncompromising standard of excellence for generations to come.

“I’m inspired by nature…palm trees are inspiring, as well as the beach…I love absorbing from nature. A bird, a bee, to a dog, everything.” – Blaqstarr

In 2010, Baltimore native Charles Smith signed a deal with M.I.A’s NEET Recordings, a boutique label for the Sri Lankan pop artist that is distributed by Interscope Records. Much in the same vein as Manigault, Smith, as Blaqstarr and legendary producer of the dance friendly, thunderously percussive and bass heavy Baltimore club music left many indie dance fanatics wondering what it would happen if Blaqstarr ever jumped to the mainstream. Club music devotees are entirely similar to basketball purists in the sense that as much as they enjoy hearing classics like Jimmy Jones’ ubiquitous “Watch Out for the Big Girl” or DJ Class’ “I’m the Shit” in mainstream night spots, the music’s core is in skating rinks converted for the night into dance clubs, indie dance spaces, cookouts and neighborhood block parties. It’s music for the moment, complete with unique dance moves and a rabid local following that has trended toward the mainstream, but not crossed over.

“To dance is to love and to love is to dance. My EP will be a cosmic experience.” – Blaqstarr

On January 25th, N.E.E.T. Recordings/Interscope releases Blaqstarr’s The Divine EP. Six tracks long, it’s Baltimore club’s biggest moment and unlike Manigault, it’s going to provide the answer of what happens when “The Goat” turns pro. Blaqstarr is arguably the greatest Baltimore club producer of all time. In a group that includes urban legends like Debonair Samir, Scottie B, DJ Booman and KW Griff, the EP provides the reasoning as to his possible status at the top of the heap. Blaqstarr’s a singer. He’s not exactly Isaac Hayes, but that’s the closest comparison, a weary and knowing alto that leans toward baritone that imbues tracks like lead single “Rider Girl” with a hood sensibility that can speak to the hearts of the lovelorn worldwide. “Rider Girl” was already an underground smash. The track, with roots nearly a decade old, deal explicitly with Blaq’s devotion to and appreciation of the dedicated work and “riding for Bmore club” of local radio DJ Khia “K-Swift” Edgerton, whose 2008 passing was one of the darkest moments in Baltimore music history, and for all that she touched was a moment that in sadness has propelled them to their greatest creative heights in her memory.

In being on NEET Recordings, and having a history that ties into Mad Decent head honcho Diplo, being considered by many as M.I.A.’s personal producer and producing early Bmore club star and muse of “Shake it to the Ground” fame Rye Rye, Blaqstarr being an Earth bound but celestially motivated producer and artist can succeed in the mainstream where his slam dunking comparative Manigault failed. Creative freedom and a left of center sensibility defines them all. The Divine EP takes Baltimore club music in some unique directions. Elements of shoegaze rock, hip hop, neo soul and jazz all exist, making the EP a melange of Deepak Chopra meeting up with Sun Ra at a heavenly version of Baltimore’s Paradox in a club room with Blaqstarr serving as DJ, filled with booty jiggling cherubim. “I’ve been listening to a lot of Erykah Badu and Janelle Monae recently,” states the producer turned artist, and it shows on this recording. In smoothing out the hard edges of club music and making the sound palatable for both heavy sweating and easy, breezy listening on an open freeway of love, he’s taken club music mainstream in a most unique and opened a door to the mainstreaming of the sound like never before.

Click here to view the embedded video.

Blaqstarr recalls the moment that he first let K-Swift hear “Ryda (now “Rider”) Girl.” After profusely thanking him for the track dedicated to her, he said that he told her to “wait for your ticket to the Grammys, I got you.” In a way, that’s the key to Blaqstarr’s success. He’s got not just Swift, but all of Baltimore. He’s taken every successful element of Baltimore club’s history, from crazy parties at Skateworks to nights at the Paradox, to sweaty hipsters going beserk at Unruly Records’ legendary My Crew Be Unruly parties, to the ecstasy of the most bliss filled moment of when a track reaches it’s iconic heights and is followed with a kick of bass that drives dancers into delirium. In expanding the sound worldwide, a producer and artist with Blaqstarr’s foresight and progressive style was needed. In final, Blaqstarr sums up being the mainstream torch bearer for Baltimore club music with the following: “My heart is the epitome of Baltimore. The heart is in the home, the home is in the heart. I am Baltimore.” The Goat goes pro. Does he dominate and set a new standard in the process? This EP, as well as the artist behind it, provides one of 2011′s most feel good stories that portends to have a pleasant ending.

It’s been a while since we’ve seen Baltimore’s Blaqstarr . After a successful run at SXSW in 2009 it seems like homie disappeared. Actually, he was out in LA doing some work for M.I.A, who eventually signed him to her NEET Label along side fellow Baltimorean Rye Rye.

Since M.I.A. is on her grind, is perfect timing that her people will be dropping projects as well, and “Oh My Darling,” is the first song from from a still untitled project, and features the dude fronting a full mohawk. (Fro-what?) and the track is a futuristic club banger. I’m not surprised in the least, since the B-More club producer has been going super experimental with his choices lately.

Even if you aren’t feeling the song, you KNOW the remixes are gonna bang.

One of the more fascinating parts of the True Genius on the Couch SXSW experience occurred when I had the opportunity to sit with DJ Blaqstarr, or rather, the evolved Blaqstarr, who unleashed upon SXSW new solo R & B material, with a voice that emotes mood and depth. He is taking his foray into his newest dimension most seriously it seems, and has designs on providing the voice, as well as the tracks, to define the Charm City. On tracks like the Switch and Diplo produced Get Off, his most popular solo vocal piece to date, the man that Diplo refers to as “Issac Hayes” has started along this new sonic path, and seems to have the drive to make this a winning, mainstreamed proposition.

Blaqstarr returns to his native Baltimore on Easter Sunday, April 12th for an enormous party at Sonar, where he, along with DJ Akademics and a “Celebrity Guest Host” obviously plan on going in, and murking the city as it stands. (click this link for the most entertaining old school radio promo ever)

The interview itself runs about 13 minutes, and touches so many topics of note and interest, including some wild stories from Sweden, and advice for aspiring artists as well.

This is only the beginning of the interview project portion of the True Genius on the Couch partnership, which we plan to expand to fantastic dimensions.

Colin Munroe is the Unsung Hero Mixtape (zip file)

The long awaited mixtape from Toronto artist Colin Munroe is finally here. Colin Munroe is the Unsung Hero features collaborations with Wale, Mickey Factz, Joell Ortiz, Blaqstarr and Drake, with production from Black Milk & Dallas Austin behind the boards. Munroe is going to be a dude to watch in 2009, and this mixtape is one of the few projects that incorporate hip-hop, pop, and indie rock successfully. What do y’all think?

Colin is currently on tour with Proton, check the tour dates:

Dec 2 – The Boat – Toronto
Dec 3 – Viper Room -Los Angeles
Dec 4 – Studio @ Webster Hall w/ Proton, Izza Kizza & DJ Blaqstarr – New York
Dec 6 – Lenny’s w/ Proton & Spree Wilson – Atlanta
Dec 9 2008 – Highline Ballrooom w/ Wale, KiD CuDi & Mark Ronson (dj set) – New York

Having M.I.A. on cover Tom Wait’s Down In The Hole (which we all know is from the Wire) sounds like its ripe for disaster. However, this track is simply brilliant.

I’m really liking this song, and I don’t know why. Maybe it’s because of its utter simplcity? Maybe because the video cost $9.95 to make? Who knows. All I know is that it is a very dope track. I don’t know if this song is official or if its of the “f’ing around in the studio” varitey but I will definately let y’all know. (via Imageyenation)