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Sunday, July 17, 2011


In the begining there was Jack, and Jack had a groove, and from this groove came the grooves of all grooves, and while one day visciously throwing down on his box Jack boldly declared, "Let there be House" and House Music was born, I am you see, I am the creator and this is my house, and in my house there is only House Music, but I am not so selfish because once your into my house it then becomes our House, and our House Music, and you see no one man owns House because House Music is a universal language spoke and understood by all, you see house is a feeling that no one can understand really, unless your deep into the vibe of House. House is a uncontrollable desire to jack your body, and as I told you before this is our house, and our House Music, and evey house should understand there is a keeper and in this house the keeper is Jack. Now some of you might wonder who is Jack and what is it that Jack does? Jack is the one who gives you the power to jack you body. Jack is the one who gives you the power to do the snake. Jack is the one who gives you the key, to the wiggly worm. Jack is the one who learns you how to wop your body. Jack is the one that can bring nations and nations of all jackers together under one house. You may be Black, you may be White, you may be Jew or Gentile, it don't make a difference in our house and this is fresh...
Label: Telstar
Catalog#: TCD 2345
Format: 2 × CD, Compilation
Country: UK & Ireland
Released: 1989

CD 1
 Adeva - Respect

Adeva (born Patricia Daniels in 1960) is a female African American house-music and contemporary R&B artist from Paterson, New Jersey, United States, the youngest of six children. She had a string of successful hits in the late 80s to early 90s including "Warning" (UK #17), "I Thank You" (UK #17) and "Respect" (UK #17).

Daniels developed her voice as a member, and later director and vocal coach, of her church choir. She entered several talent contests, and won so often that she was banned from entering several of them.She began singing professionally in the mid-1980s, releasing the single "In and Out of My Life" on Easy Street Records before moving on to Cooltempo in 1988.Noted for her powerful vocals, she released a house rendition of the Otis Redding hit "Respect" in 1989 that reached #17 in the UK,and released her debut album ! in the same year. The album was released in the United States in 1990 via the major record label Capitol/EMI Records under license from Chrysalis Records in the UK, with which she signed originally, reaching #6 on the UK Albums Chart. The album was a critical and commercial success in the UK and contained several hit singles including "Beautiful Love" and "Musical Freedom". "Respect" remains a favorite on Urban contemporary radio stations, especially in New York City to this day. She had a hit follow-up from the album, "I Thank You," which also reached #17 in the UK.
Her second album, 1991's Love Or Lust? failed to chart in both the UK and the US despite featuring two hit singles, "Independent Woman" and "It Should Have Been Me", and she was dropped by Cooltempo in 1992.
Adeva collaborated with house-music pioneer Frankie Knuckles in 1995, with whom she released two Top-40 singles,and an album, Welcome to the Real World.
The a cappella vocal of 1988's "In and Out of My Life" single has become a famous house vocal. It has been sampled by numerous artists including Onephatdeeva and Eric Prydz who both used the vocal for their "In and out of My Life" and "In and Out" hits, respectively. Adeva continues to be a highly regarded figure in both the New York and the UK house-music scenes.




 Black Riot - A Day In The Life

Real Name: Todd Terry







 Fast Eddie - I Can Dance

Real Name: Edwin A. Smith
Profile: American DJ and house producer from Chicago, Illinois.
He gained immense popularity during the heyday of Chicago House Music (1986–1988). During that time, he was also spinning on WGCI and WBMX in Chicago.  In 1986, he produced one of his first singles in collaboration with Kenny "Jammin'" Jason entitled "Can You Dance?". In 1988 he left WGCI for WBMX to concentrate on producing. In the same year he scored one of his biggest hits with "Acid Thunder" on the D.J. International Label, being regarded as a classic of the Chicago acid house genre. And yet, it was "Hip House" that really increased his popularity. Fast Eddie popularized this genre — essentially hip-hop lyrics over house beats — and produced several tracks afterwards. In 1990, he tried his hand at Gangsta Rap by forming the group America's Most Wanted but without much success.
 Around 1995, Fast Eddie made two collaborations that are considered under the genre of ghetto house with DJ Sneak and with DJ Funk. Both songs gained a lot of airplay on Chicago radio and in clubs.





 Hard House - Check This Out




 Hithouse - Jack To The Sound Of The Underground

Real Name: Peter Slaghuis
Profile: Dutch house-producer. Founder of the Hithouse Records label.

The name Hithouse is Peters lastname in English. Slag means Hit, Huis means House. So in English his name would be Peter Hithouse. Sadly Peter Slaghuis died in a car accident at September 5 1991
.




 Joe Smooth - Promised Land

Real Name: Joseph Welbon Jr.
Profile:
Joe Smooth is one of the pioneers of the style of music known today as house music. He is a self-taught musician who from the age of 12 has been creating music that is inspiring to all that his sound has touched. In 1985 he joined the DJ International family and quickly became a central force behind everything written or produced from the visionary label. He has worked with such artists as Frankie Knuckles, Marshal Jefferson, A Guy Called Gerald, Lil Louis, D'Bora, Tyree Cooper, Fast Eddie, Fingers Inc., The Art Of Noise, Sterling Void, The Pet Shop Boys, Janet Jackson, Brian Mcknight, Atlantic Starr, The Style Council, New Order, Steve Hurley... and The List Goes On.

At the age of 16, Joe Smooth began having house parties and djing throughout Chicago's underground music scene. At 18, he opened his first night club called east Hollywood Mannequins. In 1983, Joe began djing at the famous Smart Bar nightclub and created an atmosphere and mystique that still lives today. In 1985, the limelight contracted Joe for their Chicago nightclub as musical coordinator. In 1987, he also started working for the soulful Charlie club nightclub as head DJ/musical coordinator.

In 1988, with musical production work building and traveling abroad Joe Smooth left the club scene for a short break to put his concentration fully into his productions. In 1990, Joe Smooth saw a need for a serious underground house club in Chicago and opened the Warehouse nightclub, named in tribute to the legendary Warehouse nightclub of the early eighties. Joe Smooth looking for new horizons ventured to Rome to work on a label idea with producer Claudio Donato "Active Bass Music" distributed by the now dissolved flying records network. Thru the nineties til present day joe smooth has done extensive work with Slang Music Group and Nu Soul. Joe's work at Slang and Nu Soul would include projects featuring Whitney Houston, Donnell Jones, Destinys Child and Sisqo to name a few.





 Mr Lee - Rock This Place (Uk Club Mix)

Real Name: Lee Ricky Haggard
Profile:
Chicago, Illinois, USA. By the time he was 18 he was to be caught DJing at local clubs and recording demo tapes at home, perfecting his own sound. Confident of his newfound abilities, he approached a friend, who brought him to the attention of Mitchball Records. A few singles emerged from the deal, but failed to sell. More success was to be found with the Trax Records label, for whom he recorded the hip house cut "Shoot Your Best Shot". Popular in his native Chicago, it paved the way for the follow-up, "I Can't Forget", on which he sang for the first time, to become an international hit. However, from then on he changed his vocal delivery to that of a rapper, releasing singles like "Pump Up Chicago" and "Pump Up London". While promoting these in the latter territory he was the subject of intense bidding by the majors, finally signing with Jive Records. Following singles like "Get Busy", "Pump That Body", "Do It To Me" (which featured an all-star cast, being produced by Mr. Fingers, part-penned by Stevie Wonder and featuring samples of Quincy Jones' "Betcha"), his debut album would sell over one million copies worldwide, the title-track reaching number 1 on the Billboard dance music chart when released as a single. By the time of his second collection he was experimenting with swingbeat, a new way of maintaining the blend of R&B/house and rap which had served him so well previously.





 Petula Clark - Downtown '88

Real Name: Petula Sally Olwen Clark
Profile: Born November 15, 1933, in Epson, Surrey (England).
Petula Clark began as a singing child prodigy. Promoted and tutored by an enthusiastic father, she had started singing professionally at the age of seven and she became a familiar singing voice on wartime radio. By the end of the 1940s she was an established singing artist and she also appeared as an actress in several films of the era.
She was still a youthful artist when she made her first hit record, 'The Little Shoemaker' in 1954. A series of UK chart hits followed. This was matched by her popularity in France where she made many concert appearances and recorded in French. By the end of the 1950s she had made a decision to live and work mainly in France (680 Route de Rochebrune - 7410 Megève) because she still suffered from her pre-pubescent image in the UK. She was soon to marry Frenchman, Claude Wolff an executive at the Vogue record company.





 Richie Rich - My D.J. (Pump It Up Some)




 Royal House - Yeah Buddy

Real Name: Todd Terry





 Sugar Bear - Don't Scandalize Mine (Vocal Mix)




 Swan Lake - In The Name Of Love (Club Mix)

Real Name: Todd Terry





 The Todd Terry Project - Bango (To The Batmobile)

Real Name: Todd Terry
Aliases:





Wee Papa Girl Rappers - Soulmate

Real Name: Sandra Lawrence,Timmie Lawrence
Profile: A.K.A. Total S & T.Y. Tim 
A female British rap duo that existed during the late '80s and early '90s, Wee Papa Girls issued a pair of albums before going their separate ways: 1989's The Beat, The Rhythm, The Noise and 1990's Be Aware.
Members:




CD2

Baby Ford - Chikki Chikki Ahh Ahh

Real Name: Peter Frank Adshead
Peter Ford, better known as Baby Ford, is a British electronic music record producer, known particularly for his contributions to the birth of acid house. He has also released material under the aliases Cassino Classix, El Mal, Solcyc, and Simprini Risin'.



 Bootleggers - Hot Mix 3 (X-plicit Mix)




 Donell Rush - Knockin' At My Door (Club Mix)

Real Name: Donell Rush
Profile: Born in 1957, dead 22 March 1996
Artist's first name is spelled 'Donell' on some releases and 'Donnell' on others.








Fast Eddie - Hip House (Deep Mix)

Real Name: Edwin A. Smith
Profile: American DJ and house producer from Chicago, Illinois.
He gained immense popularity during the heyday of Chicago House Music (1986–1988). During that time, he was also spinning on WGCI and WBMX in Chicago.  In 1986, he produced one of his first singles in collaboration with Kenny "Jammin'" Jason entitled "Can You Dance?". In 1988 he left WGCI for WBMX to concentrate on producing. In the same year he scored one of his biggest hits with "Acid Thunder" on the D.J. International Label, being regarded as a classic of the Chicago acid house genre. And yet, it was "Hip House" that really increased his popularity. Fast Eddie popularized this genre — essentially hip-hop lyrics over house beats — and produced several tracks afterwards. In 1990, he tried his hand at Gangsta Rap by forming the group America's Most Wanted but without much success.
 Around 1995, Fast Eddie made two collaborations that are considered under the genre of ghetto house with DJ Sneak and with DJ Funk. Both songs gained a lot of airplay on Chicago radio and in clubs.





 Hithouse - Jack To The Sound Of The Underground (Acid Mix)

Real Name: Peter Slaghuis
Profile: Dutch house-producer. Founder of the Hithouse Records label.

The name Hithouse is Peters lastname in English. Slag means Hit, Huis means House. So in English his name would be Peter Hithouse. Sadly Peter Slaghuis died in a car accident at September 5 1991
.




 Humanoid - Stakker Humanoid (Snowman Mix)

Real Name: Brian Dougans
Brian Dougans was born in Glasgow, Scotland in 1968. He is one half of the British electronica group The Future Sound of London.

He is a "man of many thoughts and few words" almost always letting Cobain take the lead in interviews with them both. He is also the more technical member of FSOL, doing most of the programming, circuit bending et cetera and creating electronic instruments at his home studio in Glastonbury, Somerset where he lives with his wife and two children in a church that stands at the intersection of nine leylines.

His first releases were as "Humanoid", releasing the Acid house single "Stakker Humanoid", which reached number 17 in the UK in 1988, and also charted in 1992 and 2001. "Slam", the follow-up, was less successful, reaching number 54. He has however continued to release music under this name to the present date primarily through FSOL's online digital download store.

Dougans has always been the quiet, technical workhorse of FSOL whilst Cobain brings in his melody and softness to balance Dougans' technical wizardry ergo creating the balance that makes FSOL what it is. Where as the sound of Amorphous Androgynous is very much Cobains vehicle FSOL's more "mechanical" sound is Dougans.





John Paul Barrett - Should've Known Better (Club Mix)




 Kevin Saunderson - Bounce Your Body To The Box (Exclusive Mike 'Hitman' Wilson Remix)

Kevin Saunderson (born Kevin Maurice Saunderson, September 5, 1964, Brooklyn, New York) is an American electronic music producer. At the age of nine he moved to Belleville, Michigan, a suburb of Detroit where he attended Belleville High School and befriended two students, Derrick May and Juan Atkins. Saunderson, with Atkins and May, (often called the "Belleville Three"), is considered to be one of the originators of techno, specifically Detroit techno. He is married to Sharmeela Lamarsha Saunderson
Biography:
Although frequently associated with Detroit, Kevin Saunderson spent the early years of his life in Brooklyn, New York, before moving to Belleville, Michigan, a rural town some 30 miles from Detroit. As teenagers attending Belleville High School, Atkins, May, and Saunderson were fans of DJ Charles "The Electrifying Mojo" Johnson and the pop, disco, and funk musictelecommunications and playing American football at Eastern Michigan University. Atkins had begun recording with Cybotron in 1981, but it was not until 1985 that May followed suit and made a record. Initially concentrating on becoming a DJ, Saunderson watched the six-month-long process as May completed "Let's Go;" he was inspired to create his own music he played. Atkins and May soon became serious about mixing others' music and creating their own, but Saunderson pursued other goals first, studying .




 Milli Vanilli - Girl You Know It's True
Real Name: Rob Pilatus & Fab Morvan
Milli Vanilli was a pop vocal group that formed in Germany in 1988. The 'face' of the band was composed of models Fabrice Morvan and Rob Pilatus, who producer Frank Farian had chosen because he felt the real singers (Brad Howell and John Davis) were unmarketable. The duo only appeared on the album cover, and lip-synched to pre-recorded studio singers in music videos and in concert.
In 1990, they were awarded the Grammy Award for Best New Artist, but later became the only act in history to have their Grammy stripped from them, when it was revealed that they had not been involved in the creation of their
 





 Raze - Break 4 Love (English 12 Mix)

Raze: Spearheaded by New York multi-instrumentalist Vaughan Mason, Raze was formed in 1986 as a studio/concept group were the idea was to have a different lead singer on each song. Mason hooked up with soul singer Keith Thompson in the studio for "Break 4 Love", considered by many to be one of the best house songs ever recorded. And Thompson was only 25 years old when they recorded it in 1987! It was the group's only song that made it to urban radio, debuting on October 22, 1988 at #24 for 16 weeks. Mason would move to D.C., setting up his Grove Street Records studio.




 Royal House - Can You Party (Club Mix)
   
Royal House Real Name: Todd Terry





Smith & Mighty feat Jackie Jackson - Walk On...
Real Name: Rob Smith, Ray Mighty, Peter D. Rose




All MP3's are provided for promotional purposes as a means to expose artists and music releases that I feel passionate about. (In other words, for previewing only) This blog is in no way intending to infringe on copyright or intellectual property. If you would like a track taken down, please let me know. I encourage the purchase of releases that you preview in order to support the artists and labels that created this music.Most releases featured here can be purchased on iTunes, Beatport, Traxsource and can also be purchased new or used on
Tower.com, Amazon and Ebay.
 


Catalog#: BBT-4001-2
Format: CD, Compilation 
Country: US
Released: 1996


 01 Insatiable, Mone'- Your Love (Roy Davis Remix)




02 Blind Truth - Boombatta (Original Remix)





 03 Fibre Foundation - Don't You Ever Stop (Club Mix)




04 Afrimerican Coalition  - No More Weeping (African Mix)




 05 Voices Of Faith - Everybody Clap Your Hands (Victor Simonelli)




 06 Voices Of Faith - Somebody Say Yeah (Angel Moraes Remix)




 07 Voices Of Faith - Everlasting Life (Praise Mix)




 08 Voices Of Faith - Sometimes (Southern Soul Mix)




09 Undergraduates - HipSwinger (Lenny Fontana Remix)


All MP3's are provided for promotional purposes as a means to expose artists and music releases that I feel passionate about. (In other words, for previewing only) This blog is in no way intending to infringe on copyright or intellectual property. If you would like a track taken down, please let me know. I encourage the purchase of releases that you preview in order to support the artists and labels that created this music.Most releases featured here can be purchased on iTunes, Beatport, Traxsource and can also be purchased new or used on
Tower.com, Amazon and Ebay.
 

Saturday, July 16, 2011

Various – Warehouse Grooves Volume 1 (Only Youtube)

(The Real Image of the compilation Warehouse Grooves vol.1 is not present on the web. This is the cover of the Warehouse Continues Vibe)
 

Catalog#: SPGVL-1804
Format: 2 × Vinyl, LP, Compilation
Country:Canada
Released: 1993
Style: House

History of Chicago House Music

MUSIC IS THE KEY....

"The beat won't stop with the JM Jock. If he jacks the box and the partyrocks. The clock tick tocks and the place gets hot. So ease your mind and set yourself free. To that mystifying music they call the key". -Music Is The Key, JM Silk, 1985 House is as new as the microchip and as old as the hills. It first came to widespread attention in the summer of 1986 when a rash of records imported directly from Chicago began to dominate the playlist of Europe's most influential DJs. Within a matter of months, with virtually no support from the national radio networks, Britain's club scene voted with its feet, three house records forced their way into the top ten. Farley "Jackmaster" Funk "Love Can't Turn Around", Raze's "Jack The Groove", and Steve "Silk" Hurley "Jack Your Body", gave the club scene a new buzz-word, jacking, the term used by Chicago dancers to describe the frantic body pace of the House Sound. Whole litany of Jack Attacks beseiged the music scene. Bad Boy Bill's "Jack It All Night Long", Femme Fion's "Jack The House", Chip E's "Time To Jack", and Julian "Jumpin" Perez "Jack Me Till I Scream".
House music takes its name from an old Chicago night club called The Warehouse, where the resident DJ, Frankie Knuckles, mixed old disco classics, new Eurobeat pop and synthesised beats into a frantic high- energy amalgamation of recycled soul. Frankie is more than a DJ, he's an architect of sound, who has taken the art of mixing to new heights. Regulars at the Warehouse remember it as the most atmospheric place in Chicago, the pioneering nerve-center of a thriving dance music scene where old Philly classics by Harold Melvin, Billy Paul and The O'Jays were mixed with upfront disco hits like Martin Circus' "Disco Circus" and imported European pop music by synthesiser groups like Kraftwerk and Telex.
One of the club's regular faces was a mysterious young black teenager who styled himself on the eccentric funk star George Clinton. Calling himself Professor Funk, he would dress to shock, and stay at the Warehouse through the night, until the very last record was back in Frankie's box. Professor Funk is now a recording artist. He appears on stage dressed in the full regalaia of an old world English King singing weird acidic house records like "Work your Body" and "Visions". The Professor believes that the excitement of house music can be traced back to the creativity of The Warehouse. The Professor's memories carry a hidden truth.
The decadent beat of Chicago House, a relentless sound designed to take dancers to a new high, it has its origins in the gospel and its future in spaced out simulation(techno). In the mid 1970's, when disco was still an underground phenomeon, sin and salvation were willfully mixed together to create a sound which somehow managed to be decadent and devout. New York based disco labels, like Prelude, West End, Salsoul, and TK Disco, literally pioneered a form of orgasmic gospel, which merged the sweeping strings of Philadelphia dance music with the tortured vocals of soul singers like Loleatta Holloway. Her most famous releases, "Love Sensation" and "Hit and Run" became working models for modern house records. After an eventful career which began in Atlanta and the southren gospel belt, Loleatta joined Salsoul Records during the height of the metropolitan disco boom, before returning to her hometown of Chicago.
According to Frankie Knuckles, house is not a break with the black music of the past, but an extreme re-invention of the dance music of yesterday. He sees House music with a very clear tradition, a kind of two-way love affair with the city of New York and the sound of disco. If he were to list his favorite records, they would be a reader's guide to disco, including Colonel Abrams "Trapped", Sharon Redd's "Can You Handle It", Fat Lerry's "Act Like You Know", Positive Force "You Got The Funk" Jimmy Bo Horn "Spank", D-Train "You're The One". But most of all he relishes the sound where the church and the dancefloor are thrown together with a willful disregard for religious propriety. Religion weaves its way through the house sound in ways that would confound the disbelievers.
Most Chicago DJ's admit a debt to the underground 1970's underground club scene in New York and particulary the original disco-mixer Walter Gibbons, a white DJ who popularised the basic techniques of disco-mixing, then graduated to Salsoul Records where he turned otherwise unremarkable dance records into monumental sculptures of sound. It was Gibbons who paved the way for the disc-jockey's historical shift from the twin-decks to the production studio. But ironically, at the height of his cult popularity, he drifted away from the decadent heat of disco to become a "Born Again Christian", having created a space which was ultimately filled by subsequent DJ Producers like Jellybean Benitez, Shep Pettibone, Larry Levan, Arthur Baker, Francois Kervorkian, The Latin Rascals, and Farley "Jackmaster" Funk.
Most people believed that Walter Gibbons was a fading legend in the early history of disco, then in 1984 he resurfaced, and had a new and immediate impact on the development of Chicago House Sound. Gibbons released an independent 12" record called "Set It Off" which started to create a stir at Paradise Garage, the black gay club in New York, where Larry LeVan presided over the wheels of steel. Within weeks a "Set It Off" craze spread through the club scene, including new versions by C.Sharp, Masquerade, and answer versions like Import Number 1's "Set It Off(Party Rock)". The original record had been "mixed with love by Walter Gibbons" and was released on the Jus Born label, a tongue in cheek reference to Walter's christianity. Gibbons had set the tone again, the "Set It Off" sound was primitive House, haunting, repetitive beats ideal for mixing and extending. It immediately became an underground club anthem, finding a natural home in Chicago, where a whole generation of DJ's including Farley and Frankie Knuckles, rocked the clubs and regularly played on local radio stations.
For major house stars like Frankie Knuckles, the disco consul is a pulpit and the DJ is a high priest. The dancers are a fanatical congreation who will dance until dawn, and in some cases demand that the music goes on in an unbroken surge for over 18 hours. Mixing is a religion. Old records like First Choice's "Let No Man Put Asunder" and Candido's "Jingo" , Shirley Lites "Heat You Up(Melt You Down)", Eurobeat dance records by Depeche Mode, The Human League, BEF, Telex, and New Order, the speeches of Martin Luther King, and the sound effects of speeding express trains were all used when Frankie Knuckles controlled the decks. And the high priest of house had many desciples.
On the southside of Chicago, a young teenager called Tyree Cooper, was intrigued by Frankie's use of the speeches of Martin Luther King. He raided his mother's record collection and discovered a record by local preacher, The Rev. T.L. Barrett Jr. whose choir at the Chicago Church of Universal Awareness were the pride of the city. Tyree began using the record at local House parties and within a few months, sermon mixing, the art of splicing short gospel speeches over frantic dance music, became an established part of the Chicago DJ's art. It didn't end there.Tyree Cooper joined DJ International Records, ultimately releasing "I Fear The Night", and back home at his mother's church, the choir were beginning to excited about one of their featured vocalists
. A gigantic college trained vocalist, Darryl Pandy was boasting about his new record. He had left the choir a few weeks before to sing lead vocals on Farley "Jackmaster" Funk's "Love Can't Turn Around", which against all odds was racing to the number 1 spot on British charts. House had its roots in gospel and its future mapped out. The international success of House came against all known odds. New York and Los Angeles were firmly established as the music capitals of the USA and there was virtually no room for small regional records to make a national impact. According to Keith Nunnally of JM Silk, Chicago turned their limitations into an advantage, turning the poverty of resources into a richness of musical experiment.
Despite technical drawbacks, a whole wave of new independent dance labels sprung up in Chicago. The declaration of independence was led by Rocky Jones DJ International label, a relatively small company which grew out of a DJ Record distribution pool spreading from a small warehouse near Chicago's Cabrini Green housing project, to become one of the trans- national dance scene's most influential labels. At the 1986 New Music seminar in New York, DJ International roster of artists stole the show, as every major label made frantic bids to buy a piece of the house action. Within a matter of a few days, records by the diminutive House DJ Chip E, the sophisticated gospel singer Shawn Christopher and the outrageous Daryl Pandy were sold round the world.
At the height of the bidding, JM Silk signed to RCA records for an undisclosed fortune. The commercial evidence of tracks like "Music Is The Key" and "Shadows of Your Love" proved that House music had the energy and excellence to move from being a regional cult to a modern international success. Within a matter of months every music paper in the world was praying at the feet of Chicago House. Although the first wave of interest focused on the DJ International label and particulary the unlikely duo of Farley, a legendary Chicago DJ, and his opera trained vocalist Daryl Pandy, it soon became apparent that their hit "Love Can't Turn Around" was only the peak of mid-Western iceberg. Chicago was alive with musicians. Local radio stations like WGCI and WBMX rocked to the music of the "Hot Mix 5", a group of DJ's who mixed whole nights of dance music without uttering a word and clubs like The Power Plant stayed open all-night carrying the torch once held by The Warehouse.
Locked in local competition with DJ International were a hundred other labels. The most important was Trax on North Clark Street, a label which ultimately went on to release some of house music's recognised classics. Marshall Jefferson gave Trax two of its most important records, the hectic 120 BPM "Move Your Body" and the follow up "Ride The Rhythm". His reputation was rivalled by Adonis, who released "No Way Back". The second biggest selling record Trax has ever issued, a record which reportedly sold over 120,000 copies, a staggering number for an independent record which received very little air play.
Behind the visible success story of DJ International, Underground, Trax, were countless smaller labels like Jes Say, Chicago Connectinon, Bright Star, Dance Mania, Sunset, House Records, Hot Mix 5, State Street, and Sound Pak. And behind the stars like Farley and Frankie Knuckles are numerous other musicians, like Full House, Ricky Dillard, Fingers Inc. and Farm Boy. House music has spread throughout the world. It has spread to Detroit where Transmat Records released Derrick May's Rhythim Is Rhythim record at the Metroplex Studio laying down post-Kraftwerk tracks like "Nude Photo" and "Strings".
It has spread to New York, where the respected club producer Arthur Baker has been given a new lease on life, recording unapologetic dance records like Criminal Elements "Put The Needle To The Record" and Jack E. Makossa. It has spread to London where a gang of renegade funk boys called M/A/R/R/S took the British charts by storm, climbing to Number 1 with the brillant collage record "Pump Up The Volume". It has spread into the very heart of pop music, encouraging Phil Fearon, Kissing The Pink, Beatmasters and Mel and Kim to turn the beat around. And it has infilitrated into already dynamic cultures like the Latin and Hispanic dance scene creating new possibilites for Kenny "Jammin'" Jason, Ralphi Rosario, Mario Diaz, Julian "Jumpin" Perez, Mario Reyes and Two Puerto Ricans, A Blackman, and A Dominican.
Chicago house has become everyones House. House music is a universal language. Given the undoubted international popularity of the Chicago sound, it would have been easy for the producers of House music to rest on their laurels and continually reproduce more of the same. For a while the city stuck firmly to its identifiable beat - hardcore on the one - but the experimentation which gave birth to House inevitably wanted to change it. By 1987 a new style of House music began to escape from Chicago's recording studios. It was a "deep", highly sophisticated sound, which evoked strange, almost drug-induced images.
The second generation House sound probably began with the international success of Phutures's "Acid Tracks" a hugely influential record, which captured the extreme spirit of the House scene's most ardent adherents, the hardcore dancer in Chicago, who variously experimented with LSD, acid psychedelia and new designer drugs like Ectasy. Frankie Knuckles has been careful not to sensationalise the influence of drugs. "Today there is more psychedlic sound. Acid is probably the most prevelant drug on the scene, but House is no druggier than any other scene".
None of House music's prominent performers have advocated drug abuse nor set out to glorify chemical stimulation, but an increasing number of Chicago records have controversially referred to acid tracking, the estranged synthesiser sound you can hear on several house releases. These Acid Tracks have taken house music into a new phuturism, a modern uptempo psychedelia that London club DJ's call Trance Dance. The roots of Trance Dance are not to be found in the more established traditions of 60's psychedelic rock but ironically in 1970's Europe, through highly synthesised records like Kraftwerk's "Trans Europe Express" and "Numbers".
The trance-dance sound is only beginning to establish on the Chicago Scene but it has already been adopted in British Clubs and will undoubtedly shape the new phuture of house. But beneath the abstract surface of acid-track house records is the same compulsive dance command. Frankie Knuckles is sure of that. "When people hear house rhythms they go freak out. It's an instant dance reaction. If you can't dance to House you're already dead" -Stuart Cosgrove for The History of House Sound of Chicago 12 record set on BCM records, Germany, Out of Print Inevitably, it was the restless London club scene and the illegal pirate radio stations of urban Britain that seized on the real potential of house.
The relatively cheap and do-it-yourself ethics which governed house production meant that young DJ's with inexpensive equipment could make records that were fresher and faster than the more institutionalized major labels. A series of sampled and stolen sounds, released on small scale British independent labels took the popcharts by storm, suprising the record industry and demonstrating that the house sound had a commercial appeal beyond even the wild imagination of the London club scene. In the spring of 1988 a small group of London based DJ's traded their turntables for the recording studios. Tim Simenon, working under the club pseudonym Bomb The Bass and Mark Moore using the band name S-Express had unexpected pop hits with sampled house rhythms. "Beat Dis" and "The Theme From S-Express" were charateristic of the sound that creative theft and sampling could achieve.
DJ's with huge record collections and a catalogue knowledge of breaks, beats, bits and pieces could string together an entirely new record concocted out of barely rememberal records. The masters of the London sampling scene were two unlikely DJ's, Jonathan Moore and Matt Black, who played under the name DJ Coldcut and devastated London's pirate airwaves with imaginative record choices, crazy mixes and a wilful disregard for what made musical sense.
When Coldcut's remix of Eric B and Ra-Kim rap hit "I Know You Got Soul" took the ungrateful New Yorkers to Number 1 in the pop charts in Europe it became obvious that sampling and the spirit of "Pump Up The Volume" was here to stay. The Coldcut rap mix was closely followed by the more house orientated "Doctorin The House" which featured Yazz and The Plastic People, than a cover version of Otis Clay's "The Only Way Is Up", an obscure soul sound which was big on Britain's esoteric northern soul scene. By a strange twist of history, and old Chicago soul singer from the 60's had his career momentarily revitalised by the fallout of the modern Chicago house sound.
By the summer of 1988, the British charts and teh over zealous tabloid press were over-run with acid. The music had clearly touched a raw pop nerve as one by one underground acid-house records stormed into the pop press. But their unexpected commercial success was pursued by controversy and daily press reports that the acid-house scene was a dangerous focus for drug abuse. Each new day brought increased public panic about the abuse of the synthetically compounded Ecstasy drug and by October 1988, acid house and its casual catch phrases "get on one matey", "can you feel it", and "we call it acieeeeed" were in everyday conversation.
The controversy reached its head in the autumn of press overkill when "We Call It Acieed" by D. Mob reached number 1 on the British pop charts. Radio stations were reluctant to play the record, BBC's phone in program, "daytime" had a nationwide debate on the acceptability of the song, and in a fit of moral outrage, the Burton's clothes chain withdrew smiley tee-shirts from their stores and refused to participate in the acid epidemic. Behind the hype and the press hostility the music continued its journey of unparalled progress.
If acid house had troubled the mainstream press it had also advanced the creativity of music introducing the remarkable and prodigious talent of Brooklyn's Todd Terry to the forefront of the underground dance music scene. Todd Terry is a child of house. His whole life spent buried in club culture and experimenting with the extremes of hi-tech music. Under the pseudonym Swan Lake, Martin Luther King's spiritual dream is turned into a dance floor drama, as Royal House's "Can You Party" and The Todd Terry Project "Just wanna Dance" catches the garage spirit of modern house. 






 




 




  




 




 




 




 




 




 




 




 





Steve Poindexter - Work That Mutha F*** 




 





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