I MEEN IT FIRST HIT ME LIKE A BOMB— IT WAS THE BUCKETHEADS “ THESE SOUNDS FALL INTO MY MIND ” THE RAW BASS—CRISP HIGHS AND A RYTHEM – THAT WONT QUIT. THE PEOPLE WERE ON THE DANCE FLOOR LOSING THEIR RELIGION—FREE TO MOVE AS THEY PLEASE NO SCRIPTED DANCE STEPS NO JUDGEMENT NO RIDICULE JUST LET THE BEAT MOVE YOU—OR JACK JACK JACK YOU BODY. THIS IS HOUSE MUSIC A DIRIVITIVE OF DISCO BUT IT ENCOMPASSES MUCH MUCH MORE. HOUSE MUSIC LIKE HIP – H OP HAS TRANSCEDED MANY GENRES O MUSIC LIKE JAZZ, GOSPEL, SOUL R&B , ELECTRONICA AND HIP HOP – TO BECOME A UNDERGROUND FORCE IN SOME AREAS AND A MAINSTREAM STANDARD IN OTHERS— DON ’ T ACT LIKE YOU NEVER PLAYED HOUSE!!!!!!!! NEEDLE&GROOVE
2- Editor Comments 3.-Contents 7– Chicago House 14-Top 10 House Music D.J.’s 16—House Music Lifestyle
22– REMIXEs 26– HOUSE MUSIC 1986-88 the good years 37– Silk-N-IT
OWNED AND OPERATED BY JONATHAN (D.J.QUEST95)GROOMS AND FULL MOON PRODUCTIONS . COPYRIGHT PENDING. ALL ARTICLE HAVE PERMISSION RIGHTS AND OR COVER BY FREE SPEECH—ALL ASSOCIATES OF THIS PUBLICATION EXERCISE THEIR FREEDOM OF SPEECH AND RIGHT S OF EXPRESSION.
EDITOR—D.J.QUEST95 ADVISIOR-AAVIANNA WRITERS– SILK-N-IT MEKKA SUNSHINE KENYATTA ALBENY
PHOTOGRAPHY– HERB BIAS GRAPHIX— Q-GRPHIX QUEEN LOLLIPOP MUSIC EDITOR—YO MOMMA FINAL PROOF— BARACK OBAMA MODEL SELECTIONS— BILL CLINTON
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mation 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.
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 amalga-
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 discomixer 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 discjockey'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 radion 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.
over frantic dance music, became an established part of the Chicago DJ's art. It didn't end their. 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 recordwhich 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 future 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 doit-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 pop charts 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.
Torq Conectiv Vinyl/CD Pack DJ Performance/Production System with Control Vinyl and CD
The Top 10 – DJMag’s Top 100 DJs (2008) Steady at the Top Last year’s top dogs, trance superstars Armin van Buuren and Tiësto are still holding down the top two spots on DJMag’s poll. Last year was a big one for Armin, but no one could have predicted that he would top the craziness that was 2007. This year, the crowds at his concerts have only gotten bigger, and the same can be said for the audience of A State Of Trance. This radio show draws 27 million listeners, and its compilations have yet to disappoint. Likewise for Tiësto, huge gigs were the norm for 2008, although it shouldn’t be anything new for this seasoned DJ – his all-nighter at London’s famous O2 arena was received by 20,000 strong. And the endorsements, the reason for many people’s love-hate relationship with him, just kept rolling in. Reebok, Armani Exchange, and Coca-Cola shelled out big bucks for Tiësto’s work, whether it’s artistic design (his line of Reeboks) or just Tiësto doing what he does best: making music. Between the two Dutch DJs, they probably won enough awards this past year to stuff a trophy case – they have both been recognized (repeatedly) for their immense success both in their homeland of Holland, and of course, on the global stage. Is it any surprise that Armin and Tijs have taken over DJMag too? Going Up Number three DJ Paul van Dyk has had a fine year himself – his studio album, In Between, is a dance masterpiece, and has the sales records to prove it. He is one of the few DJs who are loved by North American clubbers (almost) as much as European fans, with one of his shows in New York being forced to move to a larger venue to fit all of the rabid fans. Further along the trance-heavy top 10 DJs, Above & Beyond’s star just keeps getting brighter. Their first show of 2008 drew a million in Rio, and the trio further invaded Asia and Ibiza with their unique sound, which is getting more notice, along with their rapidly growing Anjunabeats label. The top house DJ (again), David Guetta jumps up five spots to sit pretty at number five. His Brazil gig this year topped even Above & Beyond’s, with two million in the crowd, and if you look at what he’s accomplished this year, that five-spot jump in the rankings should make total sense. DJMag did some number-crunching, and here are the results. Two million albums, three million singles. Billboard Top 10 for all four singles off of Pop Life. Massive shows at the Unighted Party, Love Parade, Bahia Carnival, Queensday, Techno Parade, and Global Gathering, and 180 club gigs this year (don’t even try counting how many people he’s played for). Maybe David Guetta should be higher on the list? Rounding up the DJs who have moved on up on the list this year are Ferry Corsten and Markus Schulz. Oh look, more trance. Ferry has had a big year with productions; his latest single, ―Radio Crash,‖ has received much love from trance DJs like Armin and Judge Jules, and he’s also recruited some promising protégés for his label, Flashover. On the other hand, Markus Schulz has been keeping busy with jet-hopping between Europe and North America. He’s been big in Ibiza, like so many in the Top 10, and also has a residency at London’s Ministry of Sound. Wonder how many Airmiles he’s racked up?
I first went to a gay bar during the summer of 1972. I began frequenting them regularly in the winter of 1973; generally I would travel with a group of friends from Ames to what we knew as "the bars" (or more often "the bar") in Des Moines. There were two gay bars in Des Moines at that time, the P.S. and the Blue Goose. The P.S. was the bar we usually visited, as it had a younger crowd, a pool table, and a dance floor. There was a jukebox that people fed money into to dance to its 45 rpm records. Most of the music featured sounds we didn't hear on Iowa AM/FM radio of the day, soul music, not mostly the kind that crossed over to white audiences. It all had a regular good dance beat, which was of course why people liked it. Many weekend evenings (Friday and Saturday, for bars in Iowa were closed on Sunday) right before the drinking establishments across the state of Iowa closed at 2 AM, the staff at the P.S. would announce an "after hours" party,
giving the patrons an address and suggesting they bring beer or whatever to the soirĂŠe; lots of people who had been at the bar then flocked to those parties where dancing and socializing continued into the wee hours of the morning, essentially extending the bar into a private setting. The very first song I ever attempted to dance to anywhere was at the P.S. and was "Love Train" by the O'Jays; I had never gone to dances in high school and was an absolute disaster on the dance floor. However, being a fairly quick learner I got better and adapted quickly. At first when I went to gay bars I had found the music a bit irritating, but as I heard it more and more and began dancing, it soon became the only music I cared to listen to even during my non dancing hours, for I had really begun to love it. We generally called the music we heard at the P.S. "bar music." It was often hard to find albums or records of
this style of music at first, and even throughout the 70s trips to Minneapolis or Chicago might nab a record before it was popular or at least available in Iowa. One night probably late in 1974 or very early in 1975, the jukebox was turned off for a time at "the bar" and music began to play into the sound system from what we assumed were records elsewhere in the bar. The song was "Honey Bee" by Gloria Gaynor, a favorite, a song we knew from the juke box; but as it ended her version of "Never Can Say Goodbye" blended into it and after that "I'll Be There." This was accomplished seamlessly and I remember a discussion several of us had in the Trophy Room in the Memorial Union a few days later about this musical mix. David Windom was wondering how they had constructed the instrumental middle parts of the songs and blended them so well (for we assumed this was just something the P.S. had constructed); I said they just must have used tape recorders and spliced the music together.It wasn't spliced though; it was straight off an MGM album by Ms. Gaynor, and the whole side of the LP was mixed by a man named Tom Moulton. He mixed many many many of the dance and disco albums of the 1970s, and essentially defined worldwide dance music from this period on. Across the country disc jockeys, D.J.'s, people placed off away from a dance bar having a turntable or two, now were beginning to play records, music off albums, and they were learning to mix songs together and create song sets that created an air of excitement on the dance floor for the patrons of dance bars. Dancing was getting to be more fun all the time. Within a year there was a new title for "bar music" - Disco. Instead of calling them dance bars, the concept was evolving into the name "disco" (in the 1960s there were discothĂ¨ques; it's a derivative of that word). By late 1975 or 1976 discos were standard fixtures of much of gay life. In the Des Moines scene a small neighborhood bar, the Menagerie, opened on the north edge of town, and by about 1975 a new downtown dance bar/disco, the M2 (Menagerie 2), had
opened complete with improved sound system, larger dance floor, and an increasingly larger number of patrons. The music was getting better all the time, and somehow, imperceptibly, the music we heard in gay bars seemed to be becoming "our music." Black people played it in their clubs as well, for it sprang forth from both of our communities. Perhaps in urban areas it was also a straight white phenomenon - there are those who nowadays maintain this - but in the Midwest, near as I could tell, it was not the music of straight white people. By 1976 disco music was hot on the charts, and at first even without much air play. It signified a shift in what music people were buying; previously radio stations controlled what people heard and this controlled what music they bought, but now, suddenly, disco songs were selling more and more records of the music people heard when they went out dancing. Disco music was never meant to be listened to while staying at home stoned alone (or with friends) pondering the deeper meanings of the life; it never pretended to have insight into the meaning of life. It was unadulterated fun. Fleetwood Mac and other 70s straight groups and their own formulaic genres of the day provided ample albums of music for people to ponder carefully if they wished. Disco music was for dancing, disco was for having a good time, and gay people, who had been prevented from dancing together in virtually all the bars across the
There were, of course, many gay people who did not go dancing, who did probably not even care for the music. I think they missed out on a fine experience during those liberating times. In Ames there were a smattering of dance bars, but without exception they played straight rock and roll, mostly terrible dance music. Unexpectedly, circa winter of 1975 or so, a fairly small bar opened out on the west edge of town with a small dance floor and a sound system playing a lot of disco music. One of the owners (or at least employees, although I believe she was part owner) of the establishment was a woman from Puerto Rico, and I believe the other male owner was as well. Since it was more conveniently located, not such a long trip as the 30 miles to Des Moines, groups of gay people from Ames went there several different nights to "liberate" the joint and dance. The first night we were warmly welcomed when we began dancing to the music (it was our second nature by then). The bar played mostly disco hits that had made radio play by this time, the top 40 hits of KC & the Sunshine Band, Donna Summer's "Love to Love You Baby," etc., not the full range of music available in gay bars, but it was still infinitely better than the other dance joints in town and so very easy a place to get ItAfter a few more evenings, including once, I think, on a weekend when there were actually a number of straight people in the bar dancing as well (it was a little scary, actually, but no outright hostility happened), we were suddenly rebuked. One evening we went to the bar and were told we were not particularly welcome. We tried to pay no attention to this, but the music shifted to some easy listening rock and roll and it was totally undanceable; they had control of the entertainment after all. The woman working at the bar came over to us and said she "was from San Juan and it was a city and they had gay people and she knew gay people and it was fine for her, and for the owner too, but Ames wasn't so liberal," or some similar hogwash. Apparently a few of the other straight patrons who were there had been unhappy with a "gay crowd" being visible anywhere in Ames. We just quit going back and soon the place closed. Good riddance for bad
By 1976 disco music was grand. Many of the artists singing it were gay, black, and women (and assorted combos of these classifications), at times these artists represented perhaps 80% of the songs that were popular; rock and roll proper had never allowed much or any music from these parties into its mainstream. Of course some black singers and groups (James Brown; Earth, Wind, and Fire, etc.) had been deemed OK and given the blessing of the mainstream with white audiences, but women artists were really a real rarity even into the 1970s, and at this point there were no gay mainstream singers who were out. In fact gay disco groups or artists remained essentially closeted until the days of Sylvester. Even the Village People, whom we first called "our own," who sang about the dangers of sex in the bushes of Fire Island (NY), leather boys on Folsom Street in San Francisco, staying at notorious YMCAs, and on and on, throughout the 70s tried to deny or avoid answering any questions about their pretty obvious sexual orientation, a course of action which royally pissed off a lot of gay people whom they'd quite nicely exploited for support in their earliest days. Smelling the lure of large profits, the recording industry began to devise ways of bringing disco music to the masses. This was inevitable as the sound had become more and more popular. What the recording industry didn't care about was the fact that a lot of the masses weren't necessarily really all that interested in dancing, and many of the white straight males, in particular, did not like the sound of black people's music, women singers, and music rumored to have gay overtones. This didn't stop the entertainment industry. In 1977 the movie "Saturday Night Fever" was released. It was about a group of straight, homophobic, racist, Italian-American twentysomethings in New York who went dancing nightly wearing odd looking clothes and probably too much after shave lotion (they looked nothing much like people I saw or knew in gay discos). The movie was a success, and because of the endless music of the
and because of the endless music of the Bee Gees now heard whenever you turned on the radio, a backlash began against disco music began. This backlash happened and disco retreated to the closets, but it certainly did not spell the end of disco music, as many people would have you believe. Disco never did end - it morphed. The backlash reached its pinnacle in Chicago in 1979 on July 12 when the "White" Sox and radio station 98FM, WLUP, "The Loop" had a "Disco Demoliton Night." The "White" Sox were playing a double header against the Detroit Tigers and anyone bringing a disco record to the game for burning (very Fahrenheit 451) was allowed in Comiskey Park for 98 cents.
"Disco Demolition Night" in 1979
The second game of the double header didn't ever happen. A melee ensued between the games with pent up hatred spewing forth and mostly young white males rioting on the field. Did they just hate the music, or did they hate what else it represented? People debate this still, but no other rock music has ever created quite such a reaction in a group of people. There were probably a lot of underlying closets running throughout the crowd putting on this spectacle.
The bottom photo is of Steve Dahl, organizer of the "demolition" and Garry Meier.
Known Music-Diva House Remixes Madonna Aretha Janet Mariah Whitney J-lo Donna Summer Rosie Gaines Alicia Keys Jill Scott
New â€“ Club remix â€“ (house) Artist 1.Timberlake 2. Britney 3. Christina 4. Dream ( the solo artist ) 5. Beyonce 6. 50 cent 7. Timbaland 8. Missy 9. Rhianna 10. Flo Rida 11. Lil Wayne 12. Nelly Furtado 13. Kid Cudi 14. Keri Hilson
HOUSE MUSIC - 1986
was playing, and I've got the tapes to prove
While Frankie Knuckles had laid the ground-
work for house at the Warehouse, it was to be another DJ from the gay scene that was really to create the environment for the house explosion - Ron Hardy. Where Knuckles' sound was still very much based in disco, Hardy was the DJ that went for the rawest, wildest rhythm tracks he could find and he made The Music Box the inspirational temple for pretty much every DJ and producer that was to come out of the Chicago scene. He was also the DJ to whom the producers took their very latest tracks so they could test the reaction on the dance floor. Larry Heard was one of those people. "People would bring their tracks on tape and the DJ would play spin them in. It was part of the ritual, you'd take the tape and see the crowd reaction. I never got the chance to take my own stuff because Robert (Owens) would always get there first." "The Music Box was underground " remembers Adonis. "You could go there in the middle of the winter and it'd be as hot as hell, people would be walking around with their shirts off. Ron Hardy had so much power people would be praising his name while he
"The difference between Frankie and Ronnie was that people weren't making records when Frankie was playing, though all the guys who would become the next DJs were there checking him out. It was The Music Box that really inspired people. I went there one night and the next day I was in the studio making 'No Way Back' " In 1985 the records were few and far between. By 1986 the trickle had turned to a flood and it seemed like everybody in Chicago was making house music. The early players were joined by a rush of new talent which included the first real vocal talents of house - Liz Torres, Keith Nunally who worked with Steve Hurley, and Robert Owens who joined up with Larry Heard to form Fingers Inc, though the duo had already worked with Harri Dennis on The It's 'Donnie' -and key producers like Adonis, Mr Lee, K Alexi and a guy who was developing a deep, melodic sound that relied on big strings and pounding piano - Marshall Jefferson. Marshall worked with a number of people like Harri Dennis and Vince Lawrence for projects like Jungle Wonz and Virgo, who made the stunning 'RU Hot Enough'. But it was 'Move Your Body' that became THE house record of 1986, so big that both Trax and DJ International found a way to release it, and it was no idle boast when the track was subtitled 'The House Music Anthem', because that's exactly what it was. Marshall Jefferson was to become the undisputed king of house, going on to make a string of brilliant records with Hercules and On The House and developing the quintessential deep house sound first with vocalist Curtis McClean and then with Ce Ce Rogers and Ten
City. "I can remember clearing a floor with that record" laughs Jazzy M. "Though they'd started playing it in Manchester, most of London was still caught up in that rare groove and hip hop thing. A lot of people were saying to me 'why are you playing this hi- NRG' and it was hard work but people were starting to get into it." 'Move Your Body' was undoubtedly the record that really kicked off house in the UK, first played repeat-
was the place to focus on, house poured into Britain with London Records putting the first compilation of early DJ International material out. As the press bandwagon rolled into action the 86 Chicago House Party featuring Adonis, Marshall Jefferson, Fingers Inc and Kevin Irving toured the UK's clubs. Trax took a little longer
edly by the established pirate radio stations in London, which at the time played right across the Black music spectrum, and then by club DJs like Mike Pickering, Colin Faver, Eddie Richards, Mark Moore and Noel and Maurice Watson, the latter two playing at the first club in London to really support house - Delirium. Radio was the key to the explosion in Chicago. Farley Jackmaster Funk had secured a spot on the adventurous WBMX station, playing after midnight every day, and it wasn't long before he brought in the Hot Mix 5 which included Mickey Oliver, Ralphie Rosario, Mario Diaz and Julian Perez, and Steve Hurley, giving people who couldn't go to the parties the chance to hear the music. Then there was Lil Louis, who was throwing his own parties. By this time, house was moving out of the gay scene and on to wider acceptance, though in Chicago at least it was to remain very much a Black thing. Though a number of Hispanics were on the house scene, the number of White DJs and producers could be counted on one hand.
HOUSE MUSIC - 1988 In truth, acid house had already started long before 1988. Amongst the scores of Chicagoans who were buying equipment and trying to learn how to make tracks was one DJ Pierre, who'd started out playing Italian imports at roller discos in the Chicago suburbs, and who had joined Lil Louis for his notorious parties. "Phuture was me and two other guys, Spanky and Herbert J." remembers Pierre.
The labels were still mostly limited to the terrible twins that were to dominate Chicago house
"We had this Roland 303, which was a
for the next two years Trax and DJ International. Between them they had nearly all the local talent sewn up and by popular consent
ure out how to use it. When we switched it
they were just as dodgy as each other, with ru-
some drums and make a track with it. We
mors and stories of rip-offs and generally dubious activity endlessly circulating. Everybody it seemed, was stealing from everybody else.
gave it to Ron Hardy who started playing it straight away. In fact, the first time he
bassline machine, and we were trying to figon, that acid sound was already in it and we liked the sound of it so we decided to add
played it, he played it four times in one
night! The first time people were like, 'what the fuck is this?' but by the the fourth they loved it. Then I started to hear that Ron was playing some new thing they were calling 'Ron Hardy's Acid Trax', and everybody thought it was something he'd made himself. Eventually we found out that it was our track so we called it 'Acid Trax'. I think we may have made it as early as 1985, but Ron was playing it for a long time before it came out." Explanations for the name of 'acid' have been long and varied, but the most popular, and the one endorsed by a number of people who were there at the time was that they used to put acid in the water at the Music Box. Pierre though, stresses that Phuture was always anti- drugs, and cites a track about a cocaine nightmare, 'Your Only Friend' that was on the same EP as 'Acid Trax'. 'Acid Trax' came out in 1986 but made little impact outside Chicago, as was the case with another acid track, Sleazy D's 'I've Lost Control', which slapped a deranged laugh and some geezer repeating the title over the 303 squelching. 'I've Lost Control' was made by Adonis and Marshall Jefferson and was certainly the first acid track to make it to vinyl, though which was created first will possibly never be known for sure. It wasn't until well into 1987 that the acid sound began to infiltrate Britain, fuelled by another track that was getting a lot club play, and which fitted into the sound Bam Bam's 'Give It To Me', and a diversion of the regular acid track which put vocals into the equation, developed by Pierre's Phantasy Club with 'Fantasy Girl'. The house scene in Britain had faltered following the commercialisation of the poppier end of the spectrum, but towards the end of 1987 the underground was taking off with new LP compilation series like 'Jack Trax' and the opening in London of seminal clubs like Shoom and Spectrum and the move of Delirium to Heaven where the main dancefloor became exclusively house. Delirium's Deep
House Convention at Leicester Square's Empire in February 1988 which featured a number of seminal Chicago artists like Kym Mazelle, Fingers Inc, Xavier Gold. Marshall Jefferson and Frankie Knuckles was a depressing event because of the poor turnout. But the people who did go were to be become the prime movers of London's house explosion. The next week a warehouse party called Hedonism was rammed and the soundtrack was acid. Acid house UK style had begun. As acid tracks like Armando's '151' and 'Land Of Confusion', Bam Bam's 'Where's Your Child' and Adonis' 'The Poke' began to flow out out of Chicago, the scene grew at a rate of knots with Rip, Love, Future, Contusion and Trip opening in London, and the legendary Nude in Manchester. DJs suddenly discovered they had a year's worth of classic house which hitherto they'd been unable to play. When WBMX in Chicago closed down, signalling the end of radio play for the music in the city, it was clear that the emphasis had switched to the UK. Acid house became the biggest youth cult in Britain since punk rock a decade before as British house records like Bang The Party's 'Release Your Body', Jullan Jonah's 'Jealousy & Lies' (later used as the backbone of Electrlbe 101's 'Talking With Myself'), Baby Ford's 'Oochy Koochy', A Guy Called Gerald's Voodoo Ray, and Richie Rich's 'Salsa House' became huge club hits, before the chart UK house records emerged with S'Express' 'Theme From S'Express', DMob's 'We Call It Acid', which popularised the ridiculous but funny club chant of 'Aciiieeeeed!' and Jolly Roger's 'Acid Man'. Opinions differ as to the
effect on the scene of the relatively new drug ecstasy, but there was little doubt that the sudden rise in availabilny of the drug was directly related to the growth of the club scene. Before the tabloids discovered what was going on with their inevitably lurid headlines about 'Acid House Parties' and drug barons, it was easy to see people openly imbibing the drug in any club. Like Chicago radio was to prove crucial to spreading house in Britain. But this wasn't any kind of legitimate radio. Save for a few token shows, you couldn't hear Black music or dance music on legal radio, and eventually the demand turned into supply in the form of numerous pirate stations, mostly in and around London but also in a few other big cities. Most of them were on and off the air in months or even weeks, but the more organised stations managed to keep going, supplying hungry listeners with the music they wanted to hear - reggae, soul, jazz, hip hop - and house. Steve Jackson's House That Jack Built on Kiss and Jazzy M's 'Jacking Zone' on LWR pumped out the new music week in, week out. "When LWR was what you call the boom, it was on half a million listeners." says Jazzy M. And we knew that because the surveys were actually being published in newspapers The Jacking Zone was getting 40-50 letters a week and I was broke because all my wages went on new tunes. Once that plane had landed with the imports, I was getting the new records on the show the same night. It was unbelievable." 1988 wasn't just acid it was the year that house first really began to diversify. For a start, there was the 'Balearic' business, an eclectic style of DJing which at the time encompassed dance mixes of pop artists like Mandy Smith and quasi-industrial music like Nitzer Ebb's 'Join In The Chant' Championed by Danny Rampling, Nicky Holloway, Paul Oakenfold and Johnny Walker who'd all been to Ibiza, Balearic was an integral part of the club scene at the time, but after the gushing media overkill it all became a little farcical as people attempted to make Balearic records There was, of course no such thing Then there were the anthems. A year's worth of inspirational Chicago deep house, which went back to the Nightwriters and took in Joe Smooth's 'Promised Land' and Sterling Void's 'It's Alright' along the way became
some of the biggest club records of the year, while Marshall Jefferson took the music to new highs with Ten City's 'Devotion' and Ce Ce Rogers 'Someday'. Marshall was on a roll in 88, picking up remixes and linking up with Kym Mazelle for 'Useless' It was the deep house that spawned the first two house LP's, which naturally came out in Britain first - Fingers Inc's benchmark 'Another Side' and Liz Torres With Master C & J's excellent 'Can't Get Enough'. Ten City were an important stage in the development of house. With selfconviction unusually high for the time, they snubbed the Chicago labels which by that time were losing their artists more quickly than they could sign them, and headed for Atlantic records in New York where Merlin Bobb promptly snapped them up. Where nearly all the house that had gone before them was strictly producer created, Ten City were an act, and they could be marketed as such. Plus, they returned some of the soul vision to house, a tradition that went all the way back to the Philly sound it was no coincidence that 'Devotion' was one of the first records from Chicago to really do well on the East Coast, which always had much stronger r'n'b roots in its club music. After another huge club hit with 'Right Back To You', they broached the UK top Ten in January 1989 with 'That's The Way Love Is' Even Detroit was discovering songs. Though the new techno sound was by now at full tilt with Rhythm Is Rhythm's anthem 'Strings 0f Life' Model 500's 'Off To Battle' and Reese & Santonio's 'Rock To The Beat', it was Inner City's 'Big Fun' a techno song with vocals by Chicagoan Paris Grey that was to propel Kevin Saunderson into the big time. Originally a track recorded for Virgin's groundbreaking 'Techno! The New Dance Sound Of Detroit' LP, 'Big Fun' was just too commercial to hold back, and Saunderson suddenly found himself in a virtually full-time pop duo making videos, follow-up singles and EPs like any other pop act. Chicago however was still finding new things to do with house, though the next trend wasn't to be anything like as significant. There had already been raps put down to house tracks as early as 1985 with 'Music Is The Key' and more recently with M-Doc's 'It's Percussion', The Beatmasters' 'Rok Da House' and New York's KC Flight with 'Let's Get Jazzy'. But it was Tyree
Cooper (who'd already had a big club record with 'Acid Over') and rapper Kool Rock Steady who defined the hip-house style with 'Turn Up The Bass', a galloping track which somehow combined Kool's rap with the classic Chicago piano sound and Tyree's trademark 909 roll. It wasn't long before Fast Eddie, also at DJ International, expanded it with 'Yo Yo Get Funky'. But the biggest new producer of 1988 was someone who didn't come from Chicago at all. Or Detroit. New York was beginning to flex its muscles, the city that had always regarded itself the world's capital for dance music wanted some of the limelight back. But it wasn't an established figure in the New York or New Jersey dance scene that broke through, it was a kid from Brooklyn who was showing an incredible alacrity for the new form of sampling that had been co- developing with house - Todd Terry. First it was those Masters At Work tracks, but after that Todd hit house in a big way with 'Bango' (at which Kevin Saunderson was highly miffed, because it heavily sampled one of his records), 'Just Wanna Dance', Swan Lake's 'In The Name Of Love', Black Riot's 'A Day In The Life' and 'Warlock' and the one that was almost certainly the biggest club record of the year Royal House's 'Can You Party!'. Though in New York Todd's sample tracks were firmly categorized with the Latin freestyle house sound that the Hispanics were developing, in the UK Todd became the toast of the house scene. In a by now familiar scenario, 'Can You Party' hit the Top 20 in October on a wave of club support, closely followed by another track on the new Big Beat label out of New York, Kraze's 'The Party'. As it became more and more apparent that Chicago was grinding to a halt, New York was getting it together, with more labels like Cutting (who'd already released Nitro Deluxe's classic 'Let's Get Brutal' in 1987) and Warlock turning to house and new labels starting up. One of these was to prove more important than all the rest - Nu Groove. 1989 By now the UK and its trend-hungry music press had become the local point of the dance music world. After acid had slumped into fatuousness with the adopted logo of acid, the smiley, appearing on t- shirts racked up in every high street and the mainstream press (including the 'qualities') scuttling after every whiff of a half-arsed drug story, they discovered new beat from Belgium. The trouble was that save for one or two genuinely good records like A Split Second's 'Flesh', nearly everyone outside Belgium
The Wheels of Steel Weekend works hard to expose all of the educational opportunities that exist both on a high school and post high school level. Additionally, the WOSW also offers an outlet for schools looking to recruit students on all levels as well as companies looking to hire people within a fun atmosphere
Saturday Sunday Phil Dirt and the Dozers Robert Lockwood Jr. All Stars Melissa (Cha~Cha) Figueroa Dave Tolliver (The Blaq Pavarotti)
Men At LargeDavid
and Jason Reunite
3SO Melissa (Cha~Cha) Figueroa Kidd Russell Jason Champion A-Motions J-EyE Carlos Jones and the P.L.U.S. Band Dave Tolliver (The Blaq Pavarotti) Rapmedian Cool TLC Wheels of Steel Weekend Co-Host The Wheels of Steel Weekend DJ Showcase
hated new beat, a sort of sluggish cross between acid, techno and heavy industrial Euro music and the media hype dissolved into a number of red faces. Then they discovered garage. 'Garage' as a term had already long been in use on the house scene to differentiate the smooth, soulful songs flowing from New York and New Jersey from the more energetic, uplifting deep house out of Chicago. But the hype on this supposedly new music did allow a lot of very good acts a chance of exposure that otherwise they wouldn't have had. The Americans were confused. To most New Yorkers and Jerseyites, garage was what was played at the Paradise' Garage, which had closed two years earlier. What they were making was club music or dance music, and house was all that track stuff from Chicago. But they were happy that someone somewhere was getting off on their sound. Tony Humphries, who'd been on New York's Kiss FM since 1981 and at the Zanzibar in New Jersey since 1982, was to become instrumental in exposing the Jersey sound. Though he was one of more open-minded DJ's In the New York area, his was the style that married real r'n'b based dance to house. "I really saw house start with the Virgo 1 record, which had that 'Love Is The Message' skip beat, and I was using that and a lot of other Chicago stuff as filler between the vocals, so if I was to play Jean Carne I would use the Virgo drum track before it. Vocals was always very much my thing, and I would say the people from Chicago we really respected in Jersey were Marshall Jefferson, Frankie Knuckles and JM Silk. A lot of it was really Philly elements, it was like Philly living on forever, and that was our flavor. "I became known for breaking new stuff, and to stay ahead of everyone I had to come up with more and more demos. I wanted to help all the people around me in Jersey, so around 88-89 I did a huge showcase with all the acts at Zanzibar first on my birthday and then at the New Music Seminar. Suddenly everyone was talking about the Jersey sound." Blaze were the forerunners of the new soul vision, followed by their protĂŠgĂŠs Phase II, who struck big with the optimism anthem 'Reachin', and Hippie Torrales' Turntable Orchestra with 'You're Gonna Miss Me'. Then there were the girls - Vicky Martin with 'Not Gonna Do It' and of course, Adeva,
behind whom was the talented Smack Productions team. ' In And Out 0f My Life' had already been released by Easy Street a year before, but when Cooltempo signed the Jersey wailer up on the basis of her cover of Aretha Franklin's 'Respect', mainstream success was more than on the cards - it was a dead cert. 'Respect' entered the Top 40 in January and hung around for two months, by which time Chanelle's 'One Man' and then her own collaboration with Paul Simpson, 'Musical Freedom' had followed the example. It didn't end there. Jomanda, who shared the billing with Tony Humphries at a massive event stage in Brixton's Academy were next with 'Make My Body Rock', and though they were to become successful in the States, their sound never crossed over in the UK. New York was stepping up the pace in grand fashion and there was a lot more going on than just the Jersey sound. Following Todd Terry's success, the New York sample track was breaking out like wildfire, particularly with Frankie Bones, Tommy Musto and Lenny Dee at Fourth Floor, Breakln' Bones and Nu Groove records. Nu Groove, built on the foundation of the Burrell twins who'd escaped from an abortive r'n'b career with Virgin Records, was fast becoming the hippest house label. Nu Groove had started the year before with records like Bas Noir's 'My Love Is Magic' and Aphrodisiac's 'Your Love' and by 1989 they were on a roll. Nu Groove never had a sound - with producers as disparate as the Burrells, Bobby Konders and Frankie Bones that wasn't conceivable - and they never really had one big record, but the concept of the label went from strength to strength. Among their producers was Kenny 'Dope' Gonzalez, yet to hook up with Little Louie Vega, who was moving into house with his Freestyle Orchestra project. Nu Groove's first competitor was to come in the form of Strictly Rhythm, who opened up in 1989, though their first breakthrough wasn't to come until the following year. Two other New York producers who were also beginning to make a lot of noise were Clivilles and Cole with Seduction's 'Seduction' and their excellent deep, dubby mix of Sandee's 'Notice Me'. Their break into the mainstream came with a mix of Natalie Cole's 'Pink Cadillac'. Another guy who was also beginning to make a name for himself as a house remixer was David Morales. But one of the biggest records on the burgeoning UK rave scene was a record that made very little impact in its native New York - the 2 In A Room References: Modelsâ€”Love & Rock , LGBT, History of House .com www.housemusic.com , wickopiedia , Bill , Club 54
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