House music
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| :" Like it or not, house was first and foremost a direct descendant of disco. Disco had already been going for ten years when the first electronic drum tracks began to appear out of Chicago, and in that time it had already suffered the slings and arrows of merciless commercial exploitation, dilution and racial and sexual prejudice which culminated in the '[[disco sucks]]' campaign. In one bizarrely extreme incident, people attending a baseball game in Chicago's Komishi Park were invited to bring all their unwanted disco records and after the game they were tossed onto a massive bonfire. Disco eventually collapsed under a heaving weight of crass disco versions of pop records and an ever-increasing volume of records that were simply no good. But the underground scene had already stepped off and was beginning to develop a new style that was deeper, rawer and more designed to make people dance. Disco had already produced the first records to be aimed specifically at DJs with extended 12" versions that included long percussion breaks for mixing purposes and the early eighties proved a vital turning point. Sinnamon's 'Thanks To You', D-Train's 'You're The One For Me' and The Peech Boys' 'Don't Make Me Wait', a record that's been continually sampled over the last decade, took things in a different direction with their sparse, synthesized sounds that introduced dub effects and drop-outs that had never been heard before.." --[[Phil Cheeseman]], 1989 [...] | :" Like it or not, house was first and foremost a direct descendant of disco. Disco had already been going for ten years when the first electronic drum tracks began to appear out of Chicago, and in that time it had already suffered the slings and arrows of merciless commercial exploitation, dilution and racial and sexual prejudice which culminated in the '[[disco sucks]]' campaign. In one bizarrely extreme incident, people attending a baseball game in Chicago's Komishi Park were invited to bring all their unwanted disco records and after the game they were tossed onto a massive bonfire. Disco eventually collapsed under a heaving weight of crass disco versions of pop records and an ever-increasing volume of records that were simply no good. But the underground scene had already stepped off and was beginning to develop a new style that was deeper, rawer and more designed to make people dance. Disco had already produced the first records to be aimed specifically at DJs with extended 12" versions that included long percussion breaks for mixing purposes and the early eighties proved a vital turning point. Sinnamon's 'Thanks To You', D-Train's 'You're The One For Me' and The Peech Boys' 'Don't Make Me Wait', a record that's been continually sampled over the last decade, took things in a different direction with their sparse, synthesized sounds that introduced dub effects and drop-outs that had never been heard before.." --[[Phil Cheeseman]], 1989 [...] | ||
| + | ===US developments - late 1980s to early 1990s=== | ||
| + | Back in America the scene had still not progressed beyond a small number of clubs in [[Chicago]], [[Detroit]] and [[New York]]. Paradise Garage in [[New York City]] was still the top club, although they now had [[Todd Terry]], his cover of Class Action's Larry Levan mixed "Weekend" demonstrated the continuum from the underground disco to a new House sound with hip-hop influences evident in the quicker sampling and the more rugged bass-line. While [[hip hop music|hip-hop]] had made it onto radio play-lists, the only other choices were Rock, Country & Western or R & B. Other notable New York producers and DJs of the time were [[Bobby Konders]], [[Tommy Musto]], [[Frankie Bones]] all of whom had their work licensed internationally in the 1980s. In fact, many of the recordings on the nascent [[XL Recordings]] (UK) came from those artists. | ||
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| + | Other influences from New York came from the hip-hop, reggae, and Latin community, and many of the [[New York City]] super producers/DJs began surfacing for the first time (Erick Morillo, Roger Sanchez, [[Junior Vasquez]], [[Danny Tenaglia]], Jonathan Peters) with unique sounds that would evolve into other genres (tribal house, progressive house, funky house). Producers such as [[Masters At Work]] and [[Kerri Chandler]] also started pioneering a richer Garage sound that was picked up on by 'outsiders' from the worlds of jazz, hip-hop and downbeat as much as it was by House aficionados. | ||
| + | |||
| + | Influential [[gospel music|gospel]]/[[R&B]]-influenced Aly-us released "Time Passes On" in 1993 ([[Strictly Rhythm]]), then later, "Follow Me" which received radio airplay as well as being extensively played in clubs. Another US hit which received radio play was the single "Time for the Perculator" by [[Cajmere]], which became the prototype of [[Ghettohouse]] sub-genre. | ||
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| + | [[Cajmere]] is held by many to be one of the revitalising forces in Chicago Houses's rebirth of the early 1990s. Most of the 1980s generation were burnt out by bad contracts or had moved to New York or Europe. [[Cajmere]] started the Cajual and Relief labels (amongst others) offering a home to any producer in Chicago, no matter the style. By the early 1990s artists such as [[Cajmere]] himself (under that name as well as [[Green Velvet]] and as producer for [[Dajae]]), [[DJ Sneak]], [[Glenn Underground]] and others were bringing out fresh records at a furious pace. Artists from the also recently-revitalised [[Dance Mania]] such as [[DJ Rush]], [[Robert Armani]] and his cousin [[Paul Johnson]] recorded for both and were in high demand as DJs in the lucrative European club circuit. [[Derrick Carter]] also became a deeply respected producer and a legendary DJ at this time. | ||
| + | |||
| + | Detroit was mostly known for techno and large labels such as [[430 West]], [[KMS]] and [[Serious Grooves]] with producers such as [[Kevin Saunderson]], [[Marc Kinchen]], [[Octave One]] (as well as fellow travellers from Chicago such as [[Chez Damier]] & [[Ron Trent]] who released records on Detroit labels regularly). During this period [[Underground Resistance]] were just as likely to release a pumping piano and vocals garage track as they were an electro track and had their Happy Records subsidiary. | ||
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| + | Also at this time stirrings of a chilled dance scene relatively unconnected to the Chicago, Detroit, and New York scenes was springing up in the [[Los Angeles]] area with parties organised by Hardkiss and UK expats like DIY and [[Charles Webster (musician)|Charles Webster]]. House music eventually came to clubs in cities like [[Boston, Massachusetts]], [[Providence, Rhode Island]], [[Philadelphia, Pennsylvania|Philadelphia]], [[Baltimore, Maryland|Baltimore]], and [[Washington D.C.]]. | ||
Revision as of 17:13, 4 July 2007
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House music is a style of electronic dance music. The earliest forms of the genre originated in Chicago (United States) in the early to mid-1980s.
- " Like it or not, house was first and foremost a direct descendant of disco. Disco had already been going for ten years when the first electronic drum tracks began to appear out of Chicago, and in that time it had already suffered the slings and arrows of merciless commercial exploitation, dilution and racial and sexual prejudice which culminated in the 'disco sucks' campaign. In one bizarrely extreme incident, people attending a baseball game in Chicago's Komishi Park were invited to bring all their unwanted disco records and after the game they were tossed onto a massive bonfire. Disco eventually collapsed under a heaving weight of crass disco versions of pop records and an ever-increasing volume of records that were simply no good. But the underground scene had already stepped off and was beginning to develop a new style that was deeper, rawer and more designed to make people dance. Disco had already produced the first records to be aimed specifically at DJs with extended 12" versions that included long percussion breaks for mixing purposes and the early eighties proved a vital turning point. Sinnamon's 'Thanks To You', D-Train's 'You're The One For Me' and The Peech Boys' 'Don't Make Me Wait', a record that's been continually sampled over the last decade, took things in a different direction with their sparse, synthesized sounds that introduced dub effects and drop-outs that had never been heard before.." --Phil Cheeseman, 1989 [...]
US developments - late 1980s to early 1990s
Back in America the scene had still not progressed beyond a small number of clubs in Chicago, Detroit and New York. Paradise Garage in New York City was still the top club, although they now had Todd Terry, his cover of Class Action's Larry Levan mixed "Weekend" demonstrated the continuum from the underground disco to a new House sound with hip-hop influences evident in the quicker sampling and the more rugged bass-line. While hip-hop had made it onto radio play-lists, the only other choices were Rock, Country & Western or R & B. Other notable New York producers and DJs of the time were Bobby Konders, Tommy Musto, Frankie Bones all of whom had their work licensed internationally in the 1980s. In fact, many of the recordings on the nascent XL Recordings (UK) came from those artists.
Other influences from New York came from the hip-hop, reggae, and Latin community, and many of the New York City super producers/DJs began surfacing for the first time (Erick Morillo, Roger Sanchez, Junior Vasquez, Danny Tenaglia, Jonathan Peters) with unique sounds that would evolve into other genres (tribal house, progressive house, funky house). Producers such as Masters At Work and Kerri Chandler also started pioneering a richer Garage sound that was picked up on by 'outsiders' from the worlds of jazz, hip-hop and downbeat as much as it was by House aficionados.
Influential gospel/R&B-influenced Aly-us released "Time Passes On" in 1993 (Strictly Rhythm), then later, "Follow Me" which received radio airplay as well as being extensively played in clubs. Another US hit which received radio play was the single "Time for the Perculator" by Cajmere, which became the prototype of Ghettohouse sub-genre.
Cajmere is held by many to be one of the revitalising forces in Chicago Houses's rebirth of the early 1990s. Most of the 1980s generation were burnt out by bad contracts or had moved to New York or Europe. Cajmere started the Cajual and Relief labels (amongst others) offering a home to any producer in Chicago, no matter the style. By the early 1990s artists such as Cajmere himself (under that name as well as Green Velvet and as producer for Dajae), DJ Sneak, Glenn Underground and others were bringing out fresh records at a furious pace. Artists from the also recently-revitalised Dance Mania such as DJ Rush, Robert Armani and his cousin Paul Johnson recorded for both and were in high demand as DJs in the lucrative European club circuit. Derrick Carter also became a deeply respected producer and a legendary DJ at this time.
Detroit was mostly known for techno and large labels such as 430 West, KMS and Serious Grooves with producers such as Kevin Saunderson, Marc Kinchen, Octave One (as well as fellow travellers from Chicago such as Chez Damier & Ron Trent who released records on Detroit labels regularly). During this period Underground Resistance were just as likely to release a pumping piano and vocals garage track as they were an electro track and had their Happy Records subsidiary.
Also at this time stirrings of a chilled dance scene relatively unconnected to the Chicago, Detroit, and New York scenes was springing up in the Los Angeles area with parties organised by Hardkiss and UK expats like DIY and Charles Webster. House music eventually came to clubs in cities like Boston, Massachusetts, Providence, Rhode Island, Philadelphia, Baltimore, and Washington D.C..
