history of house (84-91)

[keny dope]

by DJ Skooch & Jesse Saunders

Skip back to 1984 - disco had been going on for about ten years. By then it had declined due to commercial exploitation resulting in a plethora of bad records and culminating in the "Disco Sucks" campaign. However, disco had already laid out the foundations of today's house music by producing DJ culture - creating the extended 12" format that included long percussion breaks for mixing purposes and DJs who beat-matched records to create a seamless groove for people to dance to. It was around this time the first electronic drum tracks started coming out of Chicago.

In Europe the other half of house was being laid out. English electronic-pop like Depeche Mode and Soft Cell had become popular in clubs in American cities like New York and Chicago. Two of these clubs which were to become key to the development of house were Chicago's Warehouse and New York's Paradise Garage. These two clubs were both integrated across sexual and racial lines and focused on the music, which was as varied as the clientele. The music combined R&B based dance music and disco with things as diverse as the Clash and Euro-pop. These clubs had such a profound influence that two new styles of music were named after them - house and garage. However, by 1984, the Warehouse had long since closed its doors and Warehouse DJ Frankie Knuckles was holding court at The Power Plant.

While there is debate as to what the first house record was, it was definitely made by Jesse Saunders. According to Jesse himself, the first house record released was "On & On," on his own Jes Say Records. The first house song written was "Fantasy," also by Jesse Saunders. "Fantasy" was recorded in the summer of 1983, but wasn't released in 1984. While these sound dated now, in 1984 they sounded like things from another planet - with a Euro-pop bassline, a simple, insistent drum machine pattern, and a hint of Kraftwerk's synthesized string sounds.

Meanwhile, a new style of disco was developing in New York, though at a much slower pace. DJs like Larry Levan, and Tony Humphries, and Francois Kevorkian were breaking ground as remixers, and the deep, soulful sound which eventually became Garage was beginning to take shape. Larry Levan was mixing all genres of music together at the Paradise Garage, while Francois Kevorkian, known at the time for his 1983 remix of Kraftwerk's "Tour De France," was creating his own "dub plates" and playing them to his audience's delight!

Back in Chicago at the Power Plant, Frankie Knuckles, who had moved to Chicago from New York around 1983, was playing disco-based house, while Ron Hardy was breaking new ground with the wildest, rawest drum tracks he could find at the Music Box.

Jesse Saunders' second release "Funk U Up", in the spring of 1984 became the first House record to be played on radio. It got as high as #3 at WGCI in and #1 at WBMX in Chicago. Jesse's third release in early 1985 (under the moniker of Jesse's Gang), "Real Love" was also a number one record at both stations and solidified House as a bona fide style of music along with R&B. It spread to radio stations across the Midwest and to the East coast as well.

In 1986, Jesse Saunders and Farley "Jackmaster" Funk released "Love Can't Turn Around", which would eventually go on to be the single most pioneering House record in clubs and on radio that everyone around the globe would come to recognize. Marshall Jefferson became the undisputed king of house with his release of "Move Your Body," which became THE record of the year and was subtitled "The House Music Anthem." Jefferson was developing a deep, melodic sound with pounding pianos and strings. House began to move to a wider audience with the help of mix radio - most notably the Hot Mix 5, which featured Farley "Jackmaster" Funk's daily after-midnight show. At this time in Chicago, house was moving out of the gay scene, though it still remained very much a black and Hispanic thing.

While in the US, house was limited to Chicago and NY, it was catching on in the UK - House first broke into the Billboard charts in Britain in late 1987. In October of 1986, "Love Can't Turn Around" became a number one record in the UK. In January of 1987, JM Silk's (Steve Hurley) "Jack Your Body" hit number one. A wave of 'Jack' songs were produced, most notably Fingers Inc.'s "Can You Feel It," which contains the famous and oft-sampled speech which begins "In the beginning there was Jack, and Jack had a groove..." In New York the Jersey Garage sound, which borrowed heavily from Latin freestyle, was slowly catching on, although it couldn't match the energy coming out of Chicago.

In Brooklyn, a completely new house sound was developing - one that borrowed as much from Euro-pop as from disco and R&B. A kid in Brooklyn named Todd Terry made a couple of tracks which made heavy use of samples. The New York sample house sound, which continues to be popular to this day, was born. However, more important to the development of NY house, was a deep style of dance music based firmly in R&B developing in New York and New Jersey. Though there were a few instrumental tracks, the emphasis was on songs and vocals. This sound was to become garage - which, ironically, began to appear just as the Paradise Garage closed. Taking a cue from New York, Chicago house, which had developed into straight-up drum and instrumental tracks, began to incorporate vocals. By the end of 1987 house was no longer confined to New York and Chicago. While it had not yet taken hold in the States, it had become a phenomenon in Europe and across the world.

Back in the States, house was still underground, and continued to mutate and develop. In Detroit, three people - Juan Atkins, Derrick May, and Kevin Saunderson - were beginning a music revolution of their own. Atkins had been producing Electro-funk (a style which combined hip-hop rhythms with Kraftwerk-type synthesizers) records since the early 80's. The progress of the Detroit sound had been slow, and Electro had become fused with rap (most notably in Afrikaa Bambaataa's "Planet Rock," which prominently featured samples from Kraftwerk's "Trans Europa Express"). But by 1985 the sound was changing as it began to incorporate Chicago house sounds and rhythms. The breakthrough came in 1987 with Rhythm is Rhythm's "Nude Photo," produced by Derrick May. "Nude Photo," along with "Kaos" and "The Dance," all by May, became instant hits on the Chicago scene. This trio, along with Eddie "Flashin'" Fowlkes and Blake Baxter were developing what would eventually become techno. Detroit techno was faster, harder and more influenced by European synth-pop than Chicago house, borrowing more from funk than from disco and R&B.

In 1986 Phuture, which consisted of DJ Pierre, Spanky and Herbert J produced the seminal "Acid Trax." The first time it was played at a club it was played four times that night. According to Pierre, the first time, everyone was taken aback at this completely new and alien sound, but by the fourth time, everyone loved it. The otherworldly sound became known as "acid."

While Acid House became an instant sensation in Chicago, it didn't catch on anywhere else until late 1987, when it began to infiltrate the British club scene. In February 1988 the British acid house craze was born at a warehouse party called Hedonism. As acid tracks began to pour out of Chicago, the British house scene grew exponentially - with DJs discovering that they had years worth of Chicago records with they had been unable to play until then. Acid house became the biggest youth fad since punk in Britain and British producers began to produce acid house tracks.

By 1989 the UK and its trend-hungry press had become the center of the dance music world. Acid became passè as it crossed over into the mainstream. Then Garage was discovered. Garage had long been used in the British house scene to differentiate the smooth, soulful songs of New York from the more energetic, uplifting tracks from Chicago. Garage became the new music fad in Britain. This confused most New York producers and DJs, who referred to their music as club or dance music, using Garage to refer to the music played at the Paradise garage, and using house to refer to Chicago drum tracks.

In 1989, house music had become known across the world - but Chicago still had something new to contribute. People like Steve Poindexter and Armando developed a rawer and rougher sound, which eventually, along with acid and Detroit techno, developed a new style of techno. By this time the Detroit club scene had quieted down, while it's music had caught on in Europe. While Detroit is recognized as the birthplace of techno in Europe, it still has not achieved the recognition it deserves in the States.

10 more years have passed and house and techno have continued to grow. Both have splintered into too many sub-genres to describe. In the 90's, house and techno have proliferated and spread across the country and the world, with countless labels releasing vinyl, and a few releasing compilation or mixed CDs. While house and techno have become pop staples in Europe, they both remain largely underground in the US, with labels releasing tracks only on vinyl for DJs. Despite the media and the record industry's attempts in 1997-98 to exploit techno and make it the "next big thing", house and techno have remained faceless, heard mostly in clubs played by DJs, who are the "stars" of house and techno. Despite initial belief that both house and techno were just passing fads, it appears that they are here to stay.

For more information on this subject, check out 'House Music... The Real Story,' by Jesse Saunders, the originator of house himself. 'House Music...' is available on-line at http://www.justsaypro.com, or can be ordered for $25 (including shipping) from JustSayPro Orders, 2331-D2 East Avenue S, Suite 122, Palmdale, CA 93550. Please make all checks payable to NOIZ LTD.

DJ Skooch
Jesse Saunders
September 1999


http://www.undergroundfiles.com/history.html

[Bucketheads]

Mudah2 an yang udah baca gak ngeributin soal genre lagi dan gak saling hujat yah...  Inget.. bentar lagi hari sumpah pemuda loh!!

[prama]

betul apa kata atas gw ! ngapain sih ngeributin soal genre .. mau electro lo gak suka, mau house lo gak suka, mau trance lo gak suka ya gak usah diributin lahh ... lagi kagak ada untungnya ngeributin masalah genre .. kalo emang gak suka ya diem aja ..baca tuh diatas buat para newbie" ...huhuh

[Anonymous]

Baca dengan baik2 yah teman2,, mau trance, electro, techno,, kalo diusut2 kan dari nabi adam juga,,Ya kan?

[eclecticboogaloo]

by DJ Skooch & Jesse Saunders

Skip back to 1984 - disco had been going on for about ten years. By then it had declined due to commercial exploitation resulting in a plethora of bad records and culminating in the "Disco Sucks" campaign. However, disco had already laid out the foundations of today's house music by producing DJ culture - creating the extended 12" format that included long percussion breaks for mixing purposes and DJs who beat-matched records to create a seamless groove for people to dance to. It was around this time the first electronic drum tracks started coming out of Chicago.

In Europe the other half of house was being laid out. English electronic-pop like Depeche Mode and Soft Cell had become popular in clubs in American cities like New York and Chicago. Two of these clubs which were to become key to the development of house were Chicago's Warehouse and New York's Paradise Garage. These two clubs were both integrated across sexual and racial lines and focused on the music, which was as varied as the clientele. The music combined R&B based dance music and disco with things as diverse as the Clash and Euro-pop. These clubs had such a profound influence that two new styles of music were named after them - house and garage. However, by 1984, the Warehouse had long since closed its doors and Warehouse DJ Frankie Knuckles was holding court at The Power Plant.

While there is debate as to what the first house record was, it was definitely made by Jesse Saunders. According to Jesse himself, the first house record released was "On & On," on his own Jes Say Records. The first house song written was "Fantasy," also by Jesse Saunders. "Fantasy" was recorded in the summer of 1983, but wasn't released in 1984. While these sound dated now, in 1984 they sounded like things from another planet - with a Euro-pop bassline, a simple, insistent drum machine pattern, and a hint of Kraftwerk's synthesized string sounds.

Meanwhile, a new style of disco was developing in New York, though at a much slower pace. DJs like Larry Levan, and Tony Humphries, and Francois Kevorkian were breaking ground as remixers, and the deep, soulful sound which eventually became Garage was beginning to take shape. Larry Levan was mixing all genres of music together at the Paradise Garage, while Francois Kevorkian, known at the time for his 1983 remix of Kraftwerk's "Tour De France," was creating his own "dub plates" and playing them to his audience's delight!

Back in Chicago at the Power Plant, Frankie Knuckles, who had moved to Chicago from New York around 1983, was playing disco-based house, while Ron Hardy was breaking new ground with the wildest, rawest drum tracks he could find at the Music Box.

Jesse Saunders' second release "Funk U Up", in the spring of 1984 became the first House record to be played on radio. It got as high as #3 at WGCI in and #1 at WBMX in Chicago. Jesse's third release in early 1985 (under the moniker of Jesse's Gang), "Real Love" was also a number one record at both stations and solidified House as a bona fide style of music along with R&B. It spread to radio stations across the Midwest and to the East coast as well.

In 1986, Jesse Saunders and Farley "Jackmaster" Funk released "Love Can't Turn Around", which would eventually go on to be the single most pioneering House record in clubs and on radio that everyone around the globe would come to recognize. Marshall Jefferson became the undisputed king of house with his release of "Move Your Body," which became THE record of the year and was subtitled "The House Music Anthem." Jefferson was developing a deep, melodic sound with pounding pianos and strings. House began to move to a wider audience with the help of mix radio - most notably the Hot Mix 5, which featured Farley "Jackmaster" Funk's daily after-midnight show. At this time in Chicago, house was moving out of the gay scene, though it still remained very much a black and Hispanic thing.

While in the US, house was limited to Chicago and NY, it was catching on in the UK - House first broke into the Billboard charts in Britain in late 1987. In October of 1986, "Love Can't Turn Around" became a number one record in the UK. In January of 1987, JM Silk's (Steve Hurley) "Jack Your Body" hit number one. A wave of 'Jack' songs were produced, most notably Fingers Inc.'s "Can You Feel It," which contains the famous and oft-sampled speech which begins "In the beginning there was Jack, and Jack had a groove..." In New York the Jersey Garage sound, which borrowed heavily from Latin freestyle, was slowly catching on, although it couldn't match the energy coming out of Chicago.

In Brooklyn, a completely new house sound was developing - one that borrowed as much from Euro-pop as from disco and R&B. A kid in Brooklyn named Todd Terry made a couple of tracks which made heavy use of samples. The New York sample house sound, which continues to be popular to this day, was born. However, more important to the development of NY house, was a deep style of dance music based firmly in R&B developing in New York and New Jersey. Though there were a few instrumental tracks, the emphasis was on songs and vocals. This sound was to become garage - which, ironically, began to appear just as the Paradise Garage closed. Taking a cue from New York, Chicago house, which had developed into straight-up drum and instrumental tracks, began to incorporate vocals. By the end of 1987 house was no longer confined to New York and Chicago. While it had not yet taken hold in the States, it had become a phenomenon in Europe and across the world.

Back in the States, house was still underground, and continued to mutate and develop. In Detroit, three people - Juan Atkins, Derrick May, and Kevin Saunderson - were beginning a music revolution of their own. Atkins had been producing Electro-funk (a style which combined hip-hop rhythms with Kraftwerk-type synthesizers) records since the early 80's. The progress of the Detroit sound had been slow, and Electro had become fused with rap (most notably in Afrikaa Bambaataa's "Planet Rock," which prominently featured samples from Kraftwerk's "Trans Europa Express"). But by 1985 the sound was changing as it began to incorporate Chicago house sounds and rhythms. The breakthrough came in 1987 with Rhythm is Rhythm's "Nude Photo," produced by Derrick May. "Nude Photo," along with "Kaos" and "The Dance," all by May, became instant hits on the Chicago scene. This trio, along with Eddie "Flashin'" Fowlkes and Blake Baxter were developing what would eventually become techno. Detroit techno was faster, harder and more influenced by European synth-pop than Chicago house, borrowing more from funk than from disco and R&B.

In 1986 Phuture, which consisted of DJ Pierre, Spanky and Herbert J produced the seminal "Acid Trax." The first time it was played at a club it was played four times that night. According to Pierre, the first time, everyone was taken aback at this completely new and alien sound, but by the fourth time, everyone loved it. The otherworldly sound became known as "acid."

While Acid House became an instant sensation in Chicago, it didn't catch on anywhere else until late 1987, when it began to infiltrate the British club scene. In February 1988 the British acid house craze was born at a warehouse party called Hedonism. As acid tracks began to pour out of Chicago, the British house scene grew exponentially - with DJs discovering that they had years worth of Chicago records with they had been unable to play until then. Acid house became the biggest youth fad since punk in Britain and British producers began to produce acid house tracks.

By 1989 the UK and its trend-hungry press had become the center of the dance music world. Acid became passè as it crossed over into the mainstream. Then Garage was discovered. Garage had long been used in the British house scene to differentiate the smooth, soulful songs of New York from the more energetic, uplifting tracks from Chicago. Garage became the new music fad in Britain. This confused most New York producers and DJs, who referred to their music as club or dance music, using Garage to refer to the music played at the Paradise garage, and using house to refer to Chicago drum tracks.

In 1989, house music had become known across the world - but Chicago still had something new to contribute. People like Steve Poindexter and Armando developed a rawer and rougher sound, which eventually, along with acid and Detroit techno, developed a new style of techno. By this time the Detroit club scene had quieted down, while it's music had caught on in Europe. While Detroit is recognized as the birthplace of techno in Europe, it still has not achieved the recognition it deserves in the States.

10 more years have passed and house and techno have continued to grow. Both have splintered into too many sub-genres to describe. In the 90's, house and techno have proliferated and spread across the country and the world, with countless labels releasing vinyl, and a few releasing compilation or mixed CDs. While house and techno have become pop staples in Europe, they both remain largely underground in the US, with labels releasing tracks only on vinyl for DJs. Despite the media and the record industry's attempts in 1997-98 to exploit techno and make it the "next big thing", house and techno have remained faceless, heard mostly in clubs played by DJs, who are the "stars" of house and techno. Despite initial belief that both house and techno were just passing fads, it appears that they are here to stay.

For more information on this subject, check out 'House Music... The Real Story,' by Jesse Saunders, the originator of house himself. 'House Music...' is available on-line at http://www.justsaypro.com, or can be ordered for $25 (including shipping) from JustSayPro Orders, 2331-D2 East Avenue S, Suite 122, Palmdale, CA 93550. Please make all checks payable to NOIZ LTD.

DJ Skooch
Jesse Saunders
September 1999


http://www.undergroundfiles.com/history.html

sasha sama tenaglia waktu join residencies di twilo new york tahun berapa tuh ?
chart nya ada yg tahu link nya nggak ?