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-- Earliest House Music Works, pre-1985
Earliest House Music Works, pre-1985
List your favourites of the earliest house music tracks you know. 1984 and earlier. If you cant think of any, just your favourite house tracks from entire 1980s - garage, deep, acid, classic, detroit 
My top 5:
1. World Premiere (2) - Share The Night (1983)
http://www.discogs.com/World-Premie...t/release/73301
Youtube: http://www.youtube.com/watch?v=MOT-Il_AFSo
2. Tony Cook - On The Floor (Rock-It) 1984
http://www.discogs.com/Tony-Cook-Th.../release/478314
Youtube: http://www.youtube.com/watch?v=H1TKhyJFOfg
3. Serious Intention - You Don't Know (1984)
http://www.discogs.com/Serious-Inte.../release/250810
Youtube: http://www.youtube.com/watch?v=ntdvghVElvQ
4. Z-Factor - Fantasy (1984)
http://www.discogs.com/Z-Factor-Dan.../release/302513
Youtube: http://www.youtube.com/watch?v=w44LcLcxICw
5. Visual - The Music Got Me (1983)
http://www.discogs.com/Visual-The-M...e/release/80290
Youtube: http://www.youtube.com/watch?v=R1laS_fqcow
Ealiest house music inspirations that I can think of from top of my head:
Dinosaur L - Go Bang! (1981) - very disco, but you can feel the house elements already
http://www.discogs.com/Dinosaur-L-2...sic/master/8344
Youtube: http://www.youtube.com/watch?v=BYfUGBfKCPU
I label this as house - if you listen to the whole track, you know what I mean:
The Clash - The Magnificent Dance (1981)
http://www.discogs.com/Clash-The-Ca.../release/364454
Youtube: http://www.youtube.com/watch?v=-RVePCNEFUc
Group Imagination had a lot of great tracks that have a house feeling:
Imagination - Just An Illusion (1982)
http://www.discogs.com/Imagination-...on/master/17427
Youtube: http://www.youtube.com/watch?v=PcwPWpXQG_U
Just off the top of my head:
Colonel Abrams - Trapped
http://www.youtube.com/watch?v=tSNWeXGZMcU
http://www.discogs.com/Colonel-Abra...ed/master/87983
Sister Sledge - Lost In Music
http://www.discogs.com/Sister-Sledg...c/master/120210
http://www.youtube.com/watch?v=JNzGZfkHj20 (only version I could find lol)
| quote: |
| Originally posted by bas Just off the top of my head: Colonel Abrams - Trapped http://www.youtube.com/watch?v=tSNWeXGZMcU http://www.discogs.com/Colonel-Abra...ed/master/87983 |
| quote: |
| Originally posted by bas Just off the top of my head: Colonel Abrams - Trapped http://www.youtube.com/watch?v=tSNWeXGZMcU http://www.discogs.com/Colonel-Abra...ed/master/87983 Sister Sledge - Lost In Music http://www.discogs.com/Sister-Sledg...c/master/120210 http://www.youtube.com/watch?v=JNzGZfkHj20 (only version I could find lol) |
New Musik - Warp ? I think it's from 82.
How do you not have any Jesse Saunders in there?
edit:
(1984)
| quote: |
| Originally posted by wotyzoid How do you not have any Jesse Saunders in there? edit: (1984) |
Steve 'Silk' Hurley - Jack Your Body
| quote: |
| Originally posted by PSi have you heard the boards of canada remix of trapped? |
boc aka hell interface remix of trapped is overrated as fuck. their remix of midnight star's midas touch is amazing though
Alexander Robotnick - Problemes d'amour (1983)
early acid house
| quote: |
| Originally posted by bas Have not. Is it terrible? |
| quote: |
| Originally posted by Magnetonium [COLOR=FF7F50] Z-Factor IS Jesse Saunders |
just picked up a copy of jackmaster silk's - music is the key for $4 US from a used record store, near mint.
who the fuck sells JM Silk for $4?
i love living in an old rave town
I was born in '88, and don't think I've ever heard any O.G. House from the 80's. :0
The first BIG house track:
Gotta have houssse music all night long
With that houssse musiic you can't go wrong
Give me that houssse music let me be
lost in houssse music is where I want to be
Its gonna set you free
Marshal jefferson says:
I heard in tune in my head that actually had female vocals, not with the Move Your Body words but other words. Come to think of it now, I think I'll write a tune with those words It came to me while working the graveyard shift at the Chicago Post Office (12am-8:30am) on a letter sorting machine. From there I rushed home to get it down.
I programmed the drums, piano, and bass there, then scheduled a session at my friend Lito Manlucu's tascam 8 track studio. I called all my friends at the Post Office-Thomas Carr, Rudy Forbes, and Curtis McClain, and told them I had a song i wanted to do at the studio, and they came. I still hadn't written vocals though.
Everybody got to the studio, and i wrote the verse and the chorus in the studio. I added a string line by playing half the piano line through a Prophet 2000 string sound. Prophet 2000 was also used for the piano. Roland Jx 8p was used for the bass. Now I know technically better piano sounds have come and gone since that old 32khz Prohet piano sound but none of them sound better to me.
Anyway, we finished mixing the tune and I looked at the guys like I'd just written the greatest song of all time. They thought it sucked. They weren't too excited about it. Studio time recording and mixing took about 3 hours.
The night, I took the song 1st to the Sheba Baby club, where my firends Mike Dunn, Tyree Cooper, and Hugo Hutchinson were DJ'ing. This was before they all had records out, and I was known as Virgo. (loved that nickname!) They loved the song and I gave them a cassette copy, but they said it wasn't House music because of the piano. From there i drove to the Music Box to give Ron Hardy a copy. Outside in the car i played it on my car system for some friends (One was K-Alexi) and I don't think they were too impressed. I'd had about 15 unreleased songs playing in the Music Box at that time and they thought some of my other stuff was much hotter. They also said it wasn't House Music because of the piano.
After that, I went into the Music Box and gave DJ Ron Hardy a copy while he was playing. I didn't expect him to play it right away; usually i just gave him a copy and he'd listen to it later and maybe play it the next weekend. This time he put it in the cassette machine right away. I saw his head quickly go into a violent bobbing motion and I knew he liked the song. He immediately put it on and played it 6 times in a row, putting on a sound effects record while he rewound the tape.
From there it got to be the biggest song in the Music Box. Ron told me not to give it to anybody else, and I held off for awhile, but there were other DJ's in the city that wanted it and finally I gave in when Frankie Knuckles, Ron Hardy's biggest rival got a copy of it. Prior to that,I took it to Trax Records to press it up on my own label. At that time Larry Sherman, the owner, considered himself a House music expert because he'd previously put out Jesse Saunders stuff and also 4 of my records. He hated the song and said it wasn't House music because of the piano. I didn't care and paid him to press the record up.
13 months passed before he finally pressed it up, but there were some things that happened before that......................
After Frankie Knuckles got a copy of it, it seemed the flood gates opened. I had to give Lil Louis and Fast Eddie copies, because Eddie lived 2 doors down from me on my block and Lil Louis lived on the next block. Mike Dunn, Tyree Cooper, and Hugo Hutchinson already had copies. Pretty soon it seemed like every DJ in Chicago had copies................some really bad and some passable, but crowds freaked every time it came on.
International DJ's played it to and this is how I tracked down how they got copies, after talking to the DJ's and members of the press:
1. Frankie Knuckies got his copy from my friend Sleezy D.
2. Frankie Knuckles' best friend was Larry Levan from New York's Paradise Garage. At that time, DJ's from all over the world would fly to New York to hear what Larry played, because whatever was popular there became hits.
3. Somehow DJ Alfredo from Ibiza got a copy of it, and started playing it in Ibiza.
4. English DJ's Paul Oakenfold, Danny Rampling, and Jazzy M got copies. Pete Tong and Paul "Trouble" Anderson got copies too, but I'm not sure if they got it at the same time as the 1st 3 or not.
5. Once the English DJ's started playing, things got weird, because the press got involved. England was quick to jump on a new music trend and got on it right away. "Move Your Body" had the words "Gotta have House music, all night long", and with that "House" music, you can't go wrong!" so naturally, the next task was finding out what house music was and getting the full scoop.
I started hearing English accents asking me for interviews when I answered the phone. I thought it was my friends screwing with me, but damn, those accents sounded authentic. I did a few phone interviews and suddenly, a whole herd of British Press all flew to Chicago to interview any and everyone involved with House music. They sat in on sessions and took loads of pics. Of course, Larry Sherman considered himself the resident expert on House Music and offered to take all the press around to all the House music clubs in the city. At that time I'd tried everything to get Larry to press up Move Your Body, but he hated it and said it wasn't House Music. It was because he said it wasn't House music that I called it "The House Music Anthem".I even paid him with my own money to press it up. and he still hadn't done it.
Well, when Larry took the press around to all the House clubs, Move Your Body was the hottest song playing at every single club-on dirty cassettes. The day after he took the press around to all those clubs, Move Your Body was finally on vinyl.
When "Move Your Body" got released, it wasn't released on my label, it was released on Trax records. Larry did a last minute hack job because he was so excited , and didn't even bother to recut or remaster it, he just scratched out my label number (OS2 for Other Side Records 2) on the mothers and added his own (Tx 117) to this day you know you have an original pressing if you see where he scratched out my label number.
Another thing that gave me grief was he put down "Marshall Jefferson" as the artist. I had been using the nickname "Virgo" for more than a year and it was my 1st nickname. All my life i wanted a nickname but never had one, the song being so popular totally blew Virgo to the side and I haven't used it since. The artist on "Move Your Body was supposed to be "On The House"-my friends from the Post Office, Curtis McClain, Rudy Forbes, and Thomas Carr, and putting it mildly, when the record came out as "Marshall Jefferson", they weren't too pleased.
They stormed over my house and asked me wtf was going on. I told them Larry Sherman put it out on his label instead of mine without my consent. They didn't believe me and I gave them the address to Trax Records so they could go and talk to Larry and straighten it out.
Well, when they got there Larry basically told them that Marshall Jefferson was the name on the label and they could kiss his ass, before telling them to get lost not very politely. They came back over my house and told me how Larry was a crook and all that. Somebody came up with the idea of me signing an affidavit that they sang on the record and that's what I did.
They then took the signed affidavit to Larry and Larry told them that they were really great singers, and he'd given me $150,000 and put my name on the song because I'd signed a contract. They stormed back over my house and asked me for some of the $150,000. I told them I he hadn't given me $150,000 and in fact i'd paid him $1500 to press up 1000 copies on my own label, but they didn't believe me, even after i showed them the receipt. They said they were going to sign a contract with Trax Records because Larry was going to put their names on records and pay them a lot of money. I tried to talk them out of signing a contract, but the lead singer Curtis said I was trying to keep him from being as famous as I was and I was jealous.
Now please understand when you hear your record playing on the radio, and you have friends and family putting pressure on you, sometimes things get irrational. This is what I put it down to and I tried my best to talk them out of signing a contract, but they did it anyway. To make a long story short Larry gave them no money, but he did put their names on 2 records.
I have been fighting to get the rights back for "Move Your Body" for 20+ years. This is why people have sampled the record with no consequences. Todd Terry did it 1st, then had the nerve to sue Jungle Brothers for sampling his sample of me. The floodgates seemed to open after Todd did it, seems like everyone started doing it after that.
My feelings on it? At 1st i was pretty pissed off. I've never sampled another artist because of that. And also I discourage anyone I've ever worked with from sampling. I play all my keyboards on all my records myself, and I started out not knowing how to play anything at all. My technique? When I 1st started, I would play stuff at 40-60 bpms into the sequencer and speed it up to 120+. Easy. I couldn't understand why everyone else couldn't just play whatever they wanted the same way.
All my friends saw how i did it, and started doing it too. This is why almost all of the original Chicago guys have their own sound: it's because we played everything ourselves.
Now something got lost when other areas started making it and they assumed we were all hiring keyboard players. I considered sampling other peoples music the absolute bottom of the barrel. The sampled people had paid to hire full orchestras, somethings 50+ musicians, and some kid at home had the nerve to just sample it and call it his own. Sorry about feeling this way, but I did and still do.
That's not even including what I saw then about the industry wide ramifications: every single person on the planet now had the ability to make a record. This had been started with sequencing, I'm living proof of that. But this was different. I thought within 50 years, there would be no more musicians. Why would there be? Who would sit at home for hours practicing when their friend next door sounds great right away by sampling something? I could easily see releases going from 20 a week to 20,000+ a week-and it's happened already!
As I got older, I stopped getting mad about it and told myself, if they're going to sample me, make sure it's the best quality, because they're starting to get 4th generation samples now; dance music has no history now because of the flood of releases. They don't know that their sample is DJ X-who sampled DJ Y-who sampled DJ
Z-who sampled DJ O, who got his sample from Masters At Work. If they sampled Masters at Work 1st then the quality would be almost acceptable. But we're starting to get really crap quality now, and people are thinking everything in dance music has shitty quality.
I want House music quality to be great because if it sucks, that wipes out everything I've spent my whole music career trying to do-improve the quality and perception of House music.
That Alexander Robotnik song is fucking amazing... reminded me a bit of Sonic music (no I swear to god that doesn't have anything to do with the name of the artist ). Only familiar with some of the earlier house songs from picking up a "History of House Music" compilation for about $6 from Borders years upon years ago. So keep the classics coming, first...
Here's another wicked Italo track from '83 that I heard recently and fell in love with: Love Club - Hot Summer Nights
http://www.youtube.com/watch?v=fG5A...feature=related
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