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The Oldskool Series: history of EDM (1964-2004) (pg. 5)
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| 2rip |
Episode #14: Turn It Up
DOWNLOAD: http://2rip.podomatic.com/enclosure...18_41-07_00.mp3
In 1994 Armand Van Helden released his first major track titled “Witch Doktor” which made it to the top 5 list on the Billboard Hot Dance chart. On the other hand Erick Morillo was continuing to pump out classic tracks. He had first gained speed with his productions under the pseudonyms Reel 2 Reel, RAW, and Lil’ Mo Ying Yang. In 1994 he produced “I Like To Move It” under the Reel 2 Reel name which hit #1 on the Billboard Club Play chart. He immediately began traveling the world to play gigs, eventually becoming a millionaire. The song was used in television as well as in the 2005 Dreamworks film “Madagascar.”
In the early nineties Danny Tenaglia first began remixing music. One of his earliest remixes was of Right Said Fred’s tune “I’m Too Sexy” which was released in 1991. In 1993 he released a remix of Jamiroquai’s “Scortching the Planet Earth.” In 1994 he remixed Madonna’s “Human Nature.” Tenaglia’s first epic tune was actually The Daou’s “Surrender Yourself” in 1993.
In 1994 Saved By The Bell hosted an episode titled “The Rave” where Zach and the gang host a rave to fund their trip to Cancun, Mexico. That same year Beverly Hills 90210 also featured an episode where the crew attend an underground Easter party. Growing awareness of underground events at this time led to a growing interest in the media to hype and exploit the rave culture using drugs as a main link behind each story. Part of this was also due in part to the Criminal Justice Act of 1994. The new spark in media attention broadcast the reality of raves to the ears and eyes of people everywhere, igniting yet another wave of ravers that channeled themselves into the circuit.
That same year Buzz in Washington DC ended their year-long run at The Eastside Club to re-open for short periods at both The Ritz (which is now an office building) and again at City Lights (now Love Nightclub) before they settled in at The Capital Ballroom in 1995. The first full-on "Supersting" event by Buzzlife was hosted in 1996 with a brilliant lineup featuring Carl Cox, LTJ Bukem and Laurent Garnier.
Armand Van Helden - Break The 80s
Brooklyn Queen Express - Musek (Roc Hard Mix)
Roxy - Love To Do It (Danny Tenaglia Remix)
Syncopation - All Washed Up
Cajmere - Brighter Days feat. Dajae
George Morel - Don't Give Up
Praxis - Turn Me Out
Angel Moraes - I Like It
Smooth Touch - Take A Trip (Erick Morillo Remix)
The Daou - Are You Satisfied? |
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| 2rip |
Episode #15: Pure Pleasure [1994-1995]
DOWNLOAD: http://2rip.podomatic.com/enclosure...03_49-07_00.mp3
After the 1994 Criminal Justice Act nearly left the British free party scene in ruins many traveler artists moved away from Britain to Europe, United States, Goa (India) and even Australia’s East Coast. The free party ideology spread through Eastern Europe. This period marked the rise in French, German and Dutch sound systems and Teknivals.
A teknival is a free event where any artist who enters is encouraged to participate, often leading to several days worth of randomly placed sound systems, cafes, tents and vehicles. The most famous free party sound system was Spiral Tribe which originated in West London and hosted the Castlemorton Common Festival in 1992 which drew a crowd of 35,000. Some say that this event had a huge impact on the lawmakers to develop the Criminal Justice Act.
The musical background of techno truly resides in Detroit. The blueprint for the entire genre developed from the Belleville Three: Juan Atkins, Kevin Saunderson & Derrick May. Derrick May described techno at one point as “It’s like Detroit. A complete mistake. It’s like George Clinton and Kraftwerk are stuck in an elevator with only a sequencer to keep them company.”
The instruments utilized by the original techno producers in Detroit included drum machines like the Roland TR-808 and bassline generators like the Roland TR-303. The TR-808 was developed to assist artists in making demos of their music and the TR-303 was developed to assist practicing guitarists with bass accompaniment.
A second wave of techno producers soon came onboard. The Belleville crew was joined by artists including Carl Craig, Kenny Larkin and Stacey Pullen. Underground Resistance was also defining their own sound with artists like Jeff Mills, Mike Banks and Robert Hood. UR was a group of artists who viewed themselves as a paramilitary group fighting against commercial mainstream entertainment.
In 1990, Richie Hawtin and John Acquaviva started the Plus 8 record label which was based in Ontario. Many of the initial releases were industrial hardcore recordings. One of their last hardcore pressings was Cybersonik’s “Thrash.” They decided to depart from their hardcore concept when they played a club in Rotterdamn in 1992. The resident dj was playing “Thrash” when the crowd began to yell an anti-semitic football chant. They were prompted to change their musical direction by slowing down their tempos and engaging more funk and soul into their music. The label had eventually taken a sabbatical in 1997 when Acquaviva decided to concentrate on dj’ing and Hawtin began a new label called Minus.
This podcast captures the sounds of various regions that participated in developing the sound of techno as a whole, ranging from Paul Johnson in Chicago to Hardfloor in Germany and Funk D’Void in Barcelona. The timeframe for this music is dated to 1994-1995.
Nerk - Nok 1
Tok Tok - Snack 1
Hardfloor - Into The Nature
Floppy Sounds - Ultrasong
Slam - Positive Education
Robert Hood - Untitled
DJ ESP aka Woody Mcbride - Slow Mo
Christian Vogel - Time
Hardfloor - Beavis At Bat
Paul Johnson - Bouncing Bed Springs
Paul Jonson - Tenacious
Soup - Exposure
Funk D'Void - Jack Me Off |
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| noikeee |
This thread is preventing me from going to sleep. :mad:
Awesome stuff going on here.  |
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| 2rip |
Episode #16: FANTASTIC VOYAGE
DOWNLOAD: http://2rip.podomatic.com/enclosure...27_53-08_00.mp3
Some Orlando, FL doctors estimate that there were approximately 60+ drug related deaths in the city between 1991 and 1997, many of which were linked to the Orlando rave scene. The city had risen quickly and fell quickly due to the widespread amount of excessive drug use. Heroine was very popular in Orlando during the mid-nineties and was actually so much of a problem throughout the city that the police worked to take control, creating "The Rave Review Board" which would impose a curfew on nightclubs which would end any afterhours activity. Since Orlando raves were always held in nightclubs their scene, knocking out the majority of rave promoters from the city as they began looking to the suburbs.
The beginning of the Orlando rave scene can be traced back to a club called Oz. The main promoter of Oz, Stace Bass, had two major residents: Kimball Collins and Dave Canalte. Dave Canalte eventually became musical director for Disney's Pleasure Island.
DJ Icey's roots date back to the same period but at a club called Sub-Zero where he was growing an appreciation for breakbeats. He soon moved on to play at a club called Edge which was supposed to have a Top 40 theme - but not under Icey's watch. With the club packed every weekend from 1991 to 1997, Orlando was growing on the rave map. But simultaneously the drug situation inside The Edge had gotten out of control. The crowd members were often considered to be "gangster ravers." A backlash to these happenings came from within the scene.
Firestone nightclub opened up in 1994, hosting primarily progressive house acts. Progressive house was considered to be a more mature sound and in clubs like Firestone a dresscode was enforced. A split in the scene had become evident with "Edge kids" on one side wearing JNCO jeans, doing ecstacy or heroine and listening to breaks. The other side were "Firestone clubbers" who were dressing up, doing cocaine and listening to progressive house.
Funky breaks in Florida caught on primarily because it was a fusion of styles. The area was already big on electro. There was also the booty shaking music of Miami bass. Funky breaks combined these two but with more of a rave essence. It was also widely accepted because it sounded like a hip hop version of techno/house. In the early to mid-ninetees you would see breakdancers popping and locking at events.
This podcast presents some popular breaks tracks that were released between 1993 and 1996. It illustrates some Florida breaks like Icee and also the sounds of UK Big Beat producers like The Crystal Method and Chemical Brothers.
2 Bad Mice - Bombscare
DJ Icee - Gotta Get Some
The Freestylers - Don't Stop
DJ Icee - Tricks Theme
Silicon Valley Def Stars - Phat Phuzz
Thursday Club - A Place Called Acid
Lionrock - Packet of Peace (Chemical Brothers Remix)
Anoesis - Trouble Down Groove
The Crystal Method - Keep Hope Alive
Chemical Brothers - Chemical Beats
The Woodshed - Reefaman Cometh |
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| Matthias |
| I have never seen anything like this posted. I admire the amount of passion going into this project. Keep it up! |
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| pwnage1 |
| I can't turn down the bigbeat set. Also, will have to check out some others. |
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| 2rip |
| Thanks again for all of your comments. I almost feel like I shouldn't cap this at 26 episodes like I was going to. There's actually a lot that still hasn't been discussed. |
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| enydo |
| Wow how did I miss this thread? |
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