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The Oldskool Series: history of EDM (1964-2004) (pg. 6)
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| 2rip |
Episode #17: Evolutionary Rhythm
DOWNLOAD: http://2rip.podomatic.com/enclosure...14_14-08_00.mp3
Between the year 1995 and 1996 jungle began splitting further into other sub-styles. What was once known as jungle was now being recognized as drum & bass by newcoming fans. During 1995, P-Funk introduced "P-Funk Era" which would revolutionize the sound of drum & bass as many artists began to incorporate more rolling basslines into their production.
During this same year jungle became more commercialized. Though he was mostly intrigued by acid house and Detroit techno, Alex Reece rose to become a very influential name in the jazzy/intelligent drum & bass scene. Although remaining an underground genre, Goldie's "Timeless" sold 150,000 copies in the UK alone. Goldie also formed his label Metalheadz in this time period which signed Doc Scott, Dillinja, and Photek. Intelligent drum & bass was seeing a large popularity while the jungle sound of the early 90's had slowly begun to fade away.
In 1996 Grooverider coined the term "hardstep" for a new wave of drum & bass productions. Hardstep was a move dancefloor oriented style when compared to intelligent drum & bass and the language of the track composition incorporated the same rolling bassline that was becoming widely used in the previous year. From hardstep there immediately came techstep and darkstep.
P-Funk - P-Funk Era
Alex Reece - Pulp Fiction
DJ Pulse - Let You In (Wax Doctor Remix)
88.3 feat. Lisa May - Wishing On A Star
Aphrodite - Wanted It More & More
Richi & Jmj - Free La Funk (Pfm Remix)
Jon The Dentist - France (DJ Trace & Ed Rush Remix)
Roni Size - Secrets
Bigga World - My Perspective
Adam F - Metropolis
Aquasky - Images |
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| 2rip |
Please feel free to share the thread link! There's a lot of good stuff coming up. I just had a phone interview with a man partially responsible for the growth of the EDM scene in San Diego - some very inspiring stories!
Doing this project has really opened my eyes to a lot of things. I almost feel like I was there when this stuff was going down. It's also revived the way I feel about the music and what I want to do with it going forward. |
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| 2rip |
Episode #18: Solar [1994-1996]
DOWNLOAD: http://2rip.podomatic.com/enclosure...14_46-08_00.mp3
In 1994 Paul Oakenfold broadcasted a set on BBC Radio 1's Essential Mix that was largely inspired by beach parties taking place in Goa, India. The two hour mix was seperated into two parts, one half being the Silver Mix and the other being the Gold Mix.
Around this time the popularity of trance was beginning to rise. During 1994 the trance scene was continuing to develop. Listeners grew increasingly interested in trance not because of the complexity in rhythm but from the complexity in melody & harmony. Many trance songs began to incorporate a method called "gating" which turns the volume up & down rapidly om a rhythm piece to create a stuttered or chopped sound.
Ecstacy had quickly become a primarily trance drug while LSD was also used very frequently in the trance community. The swooping synth patterns and the gated vocals in trance was a stimulating effect while using these drugs. Similarly dancers would take advantage of the breakdowns in trance music to break from dancing and take in long breaths of air. This rushing sensation would then build as the buildups in the music reached their peaking point.
By the mid-90's came the introduction of vocal trance which added vocals and a pop-like structure while producers like Robert Miles were pioneering dream trance. One of the most famous dream trance productions was "Children" by Robert Miles.
Other producers would move in a different direction. DJ Scot Project is often hailed as the founder of hard trance. Hard trance focused on pounding beats and more simplistic synth pads. It also incorporated more of an emphasis on acid sounds. This was taken to the next level with the acid trance genre which actually held more similarities to that of acid techno.
Near the end of the 1990's many of the producers that pioneered the sound of trance had abandoned the genre completely. Oliver Lieb who debuted in 1993 as LSG was one of these producers.
Li Kwan - Point Zero
Luxor - Superstitious (Nursery Mix)
Coloured Vision - Violet Rain
Albion - This Is For
DJ Jamo & Jack Knives - Strings Of Heaven
Skylab - Accident
Scot Project - U (I Got A Feeling) |
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| muldi |
nice old mix ;)
marvellous melodicus |
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| saluyamo |
| Some of these are pretty cool :) |
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| ZeJayMan |
going to get into this in a big way after i'm done studying.
the tracklisting looks good. would like to take a look and see if I could work with you on improving the artwork and maybe getting this more popular. I do a radio show and i'm interested to hear these. |
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| 2rip |
| quote: | Originally posted by ZeJayMan
going to get into this in a big way after i'm done studying.
the tracklisting looks good. would like to take a look and see if I could work with you on improving the artwork and maybe getting this more popular. I do a radio show and i'm interested to hear these. |
Ummm... there is no way to improve the artwork. These are mixtape covers and flyers that were released when I was in college and high school - about a decade old. The point in having them is to preserve the look and feel of the tapes & flyers.
I definitely appreciate that you are enthusiastic about this. If you have any ideas on how I can spread this project that would be great. Feel free to drop me a PM if you have anything you can think of! :) |
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| ZeJayMan |
love the house that jack built that's probably my favourite of the mixes i've heard so far, will be downloading more.
i didn't mean that the artwork was bad I just think that if you wanted these to become more popular it would be easier for me to do it if you changed the artwork. I would disagree that there is no way of improving the artwork. |
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| 2rip |
Episode #19: Elevate
DOWNLOAD: http://2rip.podomatic.com/enclosure...39_23-08_00.mp3
Rewind to San Diego, 1986. Leading up to this year die-hard San Diego party kids make a 2 hour drive to downtown Los Angeles. Many of the popular Los Angeles parties in the mid-80s were hosted in hotel banquet rooms. One of the most famous was The Park Plaza Hotel. When Todd Zweig went on a trip to Ibiza, Spain that year he had a refreshing musical experience. The massive parties and Balearic dj style ignited his motivation to put an end to the two hour drive to LA and give people in San Diego an event that brings all types of people together under one roof. This was the birth of Playskool.
Playskool, which was eventually renamed Playscool after legal confrontations with the Hasbro Toy manufacturer, was held at Hotel San Diego at Broadway & State Street. During this time the acid house revolution in Europe had not even begun and dj's mostly played artists like The Cure, Aerosmith and Anita Ward. By 1988 Playscool had become so big that Zweig made his first arrangements to use the San Diego Sports Arena.
Zweig had hired George Kreiger who promoted and staged bungee jumping demonstrations for this first event at the Sports Arena. The bungee jumpers were to run across the rafters dressed as police officers and descend upon the crowd as a joke. During practice an operational error took place which led to both jumpers falling to the floor below. No casualties took place but the situation led to a lawsuit which had eventually become case law titled American Casualty vs. Kreiger. After this incident happened in 1987 the decision was made to make Playscool a yearly event.
In 1989, Mark E. Quark was asked to take over Greyboy's "World House" night at Soma on Market Street in San Diego. The event was a copy of Bart Blackstone's "One Nation Under A Groove" events. However the "World House" night came to an end within a couple of months only to re-open shortly afterward with Mark E. Quark as the resident dj, supplied this time with more promotional power. The second run was highly successful with turnouts of 600 - 1000 people per weekend. At this time Quark was mixing between artists like Front 242 and Nitzer Ebb as well as Lords of Acid, Phuture, Lil' Louis and even some disco & funk. However as time pushed on there was less industrial and more acid house being released. While it was new at the time, acid house was positively received in San Diego however it wasn't until he began playing Belgian & Detroit techno around 1990 when people would go completely ape for the music.
In 1991 Mark E. Quark was living in a warehouse space at 9th & G St with Brian Weinberg who owned and rented out sound systems for various parties. Brian along with Paul Smith, who was the Playscool arts director, came together as SkinTwo Productions and threw several parties at the warehouse, aptly naming them "Ware's The House." These were some of the first warehouse parties in the city.
Around the same time frame a DJ named Daemon showed up to an underground warehouse party hosted at a different location. He got into the party by carrying his records, posing as a dj. Once he got in he was greeted by Mike Lee who took him to the dj area. The previous dj had become too ed up on drugs to continue holding the crowd and Daemon jumped into the dj booth to help create some movement on the dancefloor. At this point it was announced that Daemon would be the resident for the upcoming MicroRave events hosted by Mike Lee & Claudio Canive. These were considered to be the more underground events and others like them continued to spring up hosted by such crews as Double Dipped, Global Underworld and Outlaw.
Until this time period the police had actually, for the most part, accepted raves. They were glad there was no violence and drug use had not yet become rampant. Similarly, any drug use at the time was typically ecstacy which the police saw as a happy drug. On July 22, 1994 an incident would shake the foundations of the San Diego rave scene. At a Moonlight Massive party hosted under the 8 Freeway at the end of Juan Street there was a shooting that killed two 15 year old boys, reportedly over drug money. The murderer had been on acid himself and had reportedly killed the wrong people. Partykids were detained at the scene for several hours as police investigated the crime. The incident showed all over the news and had become a major down-turn for San Diego raves. Promoters became more cautious and sometimes feared throwing events while police and the media began to keep a close watch on parties and venues.
By the mid-nineties Global Underworld Network was hosting the famous Narnia events. These events would host such talents as Deelite, DJ Dmitri, and the Wicked Soundsystem. By 1996 Playscool reached their 10-year anniverary on October 4th. The lineup featured six rooms of music which included acts like Rabbit In The Moon as well as Sandra Collins and Planet Soul. In 1997 the American Casualty vs. Kreiger case had come to a close and Todd Zweig had decided to retire from hosting events.
This week features a blend of house music from the entire portion of the mid-nineties including some tribal tunes as well as classic house. The graphic for this mix was taken from a flyer for a San Diego based rave that featured Mark E. Quark, Daemon, Hipp-e and DJ Dan.
Mr Oizo - Kirk (Intro)
Francois K - Edge of Time
Peace Division - Faze K
Danny Tenaglia - Bottom Heavy
Loose Pigeons - The Logical Song (Henry St Remix)
LoSoul - Open Door
That Kid Chris - Black Jack (Radio Edit)
Cevin Fisher - Music Saved My Life (Hard Mix)
95 North - Who's Hoo (Dub Mix)
Seeds & Stems - Get U High
Static - Anthem (Let There Be House!) |
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| 2rip |
Episode #20: Vision of Rhythm [1995-1997]
DOWNLOAD: http://2rip.podomatic.com/enclosure...11_01-08_00.mp3
In 1995 a website named Erowid was founded by an organization called “Fire & Earth Erowid.” The site actually remained as a part-time project up until the end of the 90’s. The website specialized in the controversial niche of providing accurate, specific and responsible information about how psychoactives are used around the world. The site soon became a cross between a library and a journal.
During that same year a jewelry maker named John Dwight wrote a letter to the city to request a traffic tunnel to shoot for a “promotional video compilation.” The idea was initially used during the filming of Stephen King’s “The Stand” which took place in Pittsburgh. However, Dwight’s motive was not to simply shoot a video but to throw a party – Tunnelvision. The city approved and this event went down as one of the most legendary parties on the East Coast.
The Tunnelvision party hosted artists like DJ Sun, Speedy J and Dieselboy. The stage was set up with a wall of television sets next to the dj booth and 1500 ravers danced around in baggy clothes. Halfway into the night a large man stripped down naked in the middle of the party and began humping the speakers. He then attempted to charge the television sets next to the booth but was stopped by Joe Lesesne. The naked man was then loaded into a minivan and kept safe for the rest of the night but became an implanted memory for party attendees. Midway into the night, neighbors in the surrounding area began complaining over noise. This sparked media interest. The event hit the news by the next morning and marked as a turning point for the Pittsburgh scene.
In 1994 Fuel Productions, headed by Rick Worth aka Stickman, hosted Synovial Fluid. The event featured Deadly Buda, Ryde, and Dieselfboy. This was one of the largest Pittsburgh raves during that time period. A week after Tunnelvision, Rick Worth hosted a party at the Washington County Fairgrounds. They had forecasted that the party would pull at least 1000 people, however only 300 showed up. This marked Pittsburgh’s first slowdown.
Across the United States in the deserts, Full Moon Gatherings were growing in popularity. Around 1993 a group of individuals had felt that the rave scene was becoming too commercialized. Their inspiration came from the Wicked full moon parties in San Francisco. The first Full Moon Gathering was hosted o in the Lake Castaic region north of Los Angeles. sound system was soon brought into the desert, however the first few events were nothing record-breaking and attendance was low. Soon the crew was completed by DJ Daniel, John Kelley, DJ Brian, Dj Treavor, Petey, Mr. Annand and Tha Roman. In February of 1997 directions were given out over KCRW radio and an attendance of over 2000 showed up for that particular Full Moon Gathering. In the morning of that event, helicopters flew over the party and police in riot gear descended upon the crowd. Following this, Moontribe began making their events more difficult to access by limiting advertisement of events and finding land far away from civilization.
In 1995, however the scene was experiencing a boom coming out of Chicago. Carlos Sosa aka DJ Sneak developed a new sound that would revolutionize house music forever. The disco filtered grooves became Sneak’s signature sound. The new sound would inspire artists such as Daft Punk and Basement Jaxx.
In 1996 people all around the world were taking cues from Chicago house. Boris Dlugosch produced vocal house bomb “Keep Pushin.” At the same time Strictly Rhythm Records had become one of the first dance labels to recognize the value of actively licensingsingles to non-US territories and actively exploited the advantage. The label continued to push out songs regularly, along with Henry Street Music which license The Bucketheadz popular track “The Bomb.”
Armand Van Helden - Mecca Toast
Norty Cotto - Time To Rock A Party
DJ Sneak - Throw Your Hands Up
Da Mongoloids - Spark Da Meth (Bangin Like A Benzi Mix)
Aleem - Filtri Organi
Ruffneck - Everybody Be Somebody
Boris Dlugosch - Keep Pushin' (Pushin Mix)
Freestylers - Don't Stop (Deep Energy Mix)
ATFC - In & Out Of My Life (Lab Rats Dark NIght Vocal)
That Kid Chris - I Believe |
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| SYSTEM-J |
| I hate to nitpick, but saying the Goa Mix was the spring board for Vangelis' career is absolute lunacy. This is a guy who'd sold 20 million records by 1972, fully 22 years earlier. |
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| 2rip |
| quote: | Originally posted by SYSTEM-J
I hate to nitpick, but saying the Goa Mix was the spring board for Vangelis' career is absolute lunacy. This is a guy who'd sold 20 million records by 1972, fully 22 years earlier. |
Your right. That paragraph could use a re-word. I was essentially referring to the way that mix added to the popularity of any producer on that mix. |
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