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The Oldskool Series: history of EDM (1964-2004) (pg. 7)
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| wotyzoid |
| some really good house tunage here. cheers. |
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| 2rip |
Episode #21: GHETTO HOUSE
DOWNLOAD: http://2rip.podomatic.com/enclosure...45_32-08_00.mp3
While Cybotron, the first major release from Juan Atkins in Detroit, may be considered the first techno record it is also arguably known as the first electro record. Across the United States, Afrika Bambaataa released "Planet Rock" in 1982 while Hashim released "Al-Naafiysh" in 1983. Electro was dominated by staccato, percussive rhythms with heavy use of effects such as reverbs and delays. Electro was a primary influence in the development of Miami Bass.
Miami Bass became popular at the start of the 90's. The genre was a type of rap music that was geared towards fast-paced dancing. 2 Live Crew is said to have a large influence and with their hit singles like "Me So Horny" the genre became more widely popularized. By 1993 the underground sound of Miami Bass was becoming extinct as groups like Tag Team released "Whoomp! There It is" and Quad City DJ's with "C'mon And Ride It (The Train)." These releases made it onto mainstream radio and many dance cd compilatons. With the commercialization of Miami bass, a few dedicated dj's in Detroit began similar productions of their own.
DJ Assault & Big Red were a hip hop group that dj'ed fast-paced dance music. While working at Buy-Rite Records their owner encouraged them to incorporate techno into their mixes. Right around the time that they signed with Buy-Rite Records, DJ Godfather was popping up on the Detroit scene. DJ Godfather and mentor DJ Dick had put together a couple of bass singles in 1993 and 1994 as Bass Association. In 1995 they founded Twighlight 76 along with DJ Nasty, moving their production in a more techno direction but still combining Miami Bass samples.
Leading up to this point the electro & techno community in Detroit was a primarily black scene. By the mid-nineties a white teen from Ann Arbor, Michigan had climbed into the DJ scene and started combining Detroit's new style after seeing Assault and Godfather at a rave. The style of this sound was often considered to be "fast stuff" or "mix show music" but Disco D quickly coined the phrase "ghetto house." This term rubbed the originators of this music in a very wrong way, however the name stuck. The term also has other monikers such as booty house and ghettotech.
Booty house took on it's shape around 1992 an features stripped down, 4 to the floor, drum-machine driven tracks layered with sexually explicit lyrics. It was also known as Juke House upon it's conception and was said to be founded in Chicago. Ghettotech is the cousin of Juke/Booty House and follows the groundwork described earlier regarding Detroit and the incorporation of techno, juke house and electro gave it a Miami Bass feel.
This mix was recorded in 2003 but the wax selections are from 1995-1997. This recording, like many of the previous, has never been distributed. This particular mix never had a name associated with it and I shortly gave up mixing this genre after the tape was dubbed.
DJ Slugo - Balls
DJ Slugo - Track Is For The Men
Unknown - Beat That Up
DJ Godfather - Playa Haters In Dis House
Twighlight 76 - Roll It, Ride It, Shake It (12" A Side)
DJ Deeon - Where The Hoez (Uh Oh)
Dance Mania - T-N-E = Taris
Big Daddy Rick - Hoe Bend Over
DJ Godfather - Pump
Unknown - Giggle Dat
Big Daddy Rick - Beyond The Inferno
Big Daddy Rick - Balloons
Twilight 76 - Roll It, Ride It, Shake It (12" A Side)
DJ Nasty - Where Them Hoes At
DJ Slugo - Wouldn't You Like To Be A Hoe
Farley Jackmaster Funk - Beat That Bitch With A Bat |
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| Domesticated |
Great series here, I am downloading all of them.
I think you skipped episode 21? |
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| 2rip |
| quote: | Originally posted by Domesticated
Great series here, I am downloading all of them.
I think you skipped episode 21? |
D'oh! I just mislabeled. Episode 22 hasn't actually been posted yet. |
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| 2rip |
Episode #22: Mental [1997]
DOWNLOAD: http://2rip.podomatic.com/enclosure...39_13-08_00.mp3
Since 1990 Nicole Maalste had been studying drug use and drug cultures in the Netherlands. In 1995 she started a project, subsidized by the Ministry of Health, that would monitor "risky behavior" and drug use at raves. The study found that one-third of partygoers have felt ill at raves but only 10% actually sought out first aid which was typically provided at most large scale events. As raves continued to become more popular these facts were mirrored across the world.
In 1997 a drug monitoring system reported that the ecstacy market had become polluted as chemists began using other drugs in the pill make-up, but selling them as pure MDMA. Such things had been seen in the past but with raves continuing to make an upswing the total number of partygoers using ecstacy was on the rise, creating a growing number of pill mishaps. That same year a magazine called NewScientist published as article that started out by saying "Panic reigns. Fear overwhelms logical thought. Pointless activity replaces reason, and sensible advice is no longer heard." The article actually did not scrutinize the use of ecstacy but called more intense studies to action so that the public can become more informed about it's effects. The article also called for organizations to honestly present the forthcoming information.
Fastforward to February 1999. An organization called DanceSafe was founded by Emanuel Sferios. DanceSafe became a self-described harm reduction organization that promoted health and safety within the rave and nightclub community. The nonprofit group began sending volunteers to raves to test pills that users believed to be Ecstacy. The group was under immediate scutiny because the testers would hand the pills back to the individual. Approximately 28 chapters were established around the country, some operating under different names such as FLOWER in Pittsburgh.
In an ABC News chat transcript DEA representative, Steve Casteel, and DanceSafe founder Emanuel Sferios were questioned on many aspects of their work. When asked if he has ever been to a rave, Steve Casteel replied that he had been in attendane at events as an attempt to get a feel for what was going on with the ecstacy culture. The DEA representative reported that earlier in the 90's ecstacy seizures were relatively small but nearing the latter portion of the decade the number had grown to the millions.
Rewind back to 1997. Global Underground was reflecting the performances of high profile DJs in venues from around the world. The first five installments of the series was recorded in their perspective clubs. The original was mixed by Tony De Vit in Tel Aviv and released in November of 1996. The second installment was never released. By March of 1997 the third installment featured Nick Warren live in Prague.
Nick Warren also became a part of the group called Echo which soon changed their name to Way Out West. Their debut was also in 1997 with an ablum that spawned singles "Blue," "Domination," "Ajare," and the UK top 15 hit "The Gift."
In the early nineties, ravers found their information through online email networks. The most notable were PB-Cle, SFRaves, SoCal-Raves and DC-Raves. A member of MTN-Raves named Sarah Gianetto built the AZ-Raves website. In the summer of 1997 she helped form a booking management company and record label with DJ Inertia. Their first release was "Time" by The Dream Traveler, which had become an international hit and was chosen as the opening track for Paul Oakenfold's legendary "Tranceport" compilation. The same song was illegally used for the production of Britney Spears: Live In Hawaii.
This mix represents some of the underground progressive house that was produced in the 1997 era. Some names in the credits that are worth noting are Peter Presta, John Digweed, Victor Calderone, Way Out West and Noel Sanger.
Aleem - We Try To Do Our Best
Tipple - The Drift
DJ Gordon - Moonshine Boogie
Victor Calderone - Price Of Love
BBC Click - I'll Do 4 U (Peter Presta Remix)
Chupher - Funk 2 Nite
Freespirit - Twilight
Clanger - Seadog (Way Out West Remix)
Chakra - I Am (John Digweed Remix)
Noel Sanger - All We Are (1997 Mix) |
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| Echo of Silence |
| Yes yes yes. |
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| 2rip |
Episode #23: Continuum [1998]
DOWNLOAD: http://2rip.podomatic.com/enclosure...05_14-08_00.mp3
As the drum & bass sounds of the mid-nineties began to move towards lighter sounds such as that of intelligent or jazzy drum & bass. In 1996 there was a rise in drum & bass sub-genres such as "hardstep," "techstep," and "darkstep." These were attempts to bring the genre back towards it's darkcore roots.
Techstep became a big deal leading up to the later portion of the decade. The genre, while deeply atmospheric, was often characterized by samples from science fiction themes mixed together with cold and complex percussion.
By 1998 all of the genre splitting had come to an end for a short time. More genre splitting would occur after the change the millenium however.
This mix was recorded live in the garage of my parents house and represents exactly what my style was like back then. However I certainly did steer more towards techstep for the majority of my days spinning drum & bass.
Vortexion - This Side Down
Matrix & Dom - The Vandal
Calyx - Narcosis
DT - Checkmate
Flex Camp - Style Wars
Aphrodite - Acid Junky
EZ Rollers - Tough At The Top
Future Cut - Plastic
DJ Tek - The Year 2000 |
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| 2rip |
Episode 24: Liquid Groove [1998]
DOWNLOAD: http://2rip.podomatic.com/enclosure...37_33-08_00.mp3
VIEW FULL SERIES: http://www.2rip.podomatic.com
In 1990 a teenager in Montreal named Ryan Lair had begun his days of partying in the gay house music scene. At the time the only place you could go to hear this type of music was at a club called Crisco. Within a year Ryan found himself promoting for the first rave in Montreal, titled Solstice. In 1991 the Montreal rave scene was made up of parties in warehouses. The early rave scene was a combination of the gay house music clubbers and a new breed of young party people. The vibe of Montreal throughout this time was centered primarily around house music. Ryan had soon entered the dj circuit as RC Lair and had developed a following in Montreal. In 1994 he moved to Phoenix, AZ to experience a completely different scene.
The rave scene is Arizona was mostly into speedier tempos. Soulful house music was not widely accepted and genres like hardcore, trance and drum & bass dominated the scene. This would continue to be the pace for the Arizona scene for years to come.
In 1994 an annual party had come into being, hosted by Swell/Basshead Productions, called Musik. Swell was the name of a clothing/record store that was owned by Alyssa & Russ Ramirez, however the production company also included Scotty Mckenzie. The annual Musik event had become a much respected event throughout Arizona, hosted on the last Saturday of every month. It was considered blatant disrespect for any other local promoters to host parties on the same night. However Wise Guy Productions, led by Darren Blatt, took on the challenge by hosting Tranceformation on the same annual date.
In 1998, Musik was held at the Hyster Building which was a warehouse near the intersection of Ninth Ave & Madison. The party featured Superstar DJ Keoki, Mike Dearborne, Kelly Reverb as well as RC Lair and was also hosted by Z-Trip. Unfortunately the party was eventually busted by the Phoenix police. The bust allegedly took place after Ramirez had shown all of the party permits to the police officer when a kid lost control of an acid trip, took off his clothes and ran outside naked.
Another popular event in Arizona is the annual Earthdance. The idea was conceived in 1996 by an artist/musician named Chris Deckker as a vision to unite the whole world through the universal platform of dance & music. Earthdance has become the largest globally synchronized event in the world. What began in 1997 with 22 cities in 18 countries has grown exponentially each year. The 1998 Earthdance was hosted on Saturday October 10th in a giant airplane hanger Mesa, Arizona and drew a crowd of 1500+ people. However it was busted by 1am and moved to the Nile Theater which was the alternative location. The lineup featured dj's like Pete Salaz, Hipp-E, Lego, and Kevin Brown. At 12 midnight GMT every dj around the world played the same track for world peace and at the same time unified dancefloors and all the dancers.
1998 also saw the continued pursuit of desert raves, which had always been popular in Arizona. One special event during this year was the Emerald Forest parties. The venue was nestled in the foothills of Tonto National Park in a tiny valley that was known as "The Emerald Forest." Emerald Forest 2 which was hosted on May 9, 1998 featured a lineup of Adam Case, CL McSpadden, and Mitch Mills. The follow-up to this event was hosted later in the year on October 3, 1998 featuring 9 dj's playing mainly trance, hard acid and drum & bass.
During the same year a popular house music & garage night had open up called Red Monkey at the Riverbottom Lounge. The event was hosted by Pete Salaz who, like RC Lair, had a deep passion for house music and soulful melodies. Overall the crowd was mature but there was a definitely mix of ravers and non-ravers.
This mix is a session of deep house and tech house from 1998. The reason I chose to host this along with this chapter is because I can relate to the way that RC Lair felt when moving to Arizona, expecting crowds to love the house music he was playing but he had to develop himself and transform his sound, tailoring it to the crowd and the venue. This is something that I have to do on a weekly basis when I travel from city to city or from venue to venue.
David Alvarado - T.O.
Two Right Wrongans - Straight Ahead Then Take The Next Wrong
Adam X - Deepest Memory
Omega Man - Imaginary Trip
Vincenzo - King's Last Ride
Solomonic Sound - Seeing Clear
Kenny Hawkes - Sleaze Dubbing
Mannequin Lung - City Lights
Freestyle Man & Morris Brown - Remedy |
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| 2rip |
Episode #25: Future Teknology [1999]
DOWNLOAD: http://2rip.podomatic.com/enclosure...27_40-08_00.mp3
Owner of Marine Parade Records and one-half of the production crew Tsunami One, Adam Feeland, released a breaks album called "Coastal Breaks" in 1996. At that time Freeland, Rennie Pilgrem and Tayo were hosting a party called Friction. They coined the term "nu skool" to describe the music that they were playing.
Other dj's and producers such as Uberzone, Plump DJ's and Aquasky have since pioneered the nu skool arena. Hybrid was one of the prominent artists to come out of this revolution. In 1999 they released their first album called Wide angle. The compilation was a combination of progressive house and nu skool breaks with vocals and symphonic textures. While they may not necessarily be the originators of the genre, Hybrid was one of the most widely known artists that were producing "progressive breaks."
On the other side of the spectrum there were groups like FreQ Nasty. FreQ Nasty broke down barriers with his music from tracks like "Boomin Back Atcha" to "Move Back". FreQ Nasty was mostly featured on the label Botchit & Scarper.
By the end of 1999 Botchit & Scarper were gearing to change their name to Botchit Breaks. Distinctive Breaks Records was formed shortly after featuring artists such as Way Out West, Icey, Nick Hook and Hybrid.
The nu skool sound had been characterized by most people as slower tempo drum & bass. It was unlike the funky Florida sound or big beat. The primary distinction was in the often growling, sometimes sinister basslines where the funky style of breaks had a lot of focus on using popular samples from funk songs, 80's pop and hip hop. Florida breaks was also influenced by Miami bass which was described in Episode 21. The most notable artists in the Florida breaks scene were DJ Sharaz, Icey and Baby Anne.
While the Orlando scene was highly popularized due to Baby Anne & Icey, it mirrored the nu skool sound while still retaining it's "Florida" feel. However Tampa, FL had forged its own unique sound which was very heavy on sampling and became one of the most notable sound in the Florida breaks category of music. Tampa's biggest pioneers were Huda Hudia & DJ Volume. They formed Kaleidoscope Records in 1997 and churned out 20 classic records before the turn of the millenium.
Since Florida was a prime area for drug trafficking, use of MDMA & cocaine had continued at a high level. A case study performed in 1999 by the DEA showed 3500 drug violation arrests. Around this time a drug known as GHB was being widely used around the country, especially in Florida. The drug was originally meant to be used as a sedative or sleep aid but became recreationally used in the latter period of the nineties. The drug was also popularized by date rapists as high doses of GHB would create a coma-like sleep that would last several hours. In 1999 GHB had become a Federally controlled substance and people became more alert to it's side effects.
This mix was recorded live in 1999. It primarily focused on the nu skool sound which was quite popular at the time, however the end of the mix delves into some of the Tampa style of breaks with Huda Hudia, Sharaz & DJ Volume on the tracklisting.
FreQ Nasty - Taking Liberties
Raw Deal - Oscillators
Tonic & NG - Phoenix
Tonic & NG - San Siro
BT & Tsunami One - Hip Hop Phenomenon
Lenne de Ice - We are I.E.
Inner City - Good Life (Way Out West Remix)
DJ Volume - Unknown
DJ Volume - Get Loose (Sharaz's 4:20 Remix)
Pull's Plastic Playground - 4 On The Floor
Huda Hudia - Drop The Bass Now (Woofer Candy Mix) |
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| DJ_2rip |
Episode #26: Deep Audio Release [1999]
DOWNLOAD: http://2rip.podomatic.com/enclosure...01_15-08_00.mp3
The underground scene of Australia in the 1980s was made up of artists such as Soho, Planet Patrol, Yaz, and Serious Intention. Many of which were producing a combination of electro, disco and funk. A popular form of dance called the Melbourne shuffle came out of this era. It was a fast heel-toe action that incorporated body movements suitable for underground dance music.
Melbourne becamse a haven for large-scale raves in the nineties era. In 1992 a crew known as the Melbourne Underground Development (MUD) began a series of parties called Every Picture Tells a Story. The parties were held in the Global Village warehouse complex in Footscray, Melbourne and drew crowds by the thousands.
Outside of Melbourne in the Bushland areas, production crews were hosting "doof" parties. Doofs were essentially outdoor festivals held in remote country areas. The most popular area for this type of partying was around Mt. Disappointment for parties such as Earthcore and Kryal Castle.
Across the country, Perth developed it's rave roots when dj's like Roy Jopson, Colin Clarke and Dave Jackson were mixing Detroit and German techno into their dj sets at the Limbos nightclub in 1990. On October 13, 1990 the first official rave was held in Perth that was titled NRG and held at the Network Dance Club on James Street Northbridge.
By 1999 there was a plethora of production companies hosting events anywhere they could get their hands on. Sydney primarily held down a warehouse scene and focused on house music. Perth production crews mainly used nightclubs as their rave havens but catered more towards a hardcore, drum & bass, and trance crowd.
Popular crews in the Perth region were Storm Productions, Bass Agenda Crew, Raggabone, and Technotainment. Some of the venues used by these crews in 1999 were The Factory Nightclub, the warehouse at 65 Edward St, Belmont Park, Osborne Park warehouse (Hutton St), Greenwich Bar, and a "superclub" called Redheads.
The featured mix is a selection from my deep house archives from 1999. During this time much of the dance scene to me had become all about hard trance, hard house, hardcore, hardstep, hard this & hard that. However during that time I always enjoyed taking a step back and going deep & groovy. The majority of these kinds of sets were never played out since it was almost taboo to spin anything deep with the current influx of ravers that had popped up around that time.
Romanthony & DJ Predator - Clap Ya Handz
Joshua - Remember
Miguel Migs - Easy Does It (Discoteque Mix)
Aka Electric - My Sweet Meat
Brooks - Inside the Heads
Petalpusher - Breakin It Down (Migs Dub)
Atjazz - Come & Play
Kerri Chandler - I Know
Blaze - Lovelee Dae (Primitive Dub)
Romanthony & DJ Predator - Music Mind |
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