Hot or Not ?

Glossary of Dance Music Terms (an interpretation)

Vinyl Resurrection

Vinyl Resurrection

After years of decline, vinyl is back on the rise

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For some it’s an obsession, a life long dedication that can cost a fortune over a lifetime and pose some tricky storage problems. Born in 1877, championed in the 1900s, made a household commodity in the 20th century and dismissed and reborn as kitsch cool in the 21st, the humble vinyl has had a long and illustrious journey.

Some will swear to no better than that of a vinyl pushing against your fingertips, feeling the grooves undulate and ripple along the skin as the skeleton of a track is made flesh. Other would testify to the unique smell of that freshly unsheathed record as you crack open its virgin packaging. Sure, the mp3 might be easy, cheap and transportable, but can you really get the same sound quality and sense of personal interaction with a cd?

Many DJs would argue you can, and as more and more professional and bedroom DJs alike turn to the CDJ, vinyl junkies fretted over the globe as to the future of the vinyl. But they need not have worried, as after a heavy decline in sales and a dangerous threat of extinction, that most protected of species is finally reproducing.

The increase in sales and production has been fuelled by independent labels and artist such as the Arctic Monkeys and Lily Allen, who have released their single promo copies exclusively on vinyl and insisted that their labels spend the extra money on this kitchy commodity. Whether these artists have been driven by a desire to be cool, retro, or simply through a sheer appreciation of the medium, it’s done the job with modern singles by bands such as the The Young Knives selling 3,000 copies.

There’s still a long way to go though if vinyl is to fully recover itself –the record sales figure for vinyl peaked in 1979, when singles sales in Britain reached 89 million.

Origins of House

Origins of House
http://en.wikipedia.org/wiki/Wikipedia

House music is a style of electronic dance music, the earliest forms of which originated in the United States in the early- to mid-1980s.

Origins of Name

The name is said to derive from the Warehouse nightclub in Chicago, where the resident DJ, Frankie Knuckles, mixed classic disco and European synthpop recordings. Club regulars referred to his selection of music as house music.

However, since Frankie was not creating new music at that time, it has been argued that Chip E. in his early recording "It's House" defined this new form of electronic music and gave it its name. However, Chip E claims the name came from methods of labelling records at the Importes Etc record store he worked at in the early 1980s. Music Knuckles played at the Warehouse was labelled "As Heard At The Warehouse", which was shortened to simply "The House", and the name became the vernacular.

Musical Elements

The common element of house music is a prominent 4/4 beat (a prominent kick drum on every beat, also known as four-on-the-floor) generated by a drum machine or other electronic means (such as a sampler).

As well, house music uses a continuous, repeating (usually also electronically generated) bassline. Typically added to this foundation are electronically generated sounds and samples of music such as jazz, blues and synth pop, as well as additional percussion. As new recordings emerged, the house genre divided into a number of subcategories, some of which are described below.

Other Meanings

House Music also refers to the recorded music played while a theater audience takes their seats before a performance, or, in live music venues, the recorded music played before the live music begins.

Well-known live performers can request their choice of house music, or specify that there be no house music. These requests are made in the technical rider to their contract, the same document that specifies what items must be present in the dressing room.

History

    Not everyone understands House music; it's a spiritual thing; a body thing; a soul thing.

        --as sampled by Eddie Amador listen to 22 s sample (488Kb)

From disco to house: late 1960s to early 1980s

Main article: Electronic music history

House, techno, electro and hip-hop musicians owe their existence to the pioneers of analog synthesizers which enabled a wide range of new electronic sounds at the touch of a button or key. Analog synthesizers allow musicians to control many facets of the sound, such as the attack, decay, and tone, which gave musicians a large range of possibilities for sound shaping.

Fully electronic music tracks predated house. Early American Sci-Fi films and the BBC Soundtrack to popular television series Doctor Who stirred a whole generation of techno music lovers like the space rock generation during the 1970s, influenced by the psychedelic music sound of the late 1960s and bands such as Pink Floyd, Soft Machine, Amon Düül, Crazy World of Arthur Brown, and the so-called Krautrock early electronic scene (Tangerine Dream and Klaus Schulze).

Space rock was a genre similar and parallel to the Kosmische Musik scene in Germany. Space rock is characterized by the use of "spatial" and "floating" background sounds, mantra loops, electronic sequences, and futuristic effects over rock music song structures. Some artists performing this style were Gong and Hawkwind.

The late 1970s saw disco utilize the (by then) much-developed electronic sound and a limited genre emerged, appealing mainly to gay and Black audiences. In 1977, disco music crossed over into the mainstream American culture, following the popularity of hit film Saturday Night Fever and its accompanying soundtrack. As disco clubs filled there was a move to larger venues.

"Paradise Garage" opened in New York in January 1978, featuring the DJ talents of Larry Levan (1954–1992). Studio 54, another New York disco club, was extremely popular. The clubs played the tunes of singers such as Diana Ross, CHIC, Gloria Gaynor, Kool & the Gang, Donna Summer, and Larry Levan's own hit, “I Got My Mind Made Up.” The disco boom was short-lived. There was a backlash from Middle America, epitomised in Chicago radio DJ Steve Dahl's "Disco Demolition Night" in 1979. Disco returned to the smaller clubs like the Warehouse in Chicago, Illinois.

Opened in 1977, the Warehouse on Jefferson street in Chicago, was a key venue in the development of house music. The main DJ was Frankie Knuckles. The club staples were still the old disco tunes but the limited number of records meant that the DJ had to be a creative force, introducing more deck work to revitalize old tunes. The new mixing skills also had local airplay with the Hot Mix 5 at WBMX.

The chief source of this kind of records in Chicago was the record-store Importes Etc, where the term “house” was introduced as a shortening of "Warehouse". Despite the new skills, the music was still essentially disco until the early 1980s when the first stand-alone drum machines were invented. Disco tracks could now be given an edge with the use of a mixer and drum machine. This was an added boost to the prestige of the individual DJs.

In Sheffield, England the industrial band Cabaret Voltaire is often considered to have pioneered their own version of the "house sound" as early as 1981 with tracks like "automotivation". Some recordings of The Clash have also been seen in a similar light.

Chicago years: early 1980s - late 1980s

    Main article: Chicago house

In 1983 the Music Box club opened in Chicago. Owned by Robert Williams, the driving force was a DJ, Ron Hardy. The chief characteristics of the club's sound were sheer massive volume and an increased pace to the tunes. The pace was apparently the result of Hardy's heroin use. The club also played a wider range of music than just disco. Groups such as Kraftwerk and Blondie were well received, as was a brief flirtation with punk, with dances such as Punking-Out or Jacking being very popular.

Two tunes were arguably the first House music, each arriving in early 1983. The tune that was chronologically first was Jamie Principle and Frankie Knuckles' Your Love, a huge hit in the clubs, but only available on tape. The second, On and On by Jesse Saunders was later put on vinyl (1985). (Shapiro, 2000). Immediately on the tails of these recordings was Chip E. Jack Trax, which defined the genre with its complex rhythms, simple bassline, use of sampling technology, and minimalist vocals.

By 1985 house music dominated the clubs of Chicago, in part due to the radio play the music received on 102.7 FM WBMX, and their resident DJ team, the Hot Mix 5. Also, the music and movement was aided by the musical electronic revolution - the arrival of newer, cheaper and more compact music sequencers, drum machines (the Roland TR-909, TR-808 and TR-707, and Latin percussion machine the TR-727) and bass modules (such as the legendary Roland TB-303 in late 1985) gave House music creators even wider possibilities in creating their own sound, indeed the creation of acid house is directly related to the efforts of DJ Pierre, Larry Heard, and Marshall Jefferson on the new drum machines.

Two record labels dominated the house music scene in Chicago: DJ International Records, owned by Rocky Jones, and Trax Records, owned by Larry Sherman. Trax self-pressed its records and the quality was not as good as the DiscMakers pressings of DJ International.

Many of the songs that defined the era came from these record labels. Steve “Silk” Hurley's 'Music is the Key, Chip E's Like This, and Fingers Inc.’s Mystery of Love (1985) were among some of the defining songs that came from DJ International. Trax released Jack the Bass and Funkin with the Drums Again by Farley Jackmaster Funk in 1985, followed the next year by the house classic Move Your Body (The house Music Anthem) by Marshall Jefferson, and No Way Back by Adonis.

This was something of a double-edged sword. In its favor, Trax was very fast to sign new artists and press their tracks, establishing a large catalog of house tunes, but the label used recycled vinyl to speed up the pressing process, which resulted in physically poor-quality records. Also disappointing was that many artists signed contracts that were rather less favorable towards them than they had hoped.

Trax became the dominant house label, releasing many classics including No Way Back by Adonis, Larry Heard's (as Fingers Inc.) Can You Feel It and the first so-called house anthem in 1986, "Move Your Body" by Marshall Jefferson. This latter tune gave a massive boost to house music, extending recognition of the genre out of Chicago. Steve 'Silk' Hurley became the first house artist to reach number one in the UK in 1987 with Jack Your Body. This and other tracks such as Music is the Key and Love Can't Turn Around helped moved house from its spiritual home to its commercial birthplace —the United Kingdom. Acid house and hip-house scene was dominated by international producers like Tyree Cooper, Mr Lee, Fast Eddie, Kool Rock Steady and Ralphi Rosario at the end of the 1980s.

The Detroit Connection: early 1980s - late 1980s

    Main article: Detroit techno

A form of music was forming at the same time in Detroit, what became known as Detroit techno. A major influence to the fusion of eclectic sounds into the signature detroit techno sound was a radio program that ran in the mid 1970s until the 1980s by legendary disc jockey The Electrifying Mojo. Music heavily influenced by European Electronica (Kraftwerk, Art of Noise), early b-boy Hip-Hop (Man Parrish, Soul Sonic Force) and Italo Disco (Doctor's Cat, Ris, Klein M.B.O.) this music was pioneered by Juan Atkins, Derrick May, and Kevin Saunderson.

The first group of songs to be rotated heavy in Chicago house-music circles were the 1985 releases of NO UFOs by Juan Atkins's group Model 500 on Metroplex Records, Let's Go by Trans X-Ray (Derrick "MAYDAY" May") and "Groovin' without a Doubt" by Inner City (Kevin Saunderson) on KMS Records. Juan Atkins on his Label Metroplex Records followed the release of "NO UFO's" with 1986's "FUTURE", 1988's the "Sound of Stero / Off to Battle" and 1989's "The Chase".

KMS Followed with releases in 1986 of Blake Baxter's "When we Used to Play / Work your Body", 1987's "Bounce Your Body to the Box" and "Force Field", 1988's "Wiggin" by MAYDAY, "The Sound / How to Play our Music" and “the Goove that Won't Stop” and a remix of "Grooving Without a Doubt". In 1988 as House music began to go more commercial, Kevin Saunderson’s group with Paris Gray released the 1988 hits "Big Fun" and Good Life which eventually were picked up by Virgin Records. Each EP / 12 inch single sported remixes by Mike "Hitman" Wilson and Steve "Silk" Hurley of Chicago and Derrick "Mayday" May and Juan Atkins of Detroit. In 1989 KMS had another hit release of "Rock to the Beat" which was a hit overseas and in Chicago

Derrick "Mayday" May had a style that was similar to Chicago native Larry Heard (Mr. Fingers), but soon became distinct and unique and was received well in Chicago, with releases on his Transmat Label, between 1986-1989 Transmat released hits like "Nude Photo", "It is What it is" and "Beyond the Dance" by Rythim is Rythim, "The Groove" by Suburban Knights, and "Illusion" by R-Tyme. The biggest hit and most influential in the House Music scene was Rythim is Rythim's "Strings of Life" which became a cult classic in dance music clubs internationally. Derrick May also recorded with Kool Kat "Nude Photo 88" with the cult classic "Sinister".

Though Detroit Techno is a music form in its own right and part of the "Techno" worldwide music, its pioneers were also instrumental in the forwarding of House Music internationally and especially in the UK and Europe.

The British connection: late 1980s - early 1990s

In Britain the growth of house can be divided around the "Summer of Love" in 1988. House had a presence in Britain almost as early as it appeared in Chicago; however there was a strong divide between the House music as part of the gay scene and "straight" music. House grew in northern England, the Midlands and the South East. Founded in 1982 by Factory Records the Hacienda in Manchester became an extension of the "Northern Soul" genre and was one of the early, key English dance music clubs.

Until 1986 the club was financially troubled; the crowds only started to grow when the resident DJs (Pickering, Park and Da Silva) started to play house music. Many underground venues and DJ nights also took place across the UK like for instance the private parties hosted by an early Miss Moneypenny's contingent in Birmingham and many London venues. House was boosted in the UK by the tour in the same year of Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis as the DJ International Tour.

One of the early anthemic tunes, "Promised Land" by Joe Smooth, was covered and charted within a week by the Style Council. The first English House tune came out in 1986 - "Carino" by T-Coy. Europeans embraced house music, and began booking legendary American House DJs to play at the big clubs, such as Ministry of Sound, whose resident, DJ Harvey brought in Larry Levan.

The underground house scene in cities such as Birmingham, Manchester and London were also provided with many underground Pirate Radio stations and DJ's alike which helped bolster an already contagious, but otherwise ignored by the mainstream, music genre.

One of the earliest and most influential UK house and techno record labels was Network Records (otherwise known as Kool Kat records) who helped introduce Italian and U.S. dance music to Britain as well as promoting select UK dance music acts.

But house was also developing on Ibiza. In the 1970s Ibiza was a hippie stop-over for the rich party crowd. By the mid-1980s a distinct Balearic mix of house was discernible. Several clubs like Amnesia with DJ Alfredo were playing a mix of rock, pop, disco and house. These clubs fueled by their distinctive sound and Ecstasy began to have an influence on the British scene. By late 1987 DJs like Paul Oakenfold and Danny Rampling were bringing the Ibiza sound to UK clubs like Shoom in Southwark (London), Heaven, Future and Purple Raines Spectrum in Birmingham. But the "Summer of Love" needed an added ingredient that would again come from America.

In America the music was being developed to create a more sophisticated sound, moving beyond just drum loops and short samples. New York saw this maturity evidenced in the slick production of disco house crossover tracks from artists such as Mateo & Matos and Blaze. In Chicago, Marshall Jefferson had formed the house 'super group' Ten City (from intensity), demonstrating the developments in "That's the Way Love Is". In Detroit there were the beginnings of what would be called techno, with the emergence of Juan Atkins, Derrick May and Kevin Saunderson.

Atkins had already scored in 1982 with Cybotron and in 1985 he released Model 500 "No UFOs" which became a big regional hit, followed by dozens of tracks on Transmat, Metroplex and Fragile. One of the most unusual was "Strings of Life" by Derrick May, who described his sound as "George Clinton and Kraftwerk jamming together in an elevator". It was a darker, more intellectual strain of house that followed its own trajectory. "Techno-Scratch" was released by the Knights Of The Turntable in 1984 which had a similar techno sound to Cybotron and is possibly where the term techno originated, although this is generally credited to Atkins, who borrowed the term from the phrase "techno rebels" in Cybotron's 1984 hit 'Techno City', which appeared in writer Alvin Toffler's book Future Shock (see Sicko 1998).

The records were completely independent of the major record labels and the parties at which the tracks were played avoided commercial music.The combination of house and techno came to Britain and gave House a phenomenal boost. A few clubs began to feature specialist House nights - the Hacienda had "Hot" on Wednesday from July 1988, 2,500 people could enjoy the British take on the Ibiza scene, the classic "Voodoo Ray" by A Guy Called Gerald (Gerald Simpson) was designed for the Hacienda and Madchester.

Factory boss Tony Wilson also promoted acid house culture on his weekly TV show. The Midlands also embraced the late 80s House scene with many underground venues such as multi storey car parks and more legal dance stations such as the Digbeth Institute (now the 'Sanctuary' and home to Sundissential).

US Developments - late 1980s to early 1990s

Back in America the scene had still not progressed beyond a small number of clubs in Chicago, Detroit and New York. Paradise Garage in New York City was still the top club, although they now had Todd Terry, his cover of Class Action's Larry Levan mixed "Weekend" demonstrated the continuum from the underground disco to a new House sound with hip-hop influences evident in the quicker sampling and the more rugged bass-line. While hip-hop had made it onto radio play-lists, the only other choices were Rock, Country & Western or R & B. Other notable New York producers and DJs of the time were Bobby Konders, Tommy Musto, Frankie Bones all of whom had their work licensed internationally in the 1980s. In fact, many of the recordings on the nascent XL Recordings (UK) came from those artists.

Other influences from New York came from the hip-hop, reggae, and Latin community, and many of the New York City super producers/DJ's began surfacing for the first time (Erick Morillo, Roger Sanchez, Junior Sanchez, Danny Tenaglia, Jonathan Peters) with unique sounds that would evolve into other genres (tribal house, progressive house, funky house). Producers such as Masters At Work and Kerri Chandler also started pioneering a richer Garage sound that was picked up on by 'outsiders' from the worlds of jazz, hip-hop and downbeat as much as it was by House afficiandos.

Influential gospel/R&B-influenced Aly-us released "Time Passes On" in 1993 (Strictly Rhythm), then later, "Follow Me" which received radio airplay as well as being extensively played in clubs. Another US hit which received radioplay was the single "Time for the Perculator" by Cajmere, which became the prototype of Ghettohouse sub-genre.

Cajmere is held by many to be one of the revitalizing forces in Chicago Houses's rebirth of the early 1990s. Most of the 80's generation were burnt out by bad contracts or had moved to New York or Europe. Cajmere started the Cajual and Relief labels (amongst otheres) offering a home to any producer in Chicago, no matter the style. By the early 90's artists such as Cajmere himself (under that name as well as Green Velvet and as producer for Dajae), DJ Sneak, Glenn Underground and others were bringing out fresh records at a furious pace. Artists from the also recently-revitalised Dance Mania such as DJ Rush, Robert Armani and his cousin Paul Johnson recorded for both and were in high demand as DJs in the lucrative European club circuit. Derrick Carter also became a deeply respected producer and a legendary DJ at this time.

Detroit was mostly known for techno but there is a very fine line between Techno and House, often impossible to find with labels such as 430 West, KMS and Serious Grooves with producers such as Kevin Saunderson, Marc Kinchen, Octave One (as well as fellow travellers from Chicago such as Chez Damier & Ron Trent who released records on Detroit labels regularly). During this period Underground Resistance were just as likely to release a pumping piano and vocals garage track as they were an electro track and had their Happy Records subsidiary.

Also at this time stirrings of a chilled dance scene relatively unconnected to the Chicago, Detroit, and New York scenes was springing up in the Los Angeles area with parties organised by Hardkiss and UK expats like DIY and Charles Webster. House music eventually came to clubs in cities like Boston, Massachusetts, Providence, Rhode Island, Philadelphia, Baltimore, and Washington D.C..

After the "Summer of Love": early 1990s to mid 1990s

In Britain, further experiments in the genre boosted its appeal (and gave the opportunity for new names to be made up).

House and rave clubs like Lakota, Miss Moneypenny's and the original C.R.E.A.M. began to emerge across Britain, hosting regular events for people who would otherwise have had no place to enjoy the mutating house and dance scene.

The idea of 'chilling out' was born in Britain with ambient house albums like The KLF's Chill Out. However, this album is not house strictly speaking, because its prominent lack of percussion on most tracks. Another example would be the song "Analogue BubbleBath" by Aphex Twin. In fact, Chill Out electronic music is often defined as a totally different genres, such as Ambient, or even downtempo (later on) or New Age (older). The unifying feature of Chill Out electronica is long sustained tones and a more tonal than percussive-noisey quality compared to other styles. Nevertheless, lots of compilation albums sprung up, no doubt, each one redefining the terminology along the way.

At the same time, a new indie dance scene full of variety was being forged by bands like the Happy Mondays, The Shamen, New Order, Meat Beat Manifesto, Renegade Soundwave, EMF, The Grid and The Beloved. In New York, bands such as Deee-Lite furthered house music's international and multi-era cultural influence. Two distinctive tracks from this era were the Orb's "Little Fluffy Clouds" (with a distinctive vocal sample from Rickie Lee Jones) and the Happy Mondays' "Wrote for Luck" ("WFL") which was transformed into a dance hit by Paul Oakenfold.

The Criminal Justice Bill of 1994 was a government attempt to ban large events featuring music with "repetitive beats". There were a number of abortive "Kill the Bill" demonstrations. Although the bill did become law in November 1994, it had little effect. The music continued to grow and change, as typified by the emergence of acts like Leftfield with "Release the Pressure", which introduced dub and reggae into the house sound. In more commercial areas a mix of R&B with stronger bass-lines gained favour.

The music was being moulded, not just by drugs, but also the mixed cultural and racial groups involved in the house music scene. Tunes like "The Bouncer" from Kicks Like a Mule used sped-up hip-hop breakbeats. With SL2's "On A Ragga Trip" they gave the foundations to what would become drum and bass and jungle. Initially called breakbeat hardcore, it found popularity in London clubs like Rage as a "inner city" music. Labels like Moving Shadow and Reinforced became underground favorites. One label, Moonshine, featured impressive compilation albums entitled, "140 BPM: The Speed Limit" which showcased what was termed "London Hardcore Techno". Showing an increased tempo around 160 bpm, tunes like "Terminator" from Goldie marked a distinct change from house with heavier, faster and more complex bass-lines: drum and bass (dnb. Goldie's early work culminated in the twenty-two minute epic "Inner City Life" a hit from his debut album Timeless.

UK Garage developed later, growing in the underground club scene from drum and bass ideas. Aimed more for dancing than listening, it produced distinctive tunes like "Double 99" from Ripgroove in 1997. Gaining popularity amongst clubbers in Ibiza, it was re-imported to the UK and in a softened form had chart success: soon it was being applied to mainstream acts like Liberty X and Victoria Beckham.

4 Hero went in the opposite direction - from brutal Breakbeats they adopted more soul and jazz influences, and even a full orchestral section in their quest for sophistication. Later, this led directly to the West London scene known as Broken beat or Breakbeat. This style is also not strictly "house", but as with all electronic music genres, there is overlap.

Mid to late-1990s

Back in the US some artists were finding it difficult to gain recognition. Another import into Europe of not only a style but also the creator himself was Joey Beltram. From Brooklyn his "Energy Flash" had proved rather too much for American House enthusiasts and he need a move to find success. The American industry threw its weight behind DJs like Junior Vasquez, Armand van Helden or even Masters at Work who appeared to churn out endless remixes of mainstream pop music. Some argued that many of the formulaic remixes of Madonna, Kylie Minogue, U2, Britney Spears, the Spice Girls, Spiller, Mariah Carey, Puff Daddy, Elvis Presley, Vengaboys and other bands and pop divas did not deserve to be considered house records.

During this time many individuals and particularly corporations realized that house music could be extremely lucrative and much of the 1990s saw the rise of sponsorship deals and other industry practices common in other genres.

To develop successful hit singles, some argued that the record industry developed "handbag house": throwaway pop songs with a retro disco beat. Underground house DJs were reluctant to play this style, so a new generation of DJs were created from record company staff, and new clubs like Miss Moneypenny's, Liverpool's Cream (as opposed to the original underground night, C.R.E.A.M.) and the Ministry of Sound were opened to provide a venue for more commercial sounds.

By 1996 Pete Tong had a major role in the playlist of BBC Radio 1, and every record he released seemed to be guaranteed airplay. Major record companies began to open "superclubs" promoting their own acts, forcing many independent clubs and labels out of business. These superclubs entered into sponsorship deals initially with fast food, soft drinks, and clothing companies and later with banks and insurance brokers. Flyers in clubs in Ibiza often sported many corporate logos.

Meanwhile, in Los Angeles, CA, Chicago and the West Coast were coming together to form a new sub-genre, Chicago Hard House. Dj's like Bad Boy Bill, DJ Lynnwood, DJ Irene, Richard "Humpty" Vission and DJ Enrie were comingling sounds, developing a new style of house music that took the nation by storm. With the release of DJ Mix Compilation CD's, these artists developed an international fan base and started touring their sound. These DJ's, still active today, crossed house music over at Los Angeles radio and in the clubs, making it a staple food for clubbers and ravers alike.

House in the new millennium

Dance music arguably hit its peak at the turn of the millennium, especially in the UK. A number of reasons are seen for its decline in mainstream popularity during the 2000s:

    * Many people felt that club promoters had gone too far in what they were asking people to pay on a weekly basis to enter clubs. A prime example was on New Year's Eve at the turn of the Millennium. Some promoters had been asking upwards of £100 ($180) to attend clubs and various event venues across the country. A large number of club goers instead decided to stay away all together or go to local parties. Many in general grew tired with paying up to £20 ($35) on a weekly basis for poor quality club nights which had little variation from week to week and venue to venue.

    * Older people that had been with the scene from the beginning started to move away. Many in their 30's started having families and settling down. Many younger people viewed Dance music as becoming increasingly outmoded with the same set of DJ's playing in Clubs and on the Radio year after year. This led to the term "Dad House" being applied.

    * The democratization and mainstreaming of electronic music composing through ever-cheaper computer software made electronic music as a whole less novel and more commonplace. This also affected its marketability, since most music marketing requires a high degree of novelty to drive sales and cultural interest.

    * Many older clubbers who did have families remained active in the scene, and small-scale events organisers, invariably not tied to a venue, began to appear to cater to a group that was increasingly ostracised by younger clubbers, and unable to go clubbing more than once or twice a month. This scene subsequently has expanded and about half of those involved are under 30.

    * A lot of the same music was being played on commercial dance shows, and in bars, supermarkets, and television advertisements. This along with a lack of invention in the mainstream left many people feeling increasingly bored with the music. This has inevitably led to the music being forced back underground to its roots.

    * Ecstasy, the drug of choice for many on the Dance scene during the late 80's and through out the 90's, started to lose its popularity to Cocaine and Ketamine. Both these drugs changed the nature and the atmosphere of the scene. In part this was due to the decreasing proportion of MDMA in Ecstasy, which was increasingly being cut with Amphetamines, Ketamine as well as a generally greater amount of inert 'bulk' substances.

    * The global rise of hip hop during the late 90's as well as the re-emergence in the UK of a strong Rock and Indie scene drew many away from Dance Music.

    * The Glade, the UK's largest electronic dance festival, began in 2004 as an offshoot of the Glastonbury Festival, featuring the UK's only dedicated Psytrance stage.

House music today

As of 2003, a new generation of DJs and promoters, including James Zabiela and Mylo, were emerging, determined to kickstart a more underground scene and there were signs of a renaissance in Atlanta, Chicago, Detroit and other racially-mixed cities, as well as in Canada, Scandinavia, Scotland and Germany. For example, in 2004 the Montreal club Stereo, co-owned by House music legend David Morales and party aficionado Scott Lancaster, celebrated its sixth year in operation and in 2005 The Guvernment in Toronto with Mark Oliver is celebrating its 9th anniversary.

Stereo, opened in 1998, was modeled after the seminal New York City club Paradise Garage, focusing the experience on the quality of sound and lighting. The key to house music was re-invention. A willingness to steal or develop new styles and a low cost of entry encouraged innovation. The development of computers and the Internet play a critical role in this innovation. One need only to examine how house music has evolved over time to evaluate the effect computers and the Internet have had on house music and music in general.

In 2005 house music finds itself at a crossroads. The soulful black and Latin-influenced sound that enjoyed popularity in the late '90s and early '00s has lost momentum and has been alienated from almost all generic and hit music radio stations. Audiences all over the world are fragmenting into different camps based around the old-guard house sound and a darker, more synth-driven sound influenced by '80s retro sentiment. Opinions are split on the new music that's trending in. Some consider it directionalism, and others see it as an entirely new genre of music, having more to do with techno, electronica and EBM music than house.

Just recently, Richard Daley, Mayor of Chicago proclaimed August 10, 2005 to be House Unity Day in Chicago last July 27, 2005 in celebration of House Music's 21st anniversary. DJ's like Frankie Knuckles, Marshall Jefferson, Paul Johnson and Mickey Oliver were cited among the many other DJ's who came together to celebrate the proclamation at the Summer Dance Series event organized by Chicago's Department of Cultural Affairs.

Saturday Night Live has a recurring sketch called Deep House Dish featuring Kenan Thompson and Rachel Dratch as reviewers of house music. In a typical episode, several "performers," usually including the week's guest, will each sing a parodically bad song, and then be interviewed by the hosts. Dratch's comments are never interesting, a fact often pointed out by Thompson.

House Music's Influences

    * Donna Summer - "I Feel Love" (1977)

          Written by Giorgio Moroder, featuring both the machine rhythms and erotic vocal sound bites in which one recognises a germination of house music - the union of disco and electronic. Its bassline has been sampled on numerous electronic dance records.

    * Kraftwerk - "Trans-Europe Express" (1977)

          Played in New York discos in the late 70s, inspiring house, electro and techno DJs alike in the 80s, this track has made way for future house music and its techno off-spring.

    * New Order - "Blue Monday" (1983)

          Frequently considered the missing link between disco of the 1970s and house of the 1980s. Importantly, it bridges the gap between electronic dance music and UK indie music fans in the post-punk 1980s. It has been sampled, remixed and covered by electronic dance producers all over the world.

    * Lime - "Lime 3" (1984)

          Continuous-mix album by Lime (Denis and Denyse LePage) - no less important than the work of New Order. Lime's HiNRG music was a gradual evolution that took the sounds of Giorgio Moroder and Kraftwerk and moulded them into epic club records with catchy beatbox programming and numererous "breakdown sections" that were often reprised throughout the mix. It's impossible to nail down a moment in time when Lime started sounding like a kissing cousin of House Mix. Most would agree that by the time 1984's "Angel Eyes" single had hit the clubs, they had one foot in the house. "Angel Eyes" contains a programmed drum fill that is very similar to that used in "Blue Monday" by New Order, though not on the kick, as New Order's had been. Lime would always have too many ornate and symphonic electronic elements to be considered House, but their influence on the genre cannot be overstated.

    * Jesse Saunders - "On and On" (1984/1985)

          Considered the first house record pressed and sold to the public. A major presage of later electronic dance music. With original, mantra-like stripped-down synths (including a 303 and minimal vocal), this record was early house music revealing itself as more than the sum of its parts. On and On showed the more trance-like shamanistic side that would develop into acid house.

    * Mr Fingers - "Can You Feel It?"/"Washing Machine"/"Mystery of Love" (1985)

          In late 1984, Jazz-influenced Larry Heard developed three lush, 'over-engineered' sounding tracks in one sitting, eeked out of equipment such as a Roland TR-707 and Juno 6. Heard's landmark work would set the trend for the Deep house genre that continued early house's atmospherics and (compared with later music) slow beat, 110-125 bpm.

    * Chip E. - "It's House" (1985)

          Written by Chip E. and featuring keyboard work by Joe Smooth, this release is often considered as the definition of Chicago House Music. The first self-referential "house music" record. The simplistic referential lyrics go "It's House, It's House" in varying pitch, to a driving bassline and percussion.

    * Marshall Jeffer

Origins of Electronica

Origins of Electronica
http://en.wikipedia.org/wiki/Wikipedia

Electronica is a rather vague 1990s term that covers a wide range of electronic or electronic-influenced music. The term has been defined by some to mean modern electronic music that is not necessarily designed for the dance-floor, but rather for home listening. The origins of the term are murky, although it appears to have been coined by British music paper Melody Maker in the mid-1990s, originally to describe the electronic rock band Republica. The term subsequently gained a life of its own, and became popular in the United States as a means of referring to the then-novel mainstream success of post-rave global electronic dance music. Prior to the adoption of "electronica" as a blanket term for more experimental dance music, terms such as electronic listening music, braindance and intelligent dance music (IDM) were common.

In the mid-1990s electronica began to be used by MTV and major record labels to describe mainstream electronic dance music made by such artists as The Chemical Brothers (who had previously been described as big beat or chemical breaks) and The Prodigy, although even at this stage it was not a particularly incisive term. It is currently used to describe a wide variety of musical acts and styles, linked by a penchant for overtly electronic production; a range which includes commercial chart acts such as Björk, Goldfrapp and Daniel Bedingfield, glitchy experimental artists such as Autechre, Aphex Twin, EBE, and Boards of Canada, to dub-oriented downtempo, downbeat, and trip-hop. Madonna and Björk are said to be the artists responsible for electronicas thrust into mainstream culture, with their albums Ray of Light (Madonna) and Post and Homogenic (Björk) respectively.

History

With the explosive growth of sequencing, sampling and synthesis technology in the late 1980s, it became possible for a wider number of musicians to produce electronic music. With the advent of computer sequencers, relatively cheap computer-based recording systems and software synthesis in the late 1990s, it became possible for any home computer user to become a musician, and hence the rise in the number of "bedroom techno" acts, often consisting of a single person. A classic example of the one man electronic composer is Bill Holt's Dreamies (an early analog pioneer of electronic pop) cited by the All Music Guide as one of the finest examples of experimental pop from the era. Despite the mainstream popularity of the word "Electronica" today, it is often shunned or met with disgust by electronic musicians or former ravers. Many of the people who were actually part of the electronic and rave movements firmly believe that the word was invented by the music industry, and is just a press-word for electronic music. This is understandable, because a major part of the rave and electronic movement was an outcry against the "media machine", and many ravers and musicians did not wish for the music industry to have a large part in their lives. This part of the electronic movement has similarities to the punk movement, in that it was not meant to be mainstream.

Post-rave fusions

Artists that would later become commercially successfully under the "electronic" banner such as Fatboy Slim, Daft Punk, The Chemical Brothers, The Crystal Method, and Underworld began to record in this early 1990s period. Underworld with its 1994 dubnobasswithmyheadman released arguably one of the defining records of the early electronica period with a blend of club beats, wedded to song writing and subtle vocals and guitar work. A focus on "songs", a fusion of styles and a combination of traditional and electronic instruments often sets apart musicians working in electronic-styles over more straight-ahead styles of house, techno and trance. This genre is also noted for far higher production values then others, featuring more layers, more original samples and fewer "presets", and more complex rhythm programming.

The more experimental Autechre and Aphex Twin around this time were releasing early records in the "intelligent techno" or so-called intelligent dance music (IDM) style, while other Bristol-based musicians such as Tricky, Leftfield, Massive Attack and Portishead were experimenting with the fusion of electronic textures with hip-hop, R&B rhythms to form what became known as trip-hop. Later extensions to the trip hop aesthetic around 1997 came from the highly influential Vienna-based duo of Kruder & Dorfmeister, whose blunted, dubbed-out, slowed beats became the blueprint for the new style of downtempo. Rock musicians were also quick to pick up on the trends in electronic music, and by the mid-1990s so-called "post-rock" bands such as Stereolab and Tortoise, and more recently 65daysofstatic and Peace Burial at Sea, were incorporating electronic textures into their music.

Growing commercial interest

Around the mid-1990s with the success of the big beat-sound exemplified by The Chemical Brothers in the United States (due in part to the attention from mainstream artists like Madonna), music of this period began to be produced with a much higher budget, production values, and with more layers than most dance music before or after (since it was backed by major record labels and MTV as the "next big thing").

By the late 1990s artists like Moby were pop stars in their own right, releasing albums and performing regularly (sometimes in stadium-sized arenas, such had the popularity of electronic dance music grown). In fact, the status as the next big thing turned out to be bn mala!!, and some argued that this period exemplifies the notion of record labels and MTV attempting to force a trend upon an audience. During this period, MTV aired shows about the rave lifestyle, started purely electronic music shows such as AMP, and featured many electronica artists. However, the popularity of electronica was never sustained in the United States.

Origins of Techno

Origins of Techno

http://en.wikipedia.org/wiki/Wikipedia

Techno is a form of electronic dance music that became prominent in Detroit, Michigan during the mid-1980s with influences from electro, New Wave, Funk and futuristic fiction themes that were prevalent and relative to modern culture during the end of the Cold War in industrial America at that time. Following the initial success of Detroit Techno as a musical culture — at the very least on a regional level — an expanded and related subset of genres in the 1990s emerged globally.

The term "techno", which derives from "technology", is often informally applied to all forms of electronic dance music. Music journalists and fans of the genre, however, are generally more selective in their use of the term, being careful not to conflate it with related but distinct genres (i.e. house, trance), or with one of techno's many subgenres.

History

Origins

Techno was primarily developed in basement studios by "The Belleville Three", a cadre of men who were attending college, at the time, near Detroit, Michigan. The budding musicians – former high school friends and mixtape traders Juan Atkins, Derrick May, and Kevin Saunderson – found inspiration in Midnight Funk Association, an eclectic, 5-hour, late-night radio program hosted on various Detroit radio stations including WCHB, WGPR, and WJLB-FM from 1977 through the mid-1980s by DJ Charles "The Electrifying Mojo" Johnson. Mojo's show featured heavy doses of electronic sounds from the likes of Giorgio Moroder, Kraftwerk, and Tangerine Dream, among others.

Though initially conceived as party music that was played on daily mixed radio programs and played at parties given by cliquish, Detroit high school clubs, it has grown to be a global phenomenon. High school clubs such as Snobbs, Hardwear, Brats, Comrades, Weekends, Rumours, and Shari Vari created the incubator in which Techno was grown. These young promoters developed and nurtured the local dance music scene by both catering to the tastes of the local audience of young people and by marketing parties with innovative DJs and eclectic new music. As these local clubs grew in popularity, groups of DJs began to band together and market their mixing skills and sound systems to the clubs under names like Direct Drive and Audio Mix in order to cater to the growing audiences of listeners. Locations like local church activity centers, vacant warehouses, offices and YMCA auditoriums were the early locations where the underage crowds gathered, and where the musical form was nurtured and defined.

The music soon attracted enough attention to garner its own club, the Music Institute at 1315 Broadway in downtown Detroit. It was founded by Chez Damier, Derrick May and a few other investors. Though short-lived, this club was known internationally, for its all night sets, its sparse white rooms, and its juice bar stocked with "smart drinks"(the Institute never served liquor). Relatively quickly, techno began to be seen by many of its originators and up-and-coming producers as an expression of Future Shock post-industrial angst. It also took on increasingly high tech and science-fiction oriented themes.

The music's producers were using the word "techno" in a general sense as early as 1984 (as in Cybotron's seminal classic "Techno City"), and sporadic references to an ill-defined "techno-pop" could be found in the music press in the mid-1980s. However, it was not until Neil Rushton assembled the compilation Techno! The New Dance Sound Of Detroit for Virgin Records (UK) in 1988 that the word came to formally describe a genre of music.

Techno has since been retroactively defined to encompass, among others, works dating back to "Shari Vari" (1981) by A Number Of Names, the earliest compositions by Cybotron (1981), Donna Summer and Giorgio Moroder's "I Feel Love" (1977), and the more danceable selections from Kraftwerk's repertoire between 1977 and 1983.

In the years immediately following the first techno compilation's release, techno was referenced in the dance music press as Detroit's relatively high-tech, mechanical brand of house music, because on the whole, it retained the same basic structure as the soulful, minimal, post-disco style that was emanating from Chicago, Illinois and New York City, New York at the time. The music's producers, especially May and Saunderson, admit to having been fascinated by the Chicago club scene and being influenced by house in particular. This influence is especially evident in the tracks on the first compilation, as well as in many of the other compositions and remixes they released between 1988 and 1992. May's 1987–88 hit "Strings Of Life" (released under the nom de plume Rhythim Is Rhythim), for example, is considered a classic in both the house and techno genres. At the same time, there is evidence that the Chicago sound was influenced by the Belleville Three — allegedly, May loaned Chicago-based house musician Keith "Jack Master Funk" Farley the equipment to make the classic track "House Nation"; early Detroit techno records reportedly sold well in Chicago; and Atkins believes that the first acid house producers, seeking to distance house music from disco, emulated the techno sound. [1]

For various reasons, techno is seen by the American mainstream, even among African-Americans, as "white" music, even though many of its originators and producers are black. The historical similarities between techno, jazz, and rock and roll, from a racial standpoint, are a point of contention among fans and musicians alike. Derrick May, in particular, often quoted as comparing techno to "George Clinton and Kraftwerk stuck in an elevator", has been outspoken in his criticism of the co-opting of the genre and of the misconceptions held by people of all races with regard to techno.

Developments

In the late 1980s and early 1990s, different subgenres of techno music began to emerge, including hardcore techno, an intensified style typified by a fast tempo (160 bpm and up) and the rhythmic use of distorted and atonal industrial-like beats and samples, and ambient techno, with artists such as The Orb and Aphex Twin producing dub music and ambient influenced techno that later had an influence on artists dabbling in the minimal techno and what was originally techno's experimental, non-dance-oriented offshoot, IDM. Acid techno, influenced by the heavy use of the Roland TB-303 for bass and lead sounds in the style of acid house, enjoyed a surge of popularity in the mid-1990s and went on to influence acid trance. Tech house music came to prominence in the late 1990s and combines the basic structure of house music with elements from techno such as shorter, often distorted kicks, smaller hi-hats, noisier snares and more synthetic or acid sounding synth lines.

Less well-known styles related to techno or its subgenres include Yorkshire bleeps and bass or "Bleep," a regional variant which was prominent in the very early 1990s; wonky techno; ghettotech, which combines some of the aesthetics of techno with hip-hop, house music, and Miami bass; and the subgenres of hardcore techno, including gabber, speedcore, terrorcore, Schranz, breakcore and digital hardcore.

Occasionally, well-funded pop music producers will formulate a radio or club-friendly variant of techno. The music of Technotronic and 2 Unlimited. were early examples of this phenomenon. Established pop stars also sometimes get techno makeovers, such as when William Orbit produced Madonna's album Ray of Light.

In recent years, the publication of relatively accurate histories by authors Simon Reynolds (Generation Ecstasy aka Energy Flash) and Dan Sicko (Techno Rebels), plus mainstream press coverage of the Detroit Electronic Music Festival, have helped to diffuse the genre's more dubious mythology. Techno has further expanded into the charts as more artists such as Orbital, Underworld and Moby have made the style break through to the mainstream pop culture while producers and DJs such as Laurent Garnier, Dave Clarke Richie Hawtin and Jeff Mills have continued to explore newer sounds.

Today's techno

As of the mid-2000s, techno still has many subgenres, regional scenes, and crossover incarnations. Examples include the sometimes melodic, vocal-friendly electro-techno style of Sven Väth, the harder styles of Carl Cox, the "Swechno" of a number of Swedish artists. Minimal techno by artists such as Richie Hawtin, Ricardo Villalobos and Magda is enjoying a renaissance in Berlin,[citation needed]. In Britain, a "tech-trance" type of techno is popular, with emerging DJs being Eddie Halliwell and Sander Van Doorn (from Holland). These DJs and others such as Mauro Picotto (Italian) often start with tech-trance and progress to pure, hard techno.

Musicology

Techno features an abundance of percussive, synthetic sounds, studio effects used as principal instrumentation, and, usually, a regular, 4/4 beat usually in the 130–140 bpm range—sometimes faster, but rarely slower. Some techno compositions have strong melodies and bass lines, but these features are not as essential to techno as they are to other dance genres, and it is not uncommon for techno compositions to deemphasize or omit them. Techno is also very DJ-friendly, being mainly instrument