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. Higher - Reggie Steele...
. WMC...
. 4.28 David Morales @ Nyhouseradio.com...
. 4.30 Tony Touch & Voodoo Ray presents Funkbox...
. Always & Forever - Mr. 6ixxx, Muzikman Edition...
. PROGRESSIVE HOUSE - d.I.M.. - Overcoming All - BDR088...
. In Da House - Junior White...
. 4.24 K's Groove Kamati's Birthday Bash...
. 4.23 Nervous Records / Hector Romero Album Release...
. TECHNO - Dim Key - Alice's Funeral - ESTR094...
. 4.21 Dj Spen @ Nychouseradio.com...
. 4.23 Tony Touch & Voodoo Ray presents Funkbox...
. Ron Trent - Hard and soft (Limited Time only!)...
. Mind Games EP Vol. 1 - Reelsoul...
. Candy Rain...

Let's delve into what this site is all about. THE MUSIC! How many times have you gone into a dance record shop, asked a question about a dance record and then been made to feel as if you've just asked for The Macerna Rave Remix? Yep, attitudes are rife in this genre...shame really. 'cos dance music isn't about that. It's about The Feeling.

The following is an intro to the three main audio sections. Classic House, Rave Anthems and Garage and Disco Classics.

Note: Archive is back online!

Classic House Anthems

Like it or not, house was first and foremost a direct descendant of disco. Disco had already produced the first records to be aimed specifically at DJs with extended 12" versions that included long percussion breaks for mixing purposes and the early eighties proved a vital turning point.

Sinnamon's 'Thanks To You', D-Train's 'You're The One For Me' and The Peech Boys' 'Don't Make Me Wait', a record that's been continually sampled over the last decade, took things in a different direction with their sparse, synthesized sounds that introduced dub effects and drop-outs that had never been heard before.

But it wasn't just American music laying the groundwork for house. European music, spanning English electronic pop like Depeche Mode and Soft Cell and the earlier, more disco based sounds of Giorgio Moroder, Klein & MBO and a thousand Italian productions were immensely popular in urban areas like New York and Chicago.

One of the reasons for their popularity was two clubs that had simultaneously broken the barriers of race and sexual preference, two clubs that were to pass on into dance music legend - Chicago's Warehouse and New York's Paradise Garage.

Up until then, and after, the norm was for Black, Hispanic, White, straight and gay to segregate themselves, but with the Warehouse, opened in 1977 and presided over by Frankie Knuckles and the Garage where Larry Levan spun, the emphasis was on the music.

Listen >>>

Rave Anthems

By Summer 89 the acid house scene had grown into the rave scene which was becoming so big that promoters came up with the idea of putting on huge events in the countryside outside London - events that could not only hold thousands of people but which could go on all night.

Although the scene was later to degenerate with an increasingly narrow musical policy, ludicrously numerous DJ line-ups and suffer from gangster style promoters who saw how much money could be made, at the time it was incredibly broad. Alongside the regular house movers, records like Corporation Of One's 'Real Life', Karlya's 'Let Me Love You For Tonight' and 808 State's 'Pacific' became the open air anthems. Several of those anthems came from a label that had started up in Canada the year before.

Toronto's Big Shot Records was the brainchild of producers Andrew Komis and Nick Fiorucci, and they were startled when Amy Jackson's 'Let It Loose', Index's 'Give Me A Sign', Jillian Mendez's 'Get Up' and Dionne's 'Come Get My Lovin' became huge club records in the UK.

Listen >>>

Garage and Disco Classics

After acid had slumped into fatuousness with the adopted logo of acid, the smiley, appearing on t- shirts racked up in every high street and the mainstream press (including the 'qualities') scuttling after every whiff of a half-arsed drug story, they discovered new beat from Belgium.

The trouble was that save for one or two genuinely good records like A Split Second's 'Flesh', nearly everyone outside Belgium hated new beat, a sort of sluggish cross between acid, techno and heavy industrial Euro music and the media hype dissolved into a number of red faces.

Then they discovered garage. 'Garage' as a term had already long been in use on the house scene to differentiate the smooth, soulful songs flowing from New York and New Jersey from the more energetic, uplifting deep house out of Chicago.

Listen >>>

Dance Music History by Phil Cheeseman of Essence Records for DJ Magazine




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