When House Met Disco – A Guide

Posted: August 8th, 2018 | Author: | Filed under: Features | Tags: | No Comments »

As it was a continuation in the timeline of club music it is quite natural that via sampling the early years of house were already littered with references to what happened before: disco. Pioneering Chicago house records used vocal snippets of the classic repertoire of disco and replayed its basslines and arrangements. Just take Isaac Hayes’ „I Can’t Turn Around“ for example, which was not only used in Farley Jackmaster Funk’s „Love Can’t Turn Around“, but also numerous other house tracks at that time. And acapellas from the back catalogue of classic disco labels like Salsoul, Prelude or West End never stopped being used for giving a track that extra imperative on the floor. But as well as disco always remained an integral of house music’s matrix, particularly lesser productions means led to different approaches of utilizing it. From the mid 80s on, nearly no house producer could afford to set up an orchestra in a studio, also many were not trained to write and arrange music as many protagonists of the classic disco era were. Still, the desire to reference or recreate the disco legacy with a house groove was always there until today, and the ways with which disco and house connected were manfifold and innovative. We take a look at some prime examples.

Mitch Winthrop – Everybody’s Going Disco Crazy (Everybody’s Much Crazy Records, 1991)

I first heard this record at Hamburg’s Front club, where it was a total anthem. At the time most people were actually not disco crazy anymore, but this was a perfect reminder to never forget where it was all coming from.

Reese Project – Direct Me (Joey Negro Disco Blend Mix) (Network, 1991)

Dave Lee aka Joey Negro was one of the first house producers that were not content with only sampling disco elements, but who aimed for a production that came as close as possible to disco’s original production and arrangement values. His remix for Kevin Saunderson’s garage house project went all the way. Joey Negro had the knowledge and had paid close attention, and obviously his directive was to achieve anthemic euphoria, and as all was done with loving detail, straight to the syndrum pew pew pews, he proved himself to be a trustworthy ambassador of the disco heritage, and remained ever since.

Nature Boy – Tobago (Black Label, 1992)

Milo from Bristol’s legendary Wild Bunch soundsystem deconstructing disco source material down to dark and gritty netherworld. None of the glitz of the sample references survived the process, and the music seemed to rather kick you out into the back alley through the back door than sway you in through the velvet rope on the other side of the building. I found „Ruff Disco Volume One“ in a bargain bin in the early 90s and I think it still sounds totally visionary and unique.

Romanthony – In The Mix (Azuli Records, 1994)

A tribute to Tony Humphries and the whole New Jersey legacy by Romanthony, one of house music’s greatest producers ever. If there ever was a more convincing argument to never deny your roots and keep them alive in what you are doing, I would like to hear it.

Jump Cutz – House Luck (Luxury Service Records, 1995)

One of many highlights from the Jump Cutz series, produced by Rob Mello and Zaki Dee. This really shows that often a good disco house track is no rocket science. Deconstruct source material into several parts. Reconstruct said parts as you please. Watch them go.

The Morning Kids – Free Lovin’ (Housedream) (Balihu Records, 1996)

As a true disco lover and dancer, Daniel Wang knew that it is the early morning hours when the magic of a good night out really unfolds. A rather simplistic meditation based on just a few samples compared to his later vintage syntheziser led output, but it still works a treat if the DJ decides it is finally the right time to switch gear. When it was released, the balearic revival was just a few sunrises away.

Los Jugaderos – What You Doing To This Girl? (Jus’ Trax, 1996)

A rework of Dazzle’s „You Dazzle Me“ which is indeed dazzling. The well-proven disco evangelists Ashely Beedle and Phil Asher concentrate on building up the tension mesmerizingly and release the strings at exactly the right moment. A masterclass in structure.

Turntable Brothers – Get Ready (Music Plant, 1996)

There once was a seminal live recording archived on deephousepage.com that captured Ron Hardy whipping his floor into a frenzy with an extended reel-to-reel edit of Patti Labelle’s „Get Ready“. This Chicago label already carrries the legacy of two legendary windy city clubs in its name: the Muzic Box and the Warehouse (later Power Plant). So it should come as no suprise that most records on Music Plant are a straight homage, albeit with banging beats and the freewheelin’ demanour with the use of samples so typical for Chicago. „Get Ready“ skips the traditional verse part of the original and heads straight to the climactic chorus, then rides it far into ecstacy. Read the rest of this entry »


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