1990 was still a transitional year for UK breakbeat music, but on another scale than 1989. The direct connection to acid house started to fade, yet the prototypes of the previous year were developed further. The breakbeats became more varied and complex, there were more bleeps and bass and more pianos, more rave, more techno, gradually more tempo but also generally more diversity. And as you can see with the number of mixes I recorded for this year, there were far more releases as well. And they sounded more refined, as the nights they were played at got bigger and the sounds followed suit.
00:00:00 1 The Source Featuring Candi Staton – You Got The Love (Erens Bootleg Mix) 00:07:37 2 Mr. Fingers – Mr. Fingers – What About This Love (Even Deeper Mix) 00:13:18 3 The Stone Roses – Fools Gold (A Guy Called Gerald remix) 00:20:02 4 4 Hero – Move Wid The House Groove 00:25:00 5 The Sindecut – Demanding Cycle – Of A Word Bound Hammerhead 00:29:57 6 M.N.D.J – Stop The World (Instrumental) 00:33:11 7 Moody Boys – Jammin (Ital Mix) 00:37:40 8 A Certain Ratio – Won’t Stop Loving You (Sumner Mix) 00:41:56 9 Rebel MC – Comin’ On Strong (Ruff Neck Mix) 00:48:31 10 The James Taylor Quartet – Killing Time 00:53:05 11 Fresh Four – Compared To What (Dub) (feat. Lizz.E) 00:57:15 12 Nomad featuring MC Mikee Freed – (I Wanna Give You) Devotion (Instrumental) 01:03:11 13 Mr. Fingers vs. Rockers Revenge – Feel The Sunshine 01:08:15 14 A – L.A. Star – Wondrous Dream (Mix 1) 01:13:50 15 Psychotropic – Only For The Headstrong 01:21:00 16 Baby Ford – Change (Quick St. Break Mix) 01:25:56 17 Baby Ford – Change (Konrad Cadet Mix 1) 01:30:45 18 Jesus Loves You – Generations Of Love (Future Dub) 01:35:44 19 Jesus Loves You – Generations Of Love (Land Of OZ 12″ Mix) 01:41:54 20 Renegade Soundwave – Women Respond to Bass 01:45:14 21 A.R. Kane – A Love from Outer Space (Venusian dub) 01:51:42 22 A.R. Kane – A Love from Outer Space (Solar Equinox mix) 01:55:10 23 A.R. Kane – A Love from Outer Space (Lunar Eclipse mix) 02:00:47 24 The Sindecut – To The Heart 02:04:59 25 The Sindecut – Having 02:08:31 26 Psychotropic – Hypnosis 02:16:24 27 Logic Control MCs – High Pursuit 02:19:35 28 Mental Cube – Chile Of The Bass Generation 02:23:14 29 808 State – In Yer Face (Mancunian Delight) 02:27:57 30 A Certain Ratio – Spirit Dance 02:32:04 31 Orbital – Omen (The Tower) 02:34:32 32 Shades Of Rhythm – Exorcist 02:39:07 33 Newington Heights – Reach 02:44:11 34 Hardcore – Get A Little Stupid (Backroom Mix) 02:50:39 35 The Moody Boys – Funky Zulu (You’re So Fresh) (Chapter 1) 02:55:14 36 Mc Wildski – Warrior (The Art Of Fighting Without Fighting Mix) 02:59:04 37 Renegade Soundwave – Thunder II 03:03:42 38 Jolly Roger – Music Is The Weapon Of The Future (Dub) 03:09:02 39 MC Buzz B – Never Change 03:12:22 40 Mental Cube – Q 03:16:30 41 A Man Called Adam – Barefoot In The Head
00:00:00 1 Orbital – Chime (JZJ Oh Ya Mix) 00:06:18 2 Plutonic – Amen 00:11:17 3 Unique 3 – Phase 3 00:15:23 4 Excel D – The Blur 00:18:52 5 Westworld – The Slam 00:24:04 6 Hypnotone – SBX 00:28:20 7 A1 – I Like Techno 00:31:25 8 Unknown Artist – Untitled 00:34:46 9 DJ Mad A & Dr. Stevie The Ambient Guru – Levitating Pharaohs (Full Frontal Spacehead Ambient mix) 00:38:38 10 Baby Ford – Let’s Talk It Over (12″ Full Version) 00:43:35 11 No Smoke – Oh Yes (Freedom) 00:48:11 12 Language – Renegade (The Energy mix) 00:52:34 13 Language – Renegade (The Cryptic mix) 00:57:01 14 Bang the Party – Rubbadubb 01:00:18 15 Turntable Overload – T T O 01:05:01 16 Unique 3 – Pattern 12 01:09:36 17 Orbital – Omen (12″ Version) 01:15:52 18 Logarhythm – Jungle (Nightmares On Wax Mix) 01:19:39 19 The Black Dog – Apt 01:23:38 20 Synchro – Synchro-Bass – Mystic Voyage 01:29:29 21 Pet Shop Boys – Being Boring (Extended Version) 01:38:50 22 Adé – Free The Soul 01:42:11 23 2 In A Rhythm – Magic Machine (Ruff Rhythm Mix) 01:45:59 24 2 In A Rhythm – Magic Machine (Time For Action Rap) 01:49:41 25 2 In A Rhythm – Bionic Boogie (Work Da Rhythm Mix) 01:53:24 26 2 In A Rhythm – Bionic Boogie (Ride The Groove Mix) 01:57:28 27 Holy Ghost Inc – Hi-Speed (Pirate DJ Club Mix) 02:01:29 28 Freshtrax & Ace II With Pressure Zone – Destruction (War Zone Mix) 02:06:32 29 Andromeda – Control (Control of the dance floor) 02:11:01 30 Shut Up And Dance – A Change Soon Come (Instrumental) 02:14:51 31 Shut Up And Dance – A Change Soon Come 02:19:10 32 Sudden Impact – Game Of Love (Original Mix) 02:25:04 33 Sudden Impact – Game Of Love (Remix) 02:30:41 34 Adamski – Adamski – Killer (Remix) 02:36:56 35 Sike – Intrigue
00:00:00 1 Baby Ford – The World Is In Love (Dub) 00:05:00 2 Midi Rain – The Crack Train (Dub 1) 00:09:20 3 Midi Rain – The Crack Train (Vocal) 00:13:48 4 Circuit – Shelter Me (Helter Skelter Mix) 00:19:33 5 T.A.S. (The Altered State) – Make Some Noise (Def Mix) 00:22:45 6 HardNoise – Untitled (Instrumental) 00:24:56 7 HardNoise – Untitled (Vocal) 00:28:15 8 4 Hero – Rising Son (Inst.) 00:33:28 9 4 Hero – Rising Son 00:38:28 10 Genaside II – The Motiv (Who Da F@??$! You Calling Fat? Mix) 00:42:33 11 The Dynamic Guv’nors – These Guys Are Doper Than Dope 00:48:15 12 MC Duke – MC Duke – I’m Riffin’ (1990 Remix) 00:51:29 13 The V.F.T – Fenland Bass 00:56:31 14 Exocet – Shogun Assassin 01:01:58 15 Synchro-Bass – Dark Star 01:07:32 16 Unique 3 – Weight For The Bass 01:12:04 17 Marine Boy – Laura Laura 01:17:23 18 DJ Mink – Hey! Hey! Can U Relate (Sunshine Dub Instrumental) 01:23:56 19 DJ Mink – Hey! Hey! Can U Relate (Deep Space Mix) 01:28:41 20 Infamix – A Walk In The Park 01:33:41 21 Satin Storm – Satin Storm 01:38:17 22 Butcher Sam – Piano Passions 01:43:23 23 Bogus Order – Zen Bones 01:47:21 24 FXU – FXU – The Dark Side 01:51:24 25 C + M Connection – Bio Rhythms 01:57:11 26 Westworld – Dreamworld 02:03:28 27 Altern 8 – Reel Time Status 02:07:24 28 Demonik – Labyrinthe 02:12:52 29 Doggy – Dog Food 02:17:31 30 G.F.X. – Eternal (Mix 2) 02:19:37 31 Amber – X-Logic 02:26:18 32 Greed – Give Me (Bleep Mix) 02:31:52 33 KCC – Def 02:34:22 34 Confidential – Jam The Frequency 02:40:45 35 A Guy Called Gerald – Untitled
You better acknowledge the fact that house music emerged from gay sub- and club culture. And it is a continuation of disco music, for which the same applies. These are the undeniable roots of what still keeps so many people busy on the floor, and the roots of a whole industry. Yet there are less explicitly homosexual producers and performers that have the same attention and careers as the heterosexual stars of the scene, and there are less records that display explicitly gay content in the canon of club music than heterosexual ones. This guide is a chronological celebration of releases that wear their sexual orientation with pride, from the early days of house music to ballroom culture, drag queens and vogue dancers, from encoded niches to the mainstream. RuPaul‘s first record was released in 1985, a long way before the Drag Race. And a whole lot of names have vanished from sight over the years. And even if the struggle continues, they all paved the way for more acceptance.
The Children – Freedom (Factory Mix) (D.J. International Records, 1987)
A jacking anthem for the Warehouse and Music Box crowds in Chicago, produced by Adonis and The Children. But also very decidedly produced for the children, the dancers on the floor that did not fit in with the majority around them. „I have nothing to prove. I‘m this way because I wanna be. Can‘t you accept me for what I am?“
Steve „Silk“ Hurley – Cold World (Mommy Can Your Hear Me Mix) (Atlantic, 1989)
Jamie Principle riding a bumpy groove, taking a stand against ignorance within family and society. The lyrics have echoes of the Pet Shop Boys‘ „It‘s A Sin“ and Bronski Beat‘s „Smalltown Boy“, but they have no time for pomp and detailed narrative. The kid is not leaving, as the Beatles once sang, it is thrown right out. „The children say: I will not change!“
Danny Xtravaganza – Love The Life You Love (Le Palage Mix) (Nu Groove Records, 1990)
In 1990 the success of Jennie Livingston‘s documentary „Paris Is Burning“ brought the secluded ballroom culture into the limelight, and gave Madonna a hit single (and some spectacular tour dancers). The codes, terminology and vogueing dance moves were expected to fade away again once the usual mainstream attention faded, but they came to stay. Among the houses portrayed in the film was the House of Xtravaganza, whose forming member, the late Danny Xtravaganza managed to introduce both a life-affirming message and a glimpse of success against a merciless ballroom jurisdiction, all over a breezy house groove. „Judges, your scores. Ten, ten, ten, ten, ten, ten across the board!“
Jackie 60 Presents Jackie MC‘s – The Jackie Hustle (Johnny D‘s Duelling MC Mix) (Minimal Records, 1992)
The theme tune of the seminal New York City club Jackie 60, featuring co-founder Johnny Dynell and Arthur Baker as producers, and Danny Tenaglia mixing it up. The track is a sweet mellow house groove with a cheeky reference to Van McCoy‘s „The Hustle“, and Paul Alexander and Richard Move most charmingly act as MCs in the most conférencier sense, greeting the Jackie legends and Jackie hustlers as if they would pass them by in the room, and giving them a bit of attitude, too. „We got a lot of superstars in the house tonight. Hello. I wanna welcome all the Jackie virgins, all the Jackie wannabees.“
Ralphi Rosario – Bardot Fever (D.J. World, 1992)
Ralphi Rosario provides a swinging piano house track for a showcase of Chicago‘s club legend Byrd Bardot. Actually the way she constantly pronounces her name throughout the track was perfect to throw a pose to. „Do you feel it? Fever? Lots of fever? I bet you do. “
Moi Renee – Miss Honey (Project X Records, 1992)
A kicking house track that gives more than a slight nod towards Masters At Work‘s „Ha Dance“ from 1991, the probably most interpreted sound template of ballroom house music. But here we also have the late, legendary Moi Renee, telling that unfaithful bitch some news in her very own style. Her almost mantra-like rant inspired a lot of subsequent vocalists to follow her steps, although they mostly went way more into detail. „Where‘s the bitch, she‘s got some nerve. Here I am, and feeling fierce!“
Baltimore Club was not exactly known for queer artists, and so the repect and praise the late Miss Tony commanded in that scene was already saying a whole lot. A frequent featuring MC and vocalist on according local records and club nights, Anthony Boston also proved to be aware of the real struggle with brilliant releases like „Release Yourself (Tired Of Being Under Pressure) and „Living In The Alley“, but „Tony‘s Bitch Track“ really shows what this legend is all about. The music merges Todd Terry and Eddy De Clercq‘s act House Of Venus as a perfect canvas for Miss Tony‘s inimitable reading. „I‘m a man, I‘m a man, I‘m a man, I‘m a man. But you know what y‘all? Sometimes I feel just like a woman. And if you don‘t believe me, ask your father.“
I.M.T. only released two singles, but both were very remarkable. Their music was an eerie and idiosyncratic take on house and techno, their message was an encouragement of transgender determinedness, referencing quotes from „Paris Is Burning“. „It‘s your turn. And it‘s your time. To free yourself to become yourself.“
The Ride Committee Feat. Roxy – Get Huh! (E-Legal, 1993)
Roxy punished the competition in a lot of seminal ballroom house records, but this wild Louie Balo production is still among her fiercest. Don‘t mess! „She‘s got really dreadful skin. She‘s got Ethel Merman‘s chins. I hate huh! Get huh!“
Candy Jackson aka Sweet Pussy Pauline aka Hateful Head Helen was a true icon of the Chicago house scene, releasing very self-confident and often very explicit tracks since 1986. But this striking Mike Dunn production shows another side of her, telling a very moving and very bitter story of abuse and wrong love to the girlfriend (and us). „Now I‘m in the hospital. I got a black eye, a sprained arm and one broken leg. I can‘t see him the way I used to, I can‘t hold him the way I want to, and I got thoughts that I want to hop back to him when I get out. Am I crazy? Am I still delirious?“
Junior Vasquez – X (Sound Factory Mix) (Tribal America, 1994)
The Sound Factory was the big room playground of the 90s ballroom scene, and its resident DJ Junior Vasquez was its undisputed and imperious ruler. This pounding track is an example of how he merged DJ Pierre‘s wild pitch sound template with the club‘s floor theatrics and drama, and it is also a tribute and a theme tune to the House of Xtravaganza, and its late house mother Angie.
Rageous Projecting Franklin Fuentes – Tyler Moore Mary (Banji Bite Mix) (Strictly Rhythm, 1995)
Jerel Black working a butch, Todd Terry referencing house track, featuring the notorious Franklin Fuentes relentlessly reading a queen who is probably having a go in the realness category. „I‘m the New York Times, baby. And you‘re Street News. You get the picture?“
„Can You Party“ by Todd Terry in his Royal House guise served as reference in many ballroom house tracks (and also yet again there are samples of other staples like Eddy de Clercq‘s aka House of Venus‘ „Dish And Tell“ and MAW‘s „The Ha Dance“), but it arguably seldom hit as hard as in this Robbie Tronco production. One for the true devils on the floor. „Butch Queen vogueing femme. Butch queen voguing like femme queen. Bring it to the runway.“
The Ones – Flawless (Phunk Investigation Vocal Mix) (Groovilicious, 2000)
The Ones was a triumvirate of the scene veterans Paul Alexander, Nashom Wooden and Jo-Jo Americo, whose „Flawless“ was released in 1999 to little attention. Since the early 90s successes of the game changer RuPaul or the camptastic Army of Lovers attempts to conquer the charts had more or less failed, but then Italian remix duo Phunk Investigation were allowed to have a go at the track, and transformed it into an irresistibly catchy big room house anthem that was frowned upon by musical purists, when actually it was indeed pretty much flawless. After all a glitzy fantasy of fame and beauty on the floor appeals to the majority, or so it became evident. „With amazing grace you walk and smile, they answer to your beck and call, you’re flawless. After all, overqualified for the position, your dreams see fruition. Mere class on a higher plane. Everyone wants to know your name .Just like perfection. Needs no correction. Like no other.“
Aaron-Carl – Hateful (Wallshaker Music, 2004)
The late Aaron Carl surely was a unique phenomenon in the legacy of Detroit techno. Respected by fellow artists and fans locally and internationally, yet determinedly outspoken about every point he felt the need to make about himself and those that stood in his way, and also gifted enough to succeed with every artistic statement he wanted to make. However endearing he could be, he was neither ready to compromise, nor would he ever put up with everything, and „Hateful“ was a fine testament to that. „Tearing down the future, living like the past. If you can‘t tolerate my kind, you can kiss my fucking ass. I‘m feeling hateful, because you think I‘m weak. I give it all, and you take it away from me. I fight fire with fire when I‘m in this state, and if I can‘t find love, I guess I‘ll hate.“
Chicago‘s DJ Pierre already had the credentials to be responsible for a lasting sound revolution in club music when he, together with Earl “Spanky” Smith Jr., and Herbert “Herb J” Jackson as Phuture, tweaked the knobs of the Roland TB-303 and came up with the squelching sounds that defined acid house. But regular visits to the seminal Wild Pitch parties put on by Bobby Konders and Greg Day in early 90s New York City inspired him to reinvent himself once again, and again with lasting consequences. The Wild Pitch parties consisted of several rooms with different musical agendas between reggae, disco, hip hop, house and techno. Pierre’s idea was to gather the diverse styles played into one track, but by applying a structure that stepped away from the traditions of club music functionality. Over the course of tracks often hitting or passing the 10 minute mark, he opted for a gradual introduction of a track’s key elements. Starting with the kick drum, every further sound was slowly and patiently layered onto another on a rolling groove, heaping up the intensity step by step until a climactic release. This may not read as being revolutionary, but it was executed so skillfully that it shook up the foundations of house, introducing a level of upbuilding tension and a hypnotic quality that was yet unheard of. And it also led to Pierre becoming one the most in-demand remixers in the years to come. Here is a guide to some classics and overlooked gems that defined wild pitch.
Photon Inc. Feat. Paula Brion – Generate Power (Wild Pitch Mix) (Strictly Rhythm, 1991)
The ground zero of the genre, and all the key elements are already there: the waddling groove, the standing strings, the stab repetition, the signalling vocal samples. The upbuilding structure was not as refined yet, but the intensity level sure was. This track literally ran over house music in its release year, and Pierre obviously noticed that he was onto something.
DJ Pierre – Muzik (The Tribal Wild Pitch Mix) (Strictly Rhythm, 1992)
DJ Pierre often said in interviews that wild pitch was inspired by his own DJing preferences of sneaking in elements of other tracks in long blends. „Muzik“ is a perfect example for that. Just check how its elements fade in and out, are repeated, modulated, replaced, continued and layered. It is a master class in structure.
Divided in four parts segued into another and add up to 15 breathtaking minutes, this track tore through dancefloors with a massive boom still seeking comparison. Yet it is actually clocking at 120 bpm, proving that pace does not equal heaviness. And it builds and builds. Someplace else, Chez Damier and Ron Trent were taking notes.
In discussion with Steve Fabus on “Let’s Start The Dance” by Hamilton Bohannon (1978).
How did you discover „Let’s Start The Dance“? Was it in a record store, or in a club?
I discovered “Let’s Start the Dance” in my slot at my record pool, BADDA (Bay Area Disco DJ Association) in San Francisco in 1978. It was the album „Summertime Groove“, where „Let’s Start the Dance“ is the first track on side A. When I first heard it I was blown away by it and couldn’t wait to play it at the club that night. When I played it the crowd went crazy and it was the peak record of the night, not surprisingly.
When the record came out, you had already started your career as a DJ in San Francisco. What makes this record so special for you? And was „Let’s Start The Dance“ a defining record for the sound you played back then?
I was playing loft parties and underground clubs and at two of the major clubs in San Francisco, the I-Beam and Trocadero Transfer. I know one of the reasons I was brought into the scene was because I incorporated a lot of the R&B, Groove, Funk and soulful sounds from Chicago and New York and mixed it with the NRG and Electronic sounds already being made in San Francisco, and coming in from Europe. „Let’s Start the Dance“ was and still is a defining record for me because it is such a fusion of so many of these sounds but most importantly — it’s a jam. Its many elements, Jazz, Blues, Rock, Funk, Electronic, Boogie, take you on a trip in a whole movement building up to a crescendo of orgasmic release. It relates to other fusion sounds like the Isley Brothers’ „Live It Up“, Crown Heights Affair’s „Dancin“ and many of James Brown’s tracks.
Hamilton Bohannon was a drummer originally, and he started releasing records that were very focussed on rhythm and very distinctive from the early 70s on. What was his role in the history books of Disco music?
I first heard Bohannon in Chicago in 1975 at Dugan’s Bistro, a major downtown gay club. The track I heard was „Bohannon’s Beat“ which is on one of the early albums on the Dakar label. It stood out to me because it didn’t follow any of the commercial rules of the day. It presented itself as a unique sound — experimental and minimal, a mantra to hook into. It inspired and encouraged DJs to take Disco underground. It was like a loop, a tool to use to improvise, phase or use as a bridge. Mantra is a major theme for Bohannon and he carries it forward with „Let’s Start the Dance“, which is just the opposite of minimal. He turns it up with the full on jam that puts dancers in an intense trance that they have no choice but to ride to its conclusion. It is very rich with a number of instruments played including guitar and keyboard with Carolyn Crawford’s couldn’t-get-any-better-voice. What this record represents to every generation is that this is the real deal musically.
Are there other Bohannon records you rate nearly as much?
My other all time favorite is „The Groove Machine“ – as intense as “Let’s Start the Dance” but trippier with its phased out psychedelic break and its total fusion hard funk rock electronic groove. When I hear this it makes sense that Bohannon early on drummed with Jimi Hendrix. Both “Groove Machine” and “Let’s Start the Dance” feature guitar riffs prominently.
1977 saw the peak of the classic Disco era. Was „Let’s Start The Dance“ an early sign that Disco could live well past the end of that boom? That the sound could move on and still matter?
“Let’s Start the Dance” is timeless because as I had mentioned before it’s a whole movement and jam where you’re hearing real instruments. It always ignites a dancefloor and from the first note you want to pay attention. The lyrics come fast with “Everybody get up and dance – Ain’t ya tired of sitting down?” This could be cheesy but it’s not, and you know it’s not and surrender completely to it right away. There is no way you couldn’t let yourself be seduced by it and every generation experiences this seduction. It still matters because it’s a prime example of the authenticity of Disco of that time period and that’s what lives on. Read the rest of this entry »
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