introduction to house music

1. classic salsoul mastercuts vol. 1
2. trax records: the 20th anniversary collection
3. hardfloor - jack the box
4. nu groove: here comes that sound again
5. little louie vega - strictly house mix
6. v/a - warp 10+2: classics
7. the future sound of chicago
8. deep dish - yoshiesque
9. sasha & digweed - northern exposure 1
10. body & soul vol. 1
11. andy weatherall - hypercity
12. matthew herbert - let's all make mistakes
13. dreem teem - in session vol. 1 & 2
14. crydamoure presents waves

and albums

fingers inc. - another side
todd terry - to the batmobile
murk - miami deep
herbert - around the house
daft punk - homework
basement jaxx - atlantic jaxx recordings
felix da housecat - alone in the dark
danny krivit - edits by danny k.
motorbass - pansoul
faze action - plans and designs
moodymann - a silent introduction
paperclip people - the secret tapes of doctor eich
romanthony - romanworld
arman van helden - greatest hits
faze action - plans and designs
bt - ima
baby ford - the world of baby ford
808 state - newbuild
the best of balihu
metro area - s/t

No Basic Channel, Jess?

yeah bung in the first monolake, decay product, and the basic channel cd then.

apparently it's broken up into the three cd "20th anniv. collection" and an "acid classics" or something, which is weird since "acid trax" is on the "20th anniv. collection"

http://www.deephousepage.com and

http://www.undergroundnyc.com

reinforced presents the deepest shade of techno 1 & 2
transmat relics
underground reistance - revolution for change
jeff mills - live at the liquid room
suburban knight - my sol dark direction
dj assault - straight up detroit shit vol. 4 (haha)

http://www.discogs.com/release/45565 may have just come out on CD again, the vinyl is terribly pressed and must be avoided

this double CD http://www.discogs.com/release/12116 is as good as it gets, and if anyone can burn me a copy, they can have my firstborn

likewise, this is rare but great: http://www.discogs.com/release/12071

its possible to quibble quibble or list list but i think that as far as scope is concerned, those discs will introduce a lot of different ideas to you quite qucikly. when you want more detail, look at the names of the labels listed in the Atkins comp and use slsk to hear more (from those labels).

Also, what are some really good mixes on www.deephousepage.com ? My eyeballs are glazing over at these huge lists ...

there is a "History of House" but I have yet to get my paws on it.

no firstborn required, but drop me a line dan.

look at the dates...there's lots of new mixes with boring new stuff, but there's also lots of new mixes filled with classics, which may be good primers, they are usually defined as such.

stuff from the late 70s/early 80s is often pretty low-fi and often a typical mix of classic disco. stuff from the mid to late 80s is often from the radio, most famously WBMX and other chicago radio stations.

look at the DJs, the big names like Frankie Knuckles, Ron Hardy etc, most of these mixes predate house but that is who house music was defined, by what these guys played and how it influenced people, and early house would creep in. Listen to Hot Mix 5 mixes from 86/87, I especially like those from Mickey Mixin Oliver, who mixed top 40 pop, italo-disco, new york club classics, early house and techno, british new wave etc, like it was all the same thing. Which it can be.

Other stuff of interest is live Lil Louis and a really cool set of Bobby Konders at Cheetah with a live performance from the Jungle Brothers.

It's got 2 discs which are mixes of some 35 odd (off the top of my head) classic trax releases, then a third disc that has some of the landmark tracks unmixed.

I think it's worthwhile to explore the classics and get a base of understanding.

http://www.discogs.com/release/48569

This is always my recommended starting place for people new to House.
A great comp, mixed well and covering a large spectrum of the "house" sound, from early acid stuff to later funky disco loops stuff.

Also seek out any and every Steve "Silk" Hurley production...he's under-appreciated, but during the '90s, he realized exactly how electronic disco should sound.

Oh, and there's no such thing as MAW overkill.

http://music.hyperreal.org/library/history_of_house.html

http://www.jahsonic.com/House.html

http://core.ele-mental.org/ele_ment/said&did/history_of_house/roots.to.1985.html

They certainly have a "pop" accessibilty that could act as an easy gateway into house for people not well versed in track-based music. Obviously Kompakt weren't one of the originators, but still, if you have to ease people in, ease them in!

I can see Kompakt as a gateway for electronic music listeners...for pop fans, I'd probably point them in the direction of Trax or International DJ for early stuff, and Defected or Soulfuric for current -- just soul/R&B/pop pumped up with four-on-the-floors. But it all really depends on how lush and/or cheesy you want to get.

There's enough pop/rnb crossover stuff that can get people started - I mean in all truth the easiest place to start is a good houseified remix of a chart hit

I assume mr. sherburne knows a thing or two about the nightlife as well!

I've seen Nicky Siano DJ to 13 people.

The venues the book the most interesting DJs are often the very worst places to try to dance, see APT or Passerby.

That's just for starters RE: NYC.

still there was so much to see and do.

nyc is fucked up i can never understand it. DC has only two scenes. either you go see big names or you go to the three places or so that feature underground house music. thats it really. it makes for some weird nights. the trance promoters here are the only ones who have the money to bring in techno djs, so you can end up seeing miss kittin play to (what was probably a mostly-empty) club of 6,000 capacity.

http://www.chicagotribune.com/features/arts/chi-0408080303aug08,1,3053586.story

----------------------
House music comes home
----------------------
More than two decades later, CHICAGO is finally
listening to the sound
born in its own underground

By Greg Kot
Tribune music critic
Published August 8, 2004

IMPROBABLY, it's shaping up as the summer of house in
Chicago. The gritty, homegrown brand of dance music
that arose from the ashes of disco in the late '70s
and became an international sound by the late '80s,
has never gotten its due at home, and was al-most run
out of town by the city government a few years ago.
But all that's starting to slowly change, thanks to a
confluence of events:

Maurice Joshua took home a Grammy Award last February
for best remixed recording, only the second time a
Chicago-based house producer has been honored at the
music industry's most prestigious ceremony.

House "godfather" Frankie Knuckles will have a street
named in his honor Aug. 25 at the site of the defunct
Warehouse, the West Side dance club where he dee-jayed
in the early days of house.

Knuckles is among the renowned deejays invited to spin
this summer at free Wednesday night dance parties in
Grant Park, the most high-profile city-sponsored house
event in Chicago's history.

The Chicago label that put house on the international
map, Trax Records, is back with wider distribution and
a batch of CDs mining their revered catalog as well as
new recordings.

It's enough to make even the most jaded house fan
wonder what suddenly went right.

"There are a number of governmental employees,
politicians and people in very important positions
who've embraced this music," Knuckles says. "I'm
nothing short of astounded by it all."

"I wished and hoped to see house music come to Grant
Park, but I'd practically given up hope," says Joe
Dale, longtime owner of Gramophone Records, epicenter
for the dance-music community on the North Side. "Now
it's happening and I'm happy, and the city seems to be
happy. This could be a turning point."

Says Larry Sherman, the founder of Trax, back in
business after an up-and-down decade, "House is an art
form, a Chicago art form that Chicago didn't care
about. It was created and maintained by people living
in this city to entertain themselves and eventually
the world. All of what is happening now indicates that
Chicago is finally accepting that."

Acceptance has never come easily for house in its back
yard, so it's understandable why the house community
is so hungry for it. But it remains to be seen whether
the overdue recognition will be good for the music.

At the 6,000-square-foot West Side offices of the
newly revived Trax, one of the original house divas --
Screamin' Rachael Cain -- is taking a break from her
usual brimming-with-optimism house cheerleader persona
and slipping into a new outfit: beleaguered
record-company president.

"People didn't take Trax seriously for a long time.
They think they can just steal from us!" She's
standing in red fishnet stockings with hands on hips
inside an office that befits her persona -- it's
outfitted in faux cheetah-skin wallpaper. Sherman
looks on from the couch with a bemused grin: "Rachael
is like a walking ad for her obsession, her career,
her lifestyle."

Cain's obsession can be summed up in one word: house.
House was built by deejays. Frankie Knuckles and Ron
Hardy, and later Steve "Silk" Hurley, Farley Funk and
Marshall Jefferson, strived to outdo each other with
more outrageous mixes as they presided over
dusk-till-dawn dance parties at South and West Side
clubs. The sound combined crude digital technology, a
relentless kick-drum bottom that thumped along at 125
beats per minute, and vocals that chanted, roared and
pleaded for deliverance. Its ecstatic pulse was
created on crude drum machines and keyboards, a kind
of futuristic soul that swept dance music into the
electronic age.

Pushed underground by the disco backlash that
culminated with Steve Dahl's "Disco Demolition Night"
at the Comiskey Park in 1979, house was largely the
province of blacks, gays and Latinos until it hit the
European vacation island of Ibiza in the late '80s.
There house reached a new audience of teens and young
adults just coming into its own, and became the
soundtrack for a generation.

House had became world-renowned, but Chicago's
pioneers rarely got the magazine covers, radio play or
pay checks that their European disciples collected.
English deejays such as Paul Oakenfold became the new
ministers of dance culture, and savvier promoters and
record labels in Europe usurped the Chicago sound for
their own profit, eventually selling it back to North
America. Meanwhile, the Chicago labels that had done
the most to build the house sound faded away, victims
of in-fighting and their own business and promotional
ineptitude.

"The whole world adopted house, but forgot where it
came from," Cain says. "Business was not our forte."

Chicago's attitude

Hometown recognition was complicated by the City of
Chicago's ambivalent, and sometimes downright
poisonous, attitude toward late-night youth culture.
While the city actively promoted itself as the home of
the blues, it not only ignored house, it sometimes
took steps that were perceived as hostile to its very
existence. In 2000, the Chicago area dance scene was
linked to three deaths, and the media ran wild with
stories about rampant abuse of the designer drug
Ecstasy at raves. That year, the city passed an
ordinance that placed property owners, promoters and
deejays in line for $10,000 fines if they were
involved in an unlicensed dance party. The ordinance
was passed without public discussion.

In 2001, another ordinance was passed holding building
owners and managers criminally responsible for hosting
house parties where drug use occurred. The crackdown
left a stigma that made it more difficult for
law-abiding fans, deejays and promoters to schedule
events, and to bring out-of-town talent to Chicago.
Just as rock 'n' roll had divided previous
generations, dance music cleaved the city into warring
extremes: the powerbrokers seeing it as a corrupt
force that need to be banished before it drove their
sons and daughters to drugs and an early death, the
young fans and participants embracing it as the
soundtrack of their lives that should be allowed to
flourish anywhere, anytime.

"Some of the city people don't realize that what blues
and jazz is to Chicago and an older generation, house
is to the city and a younger generation," says
Gramophone's Dale. "It not only has a social impact,
but it can have a financial impact on the city,
because there would be a huge influx of young people
in this city from around the world if house were
promoted properly."

In the time since the crackdown, the outlaw rave scene
has faded, replaced gradually by sanctioned events
where the music is the focus. This year, the Chicago
Department of Cultural Affairs incorporated the
Wednesday night deejay series into its already
successful Summer Dance program in Grant Park. The
crowds have swelled to more than 3,000, and the
atmosphere is festive, with bare-chested club kids
mingling with couples pushing strollers.

The weekly events have helped overturn "the
drug-culture stigma that has followed dance music
around in this city," says Brian Keigher, a deejay who
worked with program director Michael Orlove in the
cultural affairs department to give house a foothold
in city programming. The two hope to expand the
bookings in future summers, and are looking at the
possibility of a house festival or conference in
future years to spotlight the city's importance in
international music.

"It took about the same amount of time for blues to be
recognized as a significant art form," Keigher says.
"There's a whole generation after the Baby Boom that
has always recognized house as a legitimate style of
music, and it's inundating TV commercials, so you
can't say it's underground anymore. Now people on the
outskirts of the music are starting to realize its
potential."

Dirty immediacy

That may not be in the best interests of a music that
has always been perceived as a bit of an outlaw:
"primal, sexual escapism from the world outside the
dance club," as Screamin' Rachael puts it. The
production standards of the early house records were
so low that the major labels laughed at them, but
these tracks had a dirty immediacy unlike anything
else.

"This was a style of music created by people who
didn't have a map, who didn't know the `right' way to
play an instrument, or how to play an instrument at
all," says Farley Funk. "People hated me because we
didn't have real drummers and real bass players on our
records, yet I'd walk into a room with one machine
under my arm and make a hit. We didn't have radio
support, but I was selling more records out of my
trunk than Prince."

The bespectacled house veteran exaggerates only
slightly. He co-wrote one of the biggest house hits of
all time, "Love Can't Turn Around," though getting
paid royalties for it was a different matter.

"Our legend was a whole lot bigger than our wallets,"
says Rachael, who scored a string of major house hits,
including "Fun with Bad Boys," but acknowledges that
for years she and her fellow Chicago house innovators
struggled to make ends meet.

Yet the music they made has achieved a longevity that
even some of its early champions couldn't predict.
After the first wave of deejays introduced house to
the club scene, musicians fluent in the new digital
gear began making records, including Vince Lawrence,
Joe Smooth and Jere McAllister. "It was basically kids
with new drum machines and little synthesizers trying
to capture the vibe of an orchestra," McAllister says.
"It became the first multicultural dance music, with
American soul music, Afro-Cuban rhythms and other
styles mixed together." As the music filtered
overseas, it became trendy. But the bedrock of
well-crafted songs -- many compiled on Trax's new
"20th Anniversary Collection" -- gave it a staying
power that has transcended generations.

"The Trax catalog is still selling because it had
identifiable tunes, whereas a lot of dance music now
is kind of nondescript -- it's basically a track
without a memorable sense of melody," Gramophone's
Dale says.

What remains uncertain is whether Trax and Chicago
house can find a new audience. Dale says he still
sells 100 copies a week of Trax's vintage hits at his
store, compared to 15 copies of the label's new
product. "It remains to be seen whether there's a new
market out there that cares about Trax, because to
them Trax is their older brother's or father's music,"
Dale says. "But they're working hard: They've got
tenacity, and now they've got money behind them."

A new deal with Toronto-based investors Casablanca
will ensure that Trax has a promotional and
distribution reach that it lacked in its '80s heyday.
Screamin' Rachael has a new album, "Extacy," out this
month, and the Maurice Joshua-mixed "Trax Records: The
Next Generation" spotlights new songs from revered
house artists such as McAllister, Rachael, Joe Smooth
and Lidell Townsell.

"Who cares about the legend?" Farley Funk says. "In
dance music, there's a turnover every two years in
what's hot. You have to earn your wings everyday."

Whether house in its post-outlaw, city-sanctioned
phase will still matter to young people already hooked
on hip-hop, video games and extreme sports remains to
be seen.

But for now, Chicago's house mavens are basking in the
glow of some long-overdue recognition.

"The people I meet all around the world are looking at
Chicago and the house scene with a new romanticism,"
Knuckles says. "Too little too late? Personally, I'm
happy to see it happen in my lifetime.

- - -

In the house

Just as disco went mainstream in the late '70s, house
began cracking the pop charts about a decade after it
first was heard in Chicago dance clubs. Its influence
can be heard in the following songs:

TECHNOTRONIC, "Pump Up the Jam" (1989): A
collaboration between Belgian producer Joe Bogaert and
Zairean rapper Ya Kid K took house to the top of the
pop charts for the first time.

HAPPY MONDAYS, "Pills `n' Thrills and Bellyaches"
(1990): The Mondays were among the first British rock
bands to incorporate acid-house rhythms, and broke
through in the U.S. with this album.

Madonna, "Vogue" (1990): Always on top of the latest
dance trends, Madonna explicitly celebrated the latest
club fad in this No. 1 pop single.

C+C MUSIC FACTORY, "Gonna Make You Sweat" (1991):
Co-producers Robert Clivilles and David Cole brought a
house groove to this massive international hit, topped
by singer Martha Wash's call to arms, "Everybody dance
now!"

TONI BRAXTON, "Unbreak my Heart" (1996): The diva's
No. 1 single was remixed by house "godfather" Frankie
Knuckles.

MOBY, "Play" (2000): After a decade in the clubs, Moby
had his first million-seller with this mix.

- - -

Evolution of house

1977: Frankie Knuckles moves from New York to Chicago
to spin records at the Warehouse on South Jefferson
Street.

1979: Steve Dahl orchestrates "Disco Demolition Night"
at Comiskey Park, creating a fireworks show out of
Donna Summer and KC and the Sunshine Band albums.

1979-83: Disco doesn't die -- it morphs into house and
flourishes in Chicago clubs such as the Warehouse,
Power Plant, Playground and Music Box.

1982: Techno, a futuristic electronic cousin of house,
is born in Detroit with Derrick May, Juan Atkins and
Kevin Saunderson.

1985-86: The golden age of house arrives in Chicago,
with massive hits by Steve "Silk" Hurley ("Music is
the Key"), Marshall Jefferson ("Move Your Body") and
Farley Funk ("Love Can't Turn Around").

1987: The British discover Chicago house, and
psychedelic dance parties called raves take over the
vacation island of Ibiza in the Mediterranean and
clubs back on the mainland such as the Hacienda in
Manchester.

1989-90: A host of British bands -- Happy Mondays,
Stone Roses, Primal Scream -- beginning melding
acid-house's pulse and trippy vibe with rock
instrumentation.

1992-95: A second wave of house led by Cajmere, a.k.a.
Green Velvet; Derrick Carter; DJ Sneak; and Bad Boy
Bill puts Chicago back in the forefront of the club
world.

1997: Knuckles becomes the first artist associated
with house music to win a Grammy Award, in the newly
created category of remixer of the year.

2000: The City of Chicago becomes notorious in the
worldwide dance community for passing what became
known as the "anti-rave" ordinance. It makes property
owners, promoters and deejays subject to $10,000 fines
for being involved in an unlicensed dance party.

2004: House producer Maurice Joshua wins a Grammy for
best remixed recording.

-- Greg Kot

- - -

Newest releases

A batch of new releases from Chicago's house
community:

Frankie Knuckles, "A New Reality" (Definity): Though
it contains a long-overdue reunion with brilliant
vocalist Jamie Principle, this album pushes house
forward with its jazzy solos and adventurous
arrangements -- when was the last time anyone heard a
harmonica on a house track, especially one as
addictive as "The Bumpkin Song (Gimme Gimme)"?

Green Velvet, "Whatever" (Cajual): Curtis Jones slips
into his Green Velvet electro-warrior persona to
explore the dark side of hedonism. Jones brings a
sense of introspection lacking in most house music, as
he rides beats that wouldn't have sounded out of place
on a Gary Numan or Nine Inch Nails record.

Screamin' Rachael, "Extacy" (Trax): With Madonna
hedging her dance music bets by remaking herself as a
guitar-strumming singer-songwriter, Rachael makes the
kind of sprawling, pop-oriented dance album that once
made Madonna a star. Rachael's frisky voice and
friskier personality benefit from state-of-the-art
production, by a Who's Who of house, including Joe
Smooth, Farley Funk, Jere McAllister and Maurice
Joshua, touching on gospel testifying, new wave
attitude and Caribbean soul.

"Trax Records: The 20th Anniversary Collection," mixed
by Maurice Joshua and Paul Johnson (Trax): The
foundation of house music, with classic tracks by
Marshall Jefferson ("Move Your Body"), Jamie Principle
and Frankie Knuckles ("Baby Wants to Ride") and
Phuture ("Acid Tracks").

"Trax Records: The Next Generation," mixed by Maurice
Joshua (Trax): From randy novelties (the Platinum
Orchestra's "Fix My Sink") to darker, more abstract
excursions (Black Mamba's "Life in the Jungle"),
here's a solid overview of Trax's 21st Century push.

In Dublin, it's a fairly small scene but moderately well informed, however it leans towards techno a little more than house. I guess everywhere has the "people only come out for the big names" problem, just that maybe there are more DJs who constitute big names here, and perhaps also when it's just local nights or smaller DJs you can still vibe off the fact that the music is perhaps more integrated into peoples listening habits here?

I mean there are commercial type "classics" that any young person over here would know, and the house "classics" are probably more well known too. I guess you've just a generally more receptive audience.

so much for the mainstream

i was in bad shape then because it was one of my more "obvious" choices. but it was nothing madonna and whitney houston couldn't help me out of *shudder*

Ok so it was the Glimmer Twins re-edit but it's almost the same, FOOLS.

That's why something like Kylie's "Love at First Sight" sounded so good on the radio -- nothing like a sunny break from the Hex Hector-styled vomit.

Speaking of "Vogue," it's aged super-well. It sounds 10x better today than it did back then...or maybe it's the nostalgia talking.

if we are talking about earliest records ever, "careless whispers" and "smooth operator" come to mind as the earliest music i ever heard. i was always suave as fuck dood

Various - The Original Chicago House Classics (Music club)

01 Frankie Knuckles Your Love Featuring - Jamie Principle
02 Mr. Fingers Can You Feel It
03 Farley Jackmaster Funk Love Can't Turn Around
04 Adonis Do It Properly
05 Marshall Jefferson Move Your Body
06 Joe Smooth Promised Land
07 Frankie Knuckles Baby Wants To Ride
08 Ralphi Rosario You Used To Hold Me Featuring - Xavier Gold
09 House Master Boyz And The Rude Boy Of House House Nation
10 Mr. Lee Pump Up London
11 Liz Torres Can't Get Enough
12 Robert Owens Bring Down The Walls

thats budget in the usa

Dude I don't even know that song and I spend 24/7 listening to new music. Most europeans don't seem to realize how little house music has impacted recent music directly.

Most people here would know "Where's Your Head at" and "One More Time" or "Digital Love." Thats as good as you'll get.

1. Chuck Roberts - Jack's House ("In the beginning there was Jack...")
2. Fingers Inc. - Can U Feel It (instrumental)
3. Marshall Jefferson - Move Your Body
4. Adonis - No Way Back
5. Fingers Inc. - Mystery of Love (instrumental)
6. Mr. Lee - Pump Up Chicago
7. Jungle Wonz - Time Marches On
8. Ralphi Rosario - You Used to Hold Me
9. Frankie Knuckles - Your Love
10. Jungle Wonz - Bird in a Gilded Cage
11. Fast Eddie - Acid Thunder (vocal)
12. Nightwriters - Let the Music Use You
13. Phuture - Acid Trax

1) fake american dancehall pop = classic...til 'hey mama'

2) jock jams = classic...til 'let's get retarded'

them fuxx got alot to answer for

2 Unlimited - Get Ready for This
2 Unlimited - Twilight Zone
2 Unlimited - No Limit
2 Unlimited - Tribal Dance
2 Unlimited - Unlimited Megajam
69 Boyz - Woof Woof
Amber - This Is Your Night
Amber - One More Night
Backstreet Boys - Everybody (Backstreet's Back)
Backstreet Boys - All I Have to Give [Davidson Ospina Radio Mix]
Rob Base & EZ Rock - It Takes Two
Bizarre Inc - I'm Gonna Get You
Black Box - Strike It Up
Black Box - Everybody Everybody
Blackstreet & Doctor Dre- No Diggity
Brooklyn Bounce - Get Ready to Bounce
Bucketheads - The Bomb! (These Sounds Fall into My Mind)
Busta Rhymes - Turn It Up (Remix)/Fire It Up
C & C Music Factory - Gonna Make You Sweat (Everybody Dance Now)
C & C Music Factory - Robi-Rob's Boriqua Anthem
Cevin Fisher - (You Got Me) Burning Up
Cheryl Lynn - Got to Be Real
Chumbawamba - Tubthumping
Coolio - 1, 2, 3, 4 (Sumpin' New)
Crush - Jellyhead
Deborah Cox - Nobody's Supposed to Be Here [Dance Mix]
Dis N Dat - Party
DJ Kool - Let Me Clear My Throat
DJ Miko - What's Up?
Elvis Crespo - Suavemente [Dance Radio Edit]
EMF - Unbelievable
Fatboy Slim - Going Out of My Head
Freak Nasty - Da' Dip
Funky Green Dogs - Fired Up!
Gary Glitter - Rock & Roll, Pt. 2
Goodmen - Give It Up
House Of Pain - Jump Around
Hypertrophy - Beautiful Day
K Seven - Come Baby Come
KC & the Sunshine Band - Get Down Tonight
KC & the Sunshine Band - That's the Way (I Like It)
Livin' Joy - Don't Stop Movin'
Los Del Mar - Macarena
Luke - Raise the Roof
Madonna - Ray of Light
MARRS - Pump Up the Volume
Montell Jordan - This Is How We Do It
Movement - Jump!
Naughty By Nature - Hip Hop Hooray
Next - Too Close [Remix]
Notorious BIG Puff Daddy- Mo Money Mo Problems
Outhere Brothers - Boom Boom Boom
Peniston, Ce Ce - We Got a Love Thang
Perfecto Allstars - Reach Up
Quad City DJ's - C'mon N' Ride It (The Train)
Quad City DJ's - Space Jam
Rednex - Cotton Eye Joe
Reel To Real - I Like to Move It
Reel To Real - Mueve la Cadera (Move Your Body)
Republica - Ready to Go
Sabrina J - Supersonic
Salt N Pepa - Push It
Sixty Nine Boyz - Tootsie Roll
Snap - The Power
Strafe - Set It Off
Tag Team - Whoomp! (There It Is)
Tampere, Maya - Feel It/Deep to Right Field! [Blunt Edit]
Technotronic - Pump up the Jam
Third Party - Can You Feel It
Tito Nieves - I Like It Like That
Usher - Nice and Slow [B.Rock & the Biz Remix]
Vengaboys - We Like to Party!
Village People - Y.M.C.A.
Will Smith - Gettin' Jiggy Wit It
Will Smith - Miami

and that (combined with the news article above) says it all really. the "birthplace of house" is largely content with brooklyn bounce, the vengaboys and 2 unlimited

looks to be different trax on each cd.

i got 5005 last night and it is great! The Byron Stingley track is great, that midpoint between house and r&b but pre-deep-house. live bassplaying, etc. from 1985. the Basement Jaxx remix of Adonis is good as well. they really picked out some gems, its feels very fresh. im so sick of hearing the same trax records on every fucking comp ever.

The Byron track is pre-Ten City, no? Weird.

The unmixed track is "You Got The Love", which has a female vocalist singing a slightly different song over largely the same backing track.

Jess - "One More Time" was pretty huge man. Obviously, yeah, the most well-known american house is "Jock jams" style but daft punk made it pretty well with that one.

Fatboy Slim and Moby were easily the biggest dance music stars in the united states of the past decade.

i prefer "baby wants to ride" too but its nice having both on one 12"! I played "baby..." at my colelge radio station once and it was nice to see the disgusted faces on people i disliked but i didnt play the record for that effect.

yo i honestly had not heard gypsy woman in 10+ years until i d/led it just now to find out what the hell it was!

http://deephousepage.com/cgi-bin/ultimatebb.cgi?ubb=get_topic;f=7;t=000013

It's a british documentary called Pump Up the Volume Part 1 and covers the birth of house music in Chicago. It talks about how Jamie Principle wrote Your Love and made tapes of it which circulated through the clubs where Frankie Knuckles and all would play it. Everyone figured it was some more of that european electronic disco that was getting so popular and when they realized that it was a local guy doing it on a budget, the result was something akin to the Sex Pistols influence. But like the Damned to the Pistols, it was Jesse Saunders who got the first vinyl release out. Anyway, watch it yourselves...

Marshall Jefferson didn't think so when he played it here in Toronto last Friday
night, and neither did the room full of house heads who proceeded to go nuts upon hearing the intro. So, no, not a copout at all.

http://www.championparties.com/images/THANK-YOU-NOTE.gif

very useful thread for my prodding, very new (<24 hrs) interest in house.

thx guys.

BIG HOUSE aka the jackmaster.

hoos is a feeling

hoos music all, night, long

hoos your body, hoos your body

The Hoos That Steendriver Built

You may be black, you may be white; you may be Jew or Gentile. It don't make a difference to our HOOS.
And this is fresh.

Come on guys, stop being such jerks. let there be hoos

Girl I'll Hoos you!

You're in my HOOS nowwww

great work everybody.

hoo-oo-hoo-oo-hoo-oo-hoo-oos nation

http://www.youtube.com/user/HouseMasterz

ahem

*coughcough*

ahem

the above is a link to dl disc 1 of larry levan/paradise garage, if i'm being too subtle.

thats nice and one of my favorite cds but not really house music

but yeah selection is impeccable, i bought this new for like 9.99 when some local coconuts was going out of business maybe 4-5 years back and its been a constant in my life since ... immediate party starter

ive slowly obtained virtually every record on disc 1 (or a reissue of such, i dont really give a shit about 'collectability') and im about to get started on disc 2. Hoos I highly recommend the Change record that 'angel in my pocket' from disc two is off of, if you see it somewhere; you can usually find it for like 6-7 bucks used.

its got an early appearance from luther vandross

hm just linked to it cause i saw it recommended upthread and thought it'd be appropriate. you tipped me to it first though!

yeah no offense i just was disappointed i couldnt really make any hoos puns out of it