forums : Jungle Scene

Gay Jungle

Is there such a thing? In London there was a very very very short lived gay club called :

JUNGAYLIST

*snicker*
yeah its actually true... it didn't last long... I only ask because I was thinking about how utterly GAY house music is.. and how much i HATE house music and i was also pondering what it is that draws homosexuals to house music like houseflies on dog turd.

what (non)qualities does house music possess that makes gay men feel it so much? i want to make sure my music possesses NONE of those qualities....

oh - in response to the predictable bleeding heart liberal comments about homophobia and such and such.... :

"BLAH BLAH BLAH"

Re: Gay Jungle

what ever faggots. jungle comes from the same family so stop the turd tossin'....fruit ass. homo ass faggots muther f**kers.

Re: Gay Jungle

Fruity. HAHAHAHA

Re: Gay Jungle

alot of house is derived from disco...thats my guess.

but you guys sound really ignorant. *sudders* it makes me sad.

Re: Gay Jungle

vice i have to correct you mate... Jungle once CAME from the same family.. but so did rock hyraxes and elephants... (go look up what a rock hyrax is and you'll have a hard time beleiving it is anywhere closely related to an elephant) - jungle is so far removed from house music now that its like saying michael jackson is still black. be real. and don't be calling me no faggot. please. Also.... how was i turd tossing? i don't think i was.. i simply asked questions about House music that i wanted answering... and i stated that i hate house music.. no turd tossing there.. so before replying to a post by me... think about what you write.. and make sure you read my post FULLY - otherwise i'll simply pick apart your reply and make you look as stupid as your posting.

Re: Gay Jungle

your ego needs to chill mcme....you aint nada holmes

Re: Gay Jungle

hell naw ,, this fool with yo dumb ass postings

Re: Gay Jungle

here you homophobe...sheesh.

***********************
The History Of House
It's been ten years since the first identifiably house tracks were put on to vinyl, ten years which have changed the technology behind the electronic music revolution beyond recognition but left the basic structure of house intact. It's seven years since it was being said house couldn't last, that it was just hi-NRG, a fast blast that would wither as quickly as it had started. But then the music reinvented itself, and then again and again until it gradually dawned on people that house wasn't just another phase of club culture, it was club culture, the continuing future of dance music. The reason? It's simple. People like to dance to house.
The roots to 1985
Like it or not, house was first and foremost a direct descendant of disco. Disco had already been going for ten years when the first electronic drum tracks began to appear out of Chicago, and in that time it had already suffered the slings and arrows of merciless commercial exploitation, dilution and racial and sexual prejudice which culminated in the 'disco sucks' campaign. In one bizarrely extreme incident, people attending a baseball game in Chicago's Komishi Park were invited to bring all their unwanted disco records and after the game they were tossed onto a massive bonfire. Disco eventually collapsed under a heaving weight of crass disco versions of pop records and an ever-increasing volume of records that were simply no good. But the underground scene had already stepped off and was beginning to develop a new style that was deeper, rawer and more designed to make people dance. 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. (Ironically, Levan was first choice for the Warehouse, but he didn't want to leave New York). And the music was as varied as the clienteles - r'n'b based Black dance music and disco peppered with things as diverse as The Clash's 'Magnificent Seven'. For most people, these were the places that acted as breeding grounds for the music that eventually came to be known after the clubs - house and garage.

Right from the start there was a difference in approach between New York and Chicago. "All of the records coming out of New York had been either mid or down tempo, and the kids in Chicago wouldn't do that all night long, they needed more energy" commented Frankie Knuckles after his move to Chicago. The Windy City was seduced to a far greater extent by the European sound and when the records started to come, it showed. Whereas garage in New York evolved more smoothly from First Choice and the labels Salsoul, West End and Prelude, there was no such evolution in Chicago. Opinions still differ as to what the first house record was, but it was certainly made by Jessie Saunders and it was on the Mitchball label - probably Z Factor's 'Fantasy', but there was also another Z Factor tune which went by the name of 'I Like To Do It In Fast Cars'. 'Fantasy' sounds extremely dated now but ten years ago it was like a sound from another planet, with echoes of Kraftwerk's heavily synthesized string sounds, a Eurobeat bassline and a simple, insistent drum machine pattern. Suffice to say, the record remained obscure outside the close-knit urban Chicago scene.

"Those records didn't really motivate people" says Adonis, one of the early producers on the Chicago scene. "The first was Jamie Principle's 'Waiting On Your Angel'. See, before there were records there were cassettes, and that was the hottest thing in Chicago. It was so hot Jessie Saunders went in and recorded that track word for word, note for note, and put it out on Larry Sherman's label Precision. It was so influential that four or five records came out that took its sounds." Within a year though, others were fast joining. Saunders, who by then had come out with his Jes-Say label, with Farley Keith (or Farley 'Jackmaster' Funk) getting in on the act. Frankie Knuckles, who had already done some remixes for Salsoul was also beginning to work on his own productions. By 1985 it was clear that something big was beginning to stir. Ron Hardy, who was to become the backbone of the Chicago club scene by consistently breaking the new records, began playing at The Music Box around the same time as Frankie Knuckles left The Warehouse, and other DJs like Farley and the Hot Mix 5 who threw down the mix shows on the radio station WBMX were making names for themselves. But making a record wasn't the priority for most of the DJs at the time - they were making music specifically to play at the clubs and the parties that were beginning to spring up in the city. Larry Heard and Robert Owens, later to be known as Fingers Inc, and Steve Hurley were all experimenting with basic rhythm tracks long before they made the jump to vinyl.

"I started dabbling in making my own music." says Hurley. "Just making tracks to play as a DJ, not really thinking as far as producing - more to do with just having something to play that nobody else had. And one of these tracks, 'Music Is The Key', got such a good response that I decided to borrow some money and go in with another guy, who happened to be Rocky Jones, and put the record out."

That momentous occasion was the beginning of DJ International Records, one of the two labels that was to give all the aspiring producers in the city a chance to get their music on to vinyl. The other, Larry Sherman's Trax Records was already up and running, though to begin with Sherman was attempting to break into a more commercial market with Precision. 'Music Is The Key' (the first house record to include a rap, incidentally) took house on a step by incorporating more musical elements and a vocal, and by the time Chip E's 'Like This', also on DJ International, appeared house had discovered real vocals and the sampled stutter technique that's such an integral part of dub remixes today. "It took a little while for the sound to develop" remembers London DJ Jazzy M, who worked in a record shop at the time and was one of the very first to get house on the radio in Britain with his immensely popular Jackin' Zone show on London pirate station LWR. "When 'Like This' and Adonis' 'No Way Back' came out, that's when it picked up. At first it was just drum machine programs and they were called trax, like there was Chip E Trax and Kenny Jason Trax and that's what house was, with maybe a few dodgy samples. I can remember talking to Colin Faver, who was one of the first DJs here to get into it, about 'Like This' and we were both really excited by it."

Meanwhile, things were gathering pace over in New York though the development was a lot slower. Mixers like Larry Levan, Tony Humphries, Timmy Regisford and Boyd Jarvis, who came straight after Shep Pettibone and Jellybean Benitez were making ground as remixers, and fired by the raw club sound of Colonel Abrams, the deep, soulful club sound that became known as garage was taking shape with early releases on the Supertonics, Easy Street and Ace Beat labels. Paul Scott was one of the first with 'Off The Wall' in 1985 but before that there was Serious Intention's deep dub classic 'You Don't Know' and even before that was World Premiere's 'Share The Night'.

1986
While Frankie Knuckles had laid the groundwork for house at the Warehouse, it was to be another DJ from the gay scene that was really to create the environment for the house explosion - Ron Hardy. Where Knuckles' sound was still very much based in disco, Hardy was the DJ that went for the rawest, wildest rhythm tracks he could find and he made The Music Box the inspirational temple for pretty much every DJ and producer that was to come out of the Chicago scene. He was also the DJ to whom the producers took their very latest tracks so they could test the reaction on the dance floor. Larry Heard was one of those people.
"People would bring their tracks on tape and the DJ would play spin them in. It was part of the ritual, you'd take the tape and see the crowd reaction. I never got the chance to take my own stuff because Robert (Owens) would always get there first."

"The Music Box was underground " remembers Adonis. "You could go there in the middle of the winter and it'd be as hot as hell, people would be walking around with their shirts off. Ron Hardy had so much power people would be praising his name while he was playing, and I've got the tapes to prove it!

"The difference between Frankie and Ronnie was that people weren't making records when Frankie was playing, though all the guys who would become the next DJs were there checking him out. It was The Music Box that really inspired people. I went there one night and the next day I was in the studio making 'No Way Back' " In 1985 the records were few and far between. By 1986 the trickle had turned to a flood and it seemed like everybody in Chicago was making house music. The early players were joined by a rush of new talent which included the first real vocal talents of house - Liz Torres, Keith Nunally who worked with Steve Hurley, and Robert Owens who joined up with Larry Heard to form Fingers Inc, though the duo had already worked with Harri Dennis on The It's 'Donnie' -and key producers like Adonis, Mr Lee, K Alexi and a guy who was developing a deep, melodic sound that relied on big strings and pounding piano - Marshall Jefferson.

Marshall worked with a number of people like Harri Dennis and Vince Lawrence for projects like Jungle Wonz and Virgo, who made the stunning 'RU Hot Enough'. But it was 'Move Your Body' that became THE house record of 1986, so big that both Trax and DJ International found a way to release it, and it was no idle boast when the track was subtitled 'The House Music Anthem', because that's exactly what it was. Jefferson was to become the undisputed king of house, going on to make a string of brilliant records with Hercules and On The House and developing the quintessential deep house sound first with vocalist Curtis McClean and then with Ce Ce Rogers and Ten City. "I can remember clearing a floor with that record" laughs Jazzy M. "Though they'd started playing it in Manchester, most of London was still caught up in that rare groove and hip hop thing. A lot of people were saying to me 'why are you playing this hi- NRG' and it was hard work but people were starting to get into it." 'Move Your Body' was undoubtedly the record that really kicked off house in the UK, first played repeatedly by the established pirate radio stations in London, which at the time played right across the Black music spectrum, and then by club DJs like Mike Pickering, Colin Faver, Eddie Richards, Mark Moore and Noel and Maurice Watson, the latter two playing at the first club in London to really support house - Delirium.

Radio was the key to the explosion in Chicago. Farley Jackmaster Funk had secured a spot on the adventurous WBMX station, playing after midnight every day, and it wasn't long before he brought in the Hot Mix 5 which included Mickey Oliver, Ralphie Rosario, Mario Diaz and Julian Perez, and Steve Hurley, giving people who couldn't go to the parties the chance to hear the music. Then there was Lil Louis, who was throwing his own parties. By this time, house was moving out of the gay scene and on to wider acceptance, though in Chicago at least it was to remain very much a Black thing. Though a number of Hispanics were on the house scene, the number of White DJs and producers could be counted on one hand.

The labels were still mostly limited to the terrible twins that were to dominate Chicago house for the next two years Trax and DJ International. Between them they had nearly all the local talent sewn up and by popular consent they were just as dodgy as each other, with rumors and stories of rip-offs and generally dubious activity endlessly circulating. Everybody it seemed, was stealing from everybody else. One that remains largely untold involved Frankie Knuckles. "This was the story at the time" recalls Adonis. "Supposedly Frankie sold Jamie Principle's unreleased tapes to DJ International AND Trax at the same time. Then Jamie came out with a record called 'Knucklehead' dissing Frankie. After that Frankie went back to New York."

When Rocky Jones at DJ International became convinced by a larger- than-life character named Lewis Pitzele who was helping put a lot of the deals together at the time that Europe was the place to focus on, house poured into Britain with London Records putting the first compilation of early DJ International material out. As the press bandwagon rolled into action the 86 Chicago House Party featuring Adonis, Marshall Jefferson, Fingers Inc and Kevin Irving toured the UK's clubs. Trax took a little longer

Adonis: "Trax was meant to be a bulls**t label for all the dirty, raggedy records Larry Sherman didn't give a s**t about. You know, labels were always trying to do radio stuff, but Trax became popular after 'No Way Back' and 'Move Your Body' and all those tracks." It was DJ International and London who notched up the first house hits, first with Farley 'Jackmaster' Funk's 'Love Can't Turn Around', a cover of the old Isaac Hayes song with camp wailer Daryl Pandy on vocals which reached Number 10 in September 1986, and then a record that spent months gestating in the clubs before it was finally catapulted to Number One in January 1987 - Jim Silk's 'Jack Your Body'. The Americans were gob smacked. Their underground club music was going mainstream four thousand miles from its home. But it was no surprise that Steve Hurley was behind the track, which hit the top despite only having three words - the title. Even then he was the one with the commercial touch. It wasn't a terribly original record - the bassline was from First Choice's 'Let No Man Put Asunder', but it summed up the mood of jack fever. All of a sudden the word 'Jack', which originally described the form of dancing people did to house, was everywhere 'Jack The Box', 'Jack The House', 'Jack To The Sound' 'J-J-J-J-JJack-Jack-Jack-Jack'. It was the stutter sample on the 'J' that took the word into legend. Vaughan Mason's Raze, who'd quietly been doing stuff out of Washington DC burst into the clubs and then followed Jim Silk into the charts with 'Jack The Groove'. And garage? New York simply couldn't match the energy flowing out of Chicago but there was little doubt that the music was developing simultaneously. The Jersey garage sound, boosted by Tony Humphries (who'd also been on the radio since 1981) at Newark's Zanzibar Club, was beginning to take shape with Blaze but the New York club sound was defined at the time by Dhar Braxton's 'Jump Back' and Hanson & Davis' 'Hungry For Your Love' which borrowed heavily from the Latin freestyle sound but echoed the energy of house. And over in Brooklyn, producers like Tommy Musto working for the Underworld/Apexton label were developing a different style again, one that like Chicago seemed to take its roots as much from Eurobeat as from Black music, though the mood and tempo was strictly New York.

1987
While Chicago stole the thunder in 1986, other cities not only in the United States but across the world had either been absorbing house or working on their own thing, biding their time. One record from New York served a warning shot that the city was gearing up for some serious action - 'Do It Properly' by 2 Puerto Ricans, A Blackman and A Dominican. 'Do It Properly' was essentially a bootleg of Adonis' 'No Way Back' with loads of samples and a great electronic keyboard riff squeezed in to it and the first in a long, long line of New York sample house tracks. Its producers were one Robert Clivilles and David Cole, helped by another guy called David Morales. After that some kid in Brooklyn called Todd Terry made a couple of sample tracks with a freestyle groove for Fourth Floor Records by an act he called Masters At Work.
But the sound that was really taking shape in New York and New Jersey was a deep style of club music based on a heritage that had its roots firmly in r'n'b. Though there were some superb deep, emotive instrumentats like Jump St. Man's 'B-Cause', the emphasis was on songs, which came with Arnold Jarvis' 'Take Some Time', Touch's 'Without You', Exit's 'Let's Work It Out' and a record on Movln, a new label run from a record store in New Jersey's East Orange - Park Ave's 'Don't Turn Your Love'. Ironically, as the first garage hits began to appear, The Paradise Garage - Larry Levan had already left - closed, but the vibe carried on with Blaze, who recorded 'If You Should Need A Friend' and Jomanda, both of whom teamed up with new New York label Quark.

Echoing the need for vocals in house music, deep house began to take hold in Chicago. Following Marshall Jefferson's lush productions, the record that defined deep house was the Nightwriters' 'Let The Music Use You', mixed by Frankie Knuckles and sung by Ricky Dillard, a record that a year later was to become one of the anthems of the UK's Summer Of Love. And it didn't end there. Kym Mazelle launched her career with 'Taste My Love' and 'I'm A Lover', while Ralphie Rosario unleashed the monstrous 'You Used To Hold Me' featuring the wailing tonsils of Xavier Gold. Then there was Ragtyme's 'I Can't Stay Away', sung by a guy who sounded a a little like a new Smokey Robinson - Byron Stingily. Soon after, Ragtyme, who also made an extremely silly innuendo track called 'Mr Fixit Man', mutated into Ten Clty. But Chicago's excursion into songs wasn't only characterised by uplifting wailers. There was another side, led by the weird, melanchoty songs of Fingers Inc and beginning to show itself in other minimalist productions like MK II's 'Don't Stop The Muslc' and 2 House People's 'Move My Body'. By 1987, though house was no longer a tale of two cities. The virus was taklng hold elsewhere as clubbers, DJs and producers worldwide became exited by the new music.

It was obvious that Britain, which had already seen a massive boom in club culture in the mid-eighties as the increasingly racially integrated urban areas turned to Black music in favour of the indigeonous indie rock music, would eventually get in on the act. Though acts like Huddersfield's Hotline, The Beatmasters from London and a handful of others who included DJs Ian B and Eddie Richards had been trying to figure things out, the first British house track to really make any noise came from a partnership that included a DJ from Manchester's Hacienda, one of the very first clubs in Britain to devote whole nights to house music - Mike Pickering. With its funk bassline and Latin piano riffs, T-Coy's 'Carino' busted out all over, particularly in London at previously rap and funk clubs like Raw. But with the open nature of the UK pop charts compared to Billboard which was an impossibly tough nut to crack for small labels marketing new music, it was inevitable that the sound would be commercialised. 'Pump Up The Volume' by M/A/R/R/S was a rather lightweight record based on a house beat with a number of clever (at the time) samples but it worked like crazy on the dancefloor and it wasn't long before club support propelled it into the charts, where it held Number 1 for an incredible three weeks. Also in the top ten at the same time was another record that had broken out of Chicago - the House Master Boyz' 'House Nation'. The marketability of house - or pophouse - in the UK became gruesomely apparent with the advent of the 'Jack Mix' series, a number of hideous stars-on-45 style megamixes of all the house hits.

Things were progressing in a much more underground fashion back in the States. A few guys in particular who'd been noticed hanging out in Chicago and checking the scene came from a city just a couple of hundred miles away Detroit. One of them, Juan Atkins, had been making records since the early eighties under the moniker Cybotron which specialised in spacey electro-funk fired by the Euro rhythms of Kraftwerk. But progress had been slow and electro had already fused with rap. By 1985 Atkins' sound was beginning to change with records like Model 500's 'No UFO's', which bore more than a passing resemblance to the new sounds emanating from their neighbouring city. Two other guys who had been to school with Atkins, and who shared his passion for European music were also beginning to experiment with making tracks and heartened by what they heard coming out of Chicago, set to work Their first tracks, X-Ray's 'Let's Go', produced by Derrick May and Kevin Saunderson's 'Triangle Of Love' by Kreem weren't classics by any stretch of the imagination but it didn't tahe them long to hit full power. Kevin came out with 'Force Field' and 'Just Want Another Chance', and Juan pressed on with Model 500's 'Sound Of Stereo' but it was Derrick who really hit the button with Rhythim Is Rhythm's 'Nude Photo', 'Kaos' and 'The Dance', all of which were immediate hits on the Chicago scene, and the latter a record that was to be thieved and sampled again and again for years to come. The Belleville Three, as they became known after the college they attended, made an amusing trio with Kevin as the regular guy, Derrick as the fast-talking nutter and Juan as the laid-back smokehead, but there was more to techno than that. Two other producers who helped forge the different sound were Eddie Fowlkes and Blake Baxter. It was faster, more frantic, even more influenced by European electrobeat and severed the continium with disco and Philadelphia, taking only the space funk basslines of George Ctinton from Black music. They called it techno. But Chicago was also beginning to head off into another direction, the most frenetic form of house yet. It was started by two crazy tracks that Ron Hardy had been pumping at the Music Box and it was going to be perhaps the most important stage of house so far. It was acid.

1988
In truth, acid house had already started long before 1988. Amongst the scores of Chicagoans who were buying equipment and trying to learn how to make tracks was one DJ Pierre, who'd started out playing Italian imports at roller discos in the Chicago suburbs, and who had joined Lil Louis for his notorious parties.
"Phuture was me and two other guys, Spanky and Herbert J." remembers Pierre. "We had this Roland 303, which was a bassline machine, and we were trying to figure out how to use it. When we switched it on, that acid sound was already in it and we liked the sound of it so we decided to add some drums and make a track with it. We gave it to Ron Hardy who started playing it straight away. In fact, the first time he played it, he played it four times in one night! The first time people were like, 'what the f**k is this?' but by the the fourth they loved it. Then I started to hear that Ron was playing some new thing they were calling 'Ron Hardy's Acid Trax', and everybody thought it was something he'd made himself. Eventually we found out that it was our track so we called it 'Acid Trax'. I think we may have made it as early as 1985, but Ron was playing it for a long time before it came out."

Explanations for the name of 'acid' have been long and varied, but the most popular, and the one endorsed by a number of people who were there at the time was that they used to put acid in the water at the Music Box. Pierre though, stresses that Phuture was always anti- drugs, and cites a track about a cocaine nightmare, 'Your Only Friend' that was on the same EP as 'Acid Trax'. 'Acid Trax' came out in 1986 but made little impact outside Chicago, as was the case with another acid track, Sleazy D's 'I've Lost Control', which slapped a deranged laugh and some geezer repeating the title over the 303 squelching. 'I've Lost Control' was made by Adonis and Marshall Jefferson and was certainly the first acid track to make it to vinyl, though which was created first will possibly never be known for sure. It wasn't until well into 1987 that the acid sound began to infiltrate Britain, fuelled by another track that was getting a lot club play, and which fitted into the sound Bam Bam's 'Give It To Me', and a diversion of the regular acid track which put vocals into the equation, developed by Pierre's Phantasy Club with 'Fantasy Girl'. The house scene in Britain had faltered following the commercialisation of the poppier end of the spectrum, but towards the end of 1987 the underground was taking off with new LP compilation series like 'Jack Trax' and the opening in London of seminal clubs like Shoom and Spectrum and the move of Delirium to Heaven where the main dancefloor became exclusively house. Delirium's Deep House Convention atLeicester Square's Empire in February 1988 which featured a number of seminal Chicago artists like Kym Mazelle, Fingers Inc, Xavier Gold. Marshall Jefferson and Frankie Knuckles was a depressing event because of the poor turnout. But the people who did go were to be become the prime movers of London's house explosion. The next week a warehouse party called Hedonism was rammed and the soundtrack was acid. Acid house UK style had begun.

As acid tracks like Armando's '151' and 'Land Of Confusion', Bam Bam's 'Where's Your Child' and Adonis' 'The Poke' began to flow out out of Chicago, the scene grew at a rate of knots with Rip, Love, Future, Contusion and Trip opening in London, and the legendary Nude in Manchester. DJs suddenly discovered they had a year's worth of classic house which hitherto they'd been unable to play. When WBMX in Chicago closed down, signalling the end of radio play for the music in the city, it was clear that the emphasis had switched to the UK. Acid house became the biggest youth cult in Britain since punk rock a decade before as British house records like Bang The Party's 'Release Your Body', Jullan Jonah's 'Jealousy & Lies' (later used as the backbone of Electrlbe 101's 'Talking With Myself'), Baby Ford's 'Oochy Koochy', A Guy Called Gerald's Voodoo Ray, and Richie Rich's 'Salsa House' became huge club hits, before the chart UK house records emerged with S'Express' 'Theme From S'Express', D-Mob's 'We Call It Acid', which popularised the ridiculous but funny club chant of 'Aciiieeeeed!' and Jolly Roger's 'Acid Man'. Opinions differ as to the effect on the scene of the relatively new drug ecstasy, but there was little doubt that the sudden rise in availabilny of the drug was directly related to the growth of the club scene. Before the tabloids discovered what was going on with their inevitably lurid headlines about 'Acid House Parties' and drug barons, it was easy to see people openly imbibing the drug in any club.

Like Chicago radio was to prove crucial to spreading house in Britain. But this wasn't any kind of legitimate radio. Save for a few token shows, you couldn't hear Black music or dance music on legal radio, and eventually the demand turned into supply in the form of numerous pirate stations, mostly in and around London but also in a few other big cities. Most of them were on and off the air in months or even weeks, but the more organised stations managed to keep going, supplying hungry listeners with the music they wanted to hear - reggae, soul, jazz, hip hop - and house. Steve Jackson's House That Jack Built on Kiss and Jazzy M's 'Jacking Zone' on LWR pumped out the new music week in, week out.

"When LWR was what you call the boom, it was on half a million listeners." says Jazzy M. And we knew that because the surveys were actually being published in newspapers The Jacking Zone was getting 40-50 letters a week and I was broke because all my wages went on new tunes. Once that plane had landed with the imports, I was getting the new records on the show the same night. It was unbelievable."

1988 wasn't just acid it was the year that house first really began to diversify. For a start, there was the 'Balearic' business, an eclectic style of DJing which at the time encompassed dance mixes of pop artists like Mandy Smith and quasi-industrial music like Nitzer Ebb's 'Join In The Chant' Championed by Danny Rampling, Nicky Holloway, Paul Oakenfold and Johnny Walker who'd all been to Ibiza, Balearic was an integral part of the club scene at the time, but after the gushing media overkill it all became a little farcical as people attempted to make Balearic records There was, of course no such thing

Then there were the anthems. A year's worth of inspirational Chicago deep house, which went back to the Nightwriters and took in Joe Smooth's 'Promised Land' and Sterling Void's 'It's Alright' along the way became some of the biggest club records of the year, while Marshall Jefferson took the music to new highs with Ten City's 'Devotion' and Ce Ce Rogers 'Someday'. Marshall was on a roll in 88, picking up remixes and linking up with Kym Mazelle for 'Useless' It was the deep house that spawned the first two house LP's, which naturally came out in Britain first - Fingers Inc's benchmark 'Another Side' and Liz Torres With Master C & J's excellent 'Can't Get Enough'.

Ten City were an important stage in the development of house. With self-conviction unusually high for the time, they snubbed the Chicago labels which by that time were losing their artists more quickly than they could sign them, and headed for Atlantic records in New York where Merlin Bobb promptly snapped them up. Where nearly all the house that had gone before them was strictly producer created, Ten City were an act, and they could be marketed as such. Plus, they returned some of the soul vision to house, a tradition that went all the way back to the Philly sound it was no coincidence that 'Devotion' was one of the first records from Chicago to really do well on the East Coast, which always had much stronger r'n'b roots in its club music. After another huge club hit with 'Right Back To You', they broached the UK top Ten in January 1989 with 'That's The Way Love Is' Even Detroit was discovering songs. Though the new techno sound was by now at full tilt with Rhythm Is Rhythm's anthem 'Strings 0f Life' Model 500's 'Off To Battle' and Reese & Santonio's 'Rock To The Beat', it was Inner City's 'Big Fun' a techno song with vocals by Chicagoan Paris Grey that was to propel Kevin Saunderson into the big time. Originally a track recorded for Virgin's groundbreaking 'Techno! The New Dance Sound Of Detroit' LP, 'Big Fun' was just too commercial to hold back, and Saunderson suddenly found himself in a virtually full-time pop duo making videos, follow-up singles and EPs like any other pop act.

Chicago however was still finding new things to do with house, though the next trend wasn't to be anything like as significant. There had already been raps put down to house tracks as early as 1985 with 'Music Is The Key' and more recently with M-Doc's 'It's Percussion', The Beatmasters' 'Rok Da House' and New York's KC Flight with 'Let's Get Jazzy'. But it was Tyree Cooper (who'd already had a big club record with 'Acid Over') and rapper Kool Rock Steady who defined the hip-house style with 'Turn Up The Bass', a galloping track which somehow combined Kool's rap with the classic Chicago piano sound and Tyree's trademark 909 roll. It wasn't long before Fast Eddie, also at DJ International, expanded it with 'Yo Yo Get Funky'.

But the biggest new producer of 1988 was someone who didn't come from Chicago at all. Or Detroit. New York was beginning to flex its muscles, the city that had always regarded itself the world's capital for dance music wanted some of the limelight back. But it wasn't an established figure in the New York or New Jersey dance scene that broke through, it was a kid from Brooklyn who was showing an incredible alacrity for the new form of sampling that had been co- developing with house - Todd Terry. First it was those Masters At Work tracks, but after that Todd hit house in a big way with 'Bango' (at which Kevin Saunderson was highly miffed, because it heavily sampled one of his records), 'Just Wanna Dance', Swan Lake's 'In The Name Of Love', Black Riot's 'A Day In The Life' and 'Warlock' and the one that was almost certainly the biggest club record of the year - Royal House's 'Can You Party!'. Though in New York Todd's sample tracks were firmly categorized with the Latin freestyle house sound that the Hispanics were developing, in the UK Todd became the toast of the house scene. In a by now familiar scenario, 'Can You Party' hit the Top 20 in October on a wave of club support, closely followed by another track on the new Big Beat label out of New York, Kraze's 'The Party'.

As it became more and more apparent that Chicago was grinding to a halt, New York was getting it together, with more labels like Cutting (who'd already released Nitro Deluxe's classic 'Let's Get Brutal' in 1987) and Warlock turning to house and new labels starting up. One of these was to prove more important than all the rest - Nu Groove.

1989
By now the UK and its trend-hungry music press had become the local point of the dance music world. 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. But the hype on this supposedly new music did allow a lot of very good acts a chance of exposure that otherwise they wouldn't have had. The Americans were confused. To most New Yorkers and Jerseyites, garage was what was played at the Paradise' Garage, which had closed two years earlier. What they were making was club music or dance music, and house was all that track stuff from Chicago. But they were happy that someone somewhere was getting off on their sound. Tony Humphries, who'd been on New York's Kiss FM since 1981 and at the Zanzibar in New Jersey since 1982, was to become instrumental in exposing the Jersey sound. Though he was one of more open-minded DJ's In the New York area, his was the style that married real r'n'b based dance to house.
"I really saw house start with the Virgo 1 record, which had that 'Love Is The Message' skip beat, and I was using that and a lot of other Chicago stuff as filler between the vocals, so if I was to play Jean Carne I would use the Virgo drum track before it. Vocals was always very much my thing, and I would say the people from Chicago we really respected in Jersey were Marshall Jefferson, Frankie Knuckles and JM Silk. A lot of it was really Philly elements, it was like Philly living on forever, and that was our flavor. "I became known for breaking new stuff, and to stay ahead of everyone I had to come up with more and more demos. I wanted to help all the people around me in Jersey, so around 88-89 I did a huge showcase with all the acts at Zanzibar first on my birthday and then at the New Music Seminar. Suddenly everyone was talking about the Jersey sound."

Blaze were the forerunners of the new soul vision, followed by their protégés Phase II, who struck big with the optimism anthem 'Reachin', and Hippie Torrales' Turntable Orchestra with 'You're Gonna Miss Me'. Then there were the girls - Vicky Martin with 'Not Gonna Do It' and of course, Adeva, behind whom was the talented Smack Productions team. ' In And Out 0f My Life' had already been released by Easy Street a year before, but when Cooltempo signed the Jersey wailer up on the basis of her cover of Aretha Franklin's 'Respect', mainstream success was more than on the cards - it was a dead cert. 'Respect' entered the Top 40 in January and hung around for two months, by which time Chanelle's 'One Man' and then her own collaboration with Paul Simpson, 'Musical Freedom' had followed the example. It didn't end there. Jomanda, who shared the billing with Tony Humphries at a massive event stage in Brixton's Academy were next with 'Make My Body Rock', and though they were to become successful in the States, their sound never crossed over in the UK.

New York was stepping up the pace in grand fashion and there was a lot more going on than just the Jersey sound. Following Todd Terry's success, the New York sample track was breaking out like wildfire, particularly with Frankie Bones, Tommy Musto and Lenny Dee at Fourth Floor, Breakln' Bones and Nu Groove records. Nu Groove, built on the foundation of the Burrell twins who'd escaped from an abortive r'n'b career with Virgin Records, was fast becoming the hippest house label. Nu Groove had started the year before with records like Bas Noir's 'My Love Is Magic' and Aphrodisiac's 'Your Love' and by 1989 they were on a roll. Nu Groove never had a sound - with producers as disparate as the Burrells, Bobby Konders and Frankie Bones that wasn't conceivable - and they never really had one big record, but the concept of the label went from strength to strength. Among their producers was Kenny 'Dope' Gonzalez, yet to hook up with Little Louie Vega, who was moving into house with his Freestyle Orchestra project. Nu Groove's first competitor was to come in the form of Strictly Rhythm, who opened up in 1989, though their first breakthrough wasn't to come until the following year. Two other New York producers who were also beginning to make a lot of noise were Clivilles and Cole with Seduction's 'Seduction' and their excellent deep, dubby mix of Sandee's 'Notice Me'. Their break into the mainstream came with a mix of Natalie Cole's 'Pink Cadillac'. Another guy who was also beginning to make a name for himself as a house remixer was David Morales.

But one of the biggest records on the burgeoning UK rave scene was a record that made very little impact in its native New York - the 2 In A Room LP on Cutting Records, a follow-up to 2 In A Room's 'Somebody In The House Say Yeah' that included a clutch of firing sample tracks from Todd Terry, Louie Vega, George Morel and a few other producers known only on the Latin freestyle scene in New York.

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.

"I was dumbfounded about England. To me it was soccer players and the Queen, but if it wasn't for the dance stores in London and Record Mirror I'd probably be working in a hardware store." Andrew Komis. Again, the scene was largely fueled by radio. Though the original pirates had come off the air in an attempt to gain licenses (Kiss eventually managed it in 1990) and the penalties had been sharply increased, a new generation of pirates were on the air - Sunrise, Center force, Fantasy, Dance and countless others. Young, loud and incredibly unprofessional, they pumped out an endless diet of underground house music round the clock and shamelessly promoted all the raves.

Another set of incredibly successful records came from a country only marginally more likely than Canada. House records from the Continent were becoming more and more common, though most of them were sub-standard covers of US and UK records, and when Italy's Cappella crashed the charts with 'Helyom Halib' it was really only because it was based on a huge club record from Chicago which had never managed to crossover - LNR's 'Work It To The Bone'. Then came Starlight with 'Numero Uno' and Black Box with 'Ride On Time', both the work of production team Groove Groove Melody. 'Ride On Time' was a brilliant concept, taking the vocals from Loleatta Holloway's 'Love Sensation' and putting them to a sizzling piano anthem. There was no holding it back. As the record flew up the charts on its way to becoming the first house Number 1 since 'Jack Your Body', the floodgates opened. Italo-house was a happy, uplifting lightweight sound nurtured in the hedonistic clubs of the Adriatic resorts Rimini and Riccioni, and it gatecrashed everything from the large raves to the hippest clubs. Those that argued that there was no substance behind it (a lot of the records WERE extremely corny) were foiled when a more mature sound emerged with Sueno Latino's 'Sueno Latino' and Soft House Company's 'What You Need.' Despite their initial insistence that 'Ride On Time' wasn't all sampled, Black Box managed to record a very good album, though they promptly pulled a similar stunt on Martha Wash, who wasn't at all amused. The Italians would go on to become an integral part of house music, with one of the most consistent labels, Irma, proving acceptance in New York by opening up shop there.

Even in 1989, when house music had become the property of the world, Chicago still had a few tricks up its sleeve. Led by people like Steve Poindexter and Armando, the new underground of the city was returning to its roots with a new, minimalist style even rougher and rawer than the original drum tracks, a sound that was to join acid and techno in forming the roots of the hardcore scene. Another producer who'd led the way with crazy tracks like 'War Games' and 'Video Clash' was Lil Louis. While his spinning partner DJ Pierre became entangled in a fruitless contract with Jive Records (a fate that also befell Liz Torres), who'd opened up in Chicago, Louis' time came in 1989 with a track that slowed down to a complete halt and had as a vocal only a senes a female love moans - 'French Kiss'. 'French Kiss' was a huge club record and eventually it climbed to Number 2 in the charts and landed Louis an album deal with Epic in the States and ffrr in the UK. Though the style had started three years earlier with Jackmaster Dick's 'Sensuous Woman Goes Disco' and Raze's 'Break 4 Love' the previous year, 'French Kiss' began a sex track phenomenon that was to last a long time.

Another group that broke out of Chicago was Da Posse, formed by Hula, K Fingers, Martell and Maurice. Their early tracks like 'In The Life' were mostly based on old Rhythm Is Rhythm records, but 'Searchin Hard', a deep house song on Dance Mania records led them to a deal with Dave Lee's Republic Records, for whom they eventually recorded an excellent album. Later they formed their own label, Clubhouse Records.

Two other house originals also teamed up in 1989 - Frankie Knuckles and Robert Owens, who recorded 'Tears' with Japanese keyboardist Satoshi Tomiie. 'Tears' was a great record but mystifyingly, even in the year of house hits, it failed to make the charts. Though Kevin Saunderson, Derrick May and Juan Atkins had become very popular with the majors as remixers, Detroit had become very quiet, and the only club that supported techno, the Music Institute, had closed down. But a resurgence was on the horizon with new producers like Carl Craig and a young protégé of Saunderson who had just made his first record for KMS - Marc Kinchen.

Despite the studied apathy of the American music business and repeated attempts to replace house in Britain with just about anything - Soul II Soul and their numerous imitators proved more of a hiccup than anything else the 4/4 bass kick entered the new decade stronger than ever, underground dance scenes developing in new cities and new countries with every month that passed. Even Spain underwent its own acid house craze in 89, and threw up the talented Barcelona producer Raul Orellana, who created a style all of his own by merging flamenco with house. A comment made in 1988 by Robert Owens on the UK TV documentary 'Club Culture' was proving truer and truer.

"It's not just boom boom boom. They're telling me something here. Something I can dance to and learn from. I can see house music becoming universal one day. It'll just take time for people to receive it."

Re: Gay Jungle

When house started to pick up in america the clubs that started playing it first were the gay clubs. I don't know if its the same world wide but alot of the east coast especially chicogo house music = gays......

Re: Gay Jungle

oohhhhhhhhh!!!!damn

Re: Gay Jungle

you still sock major cock....slurp. sluuuuuuurrrrrrrp.

Re: Gay Jungle

he said you aint nada holmes

Re: Gay Jungle

aah yeah - the disco thing.. but disco kinda died with the dodo's -

people..... don't take everything i post quite so seriously. MC's have been know to have a sense of humor too..

who the hell is "nada" ?

i guess i "mis-phrased" my original question and train of thought.... so for all the dense people who didn't really get it and proceeded to give me a history of house music (hey i knew that - but thanks anyway) what i want to know is why do gays like house so much? i mean, why not...... calypso, for instance? calypso is a party/carnival style music... has a four on the floor beat... sounds very similar to house in a lot of respects... why house?

Why don't gays naturally gravitate towards jungle in the same way that they gravitate towards house music? what is it that repels a homosexual from jungle music? or am i WRONG? are there lots of gay junglists? do you all keep it in the jungle closet? whats up with that? jungle is SO diverse that people from ALL walks of life listen to it.... so how comes there is no underground GAY jungle scene?

personally i think its cuz the subsonics mess with their already loose bowels, due to their self induced "muscular" strain. low frequency bass causing unpredictable movements.

[ edited by mcme - 27 Jul 2002 16:04 ]

Re: Gay Jungle

gawd will you all stop it.

You make me sick, what kind of men are you?!?!

Re: Gay Jungle

and thats why noel is the s**t. educate the mofo's. i dont give a s**t about it tho. next thing you dumb asses are going to say "dancin' is soo GAY! ....ill just go to jungle parties and fold my arms and stand around cuz dancing is for faggots!"



what about songs like french kiss remix, spaced invader, even whenit rains? dumb mutherf**ker! what about love is not a game! those were some of the biggest songs ever...AND THEY ALL CAME FROM HOUSE!

Re: Gay Jungle

to me, homophobic people are questioning there own sexuality, and they feel they need to put down other people out of fearof being found out....


music opens minds, and if 200 gay as f**k people show up when i'm spinning, as long as there shaking there s**t, I dont give a f**k what they do, especially in there bedroom.

Re: Gay Jungle

hell naww lol my nigga (this fool the bass f**ks with tere already loose bowels.. very intellegent way to put that s**t.....

Re: Gay Jungle

there are gay junglist, but with attitudes like the ones shown here, i would stay in the closet as well.
and who the f**k cares what you do in the bedroom as long as you are out at the club having a good time and enjoying the beats?

So if a gay guy hit on you or grabbed your ass at club, you'd get mad right?

well then you would know how we women feel about dumbass' like you all.

f**k you all need to open your minds and not be so f**king judgemental. retarded.

.

Re: Gay Jungle

"your ego needs to chill mcme....you aint nada holmes"

i just wanted to chime in here that mc me was the resident mc for the opening night of club respect back in the day so i don't think he's nada....but i don't necessarily agree with him that house music is gay. i'm sure there's gay people in the jungle scene too, it's just they're not as comfortable about coming out with it. cuz househeads are not as critical as junglists, they're not as worried about what people would think.

Re: Gay Jungle

what canoe said.

Re: Gay Jungle

some people are just straight up oxymorons....


Main Entry: ox·y·mo·ron
Pronunciation: "äk-si-'mOr-"än, -'mor-
Function: noun
Inflected Form(s): plural ox·y·mo·ra /-'mOr-&, -'mor-/
Etymology: Late Greek oxymOron, from neuter of oxymOros pointedly foolish, from Greek oxys sharp, keen + mOros foolish
Date: 1657
: a combination of contradictory or incongruous words (as cruel kindness)
- ox·y·mo·ron·ic /-m&-'rä-nik, -mo-/ adjective
- ox·y·mo·ron·i·cal·ly /-ni-k(&-)lE/ adverb

http://www.m-w.com/cgi-bin/audio.pl?oxymor01.wav=oxymoron/

Re: Gay Jungle

you guys are weak.

jungle is nothing but fast house with breakbeats.

go back to pretending that you can make up for your lack of sexual powess by talking s**t on people/music.

Re: Gay Jungle

and personally.....i think gays dont like dnb cuz well....when you get down to it a lot of people dont like dnb! it's that simple....why dont you conduct a survey?

Re: Gay Jungle

haha bens.

here's some more knowledge
****************

The early history of House is disco. Initially a limited genre, appealing mainly to a gay and/or black audience, it crossed-over into mainstream American culture following the hit 1977 film "Saturday Night Fever".
As the existing 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? (???? - 1992). The clubs played the tunes of groups like the Supremes, Anita Ward, Donna Summers and Larry Levan's own hit "I Got My Mind Made Up". Acid, poppers? and Quaadaludes? aided the stamina of the clubbers. The disco boom was short-lived. There was a backlash from Middle America, epitomised in Steve Dahl?'s Anti-Disco Rally in 1979. Disco returned to the smaller clubs like the Warehouse in Chicago.
Opened in 1977 the Warehouse 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 revitalise 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 "Imports Etc." where the term House was introduced as a shortening of Warehouse (as in these records are played at the Warehouse).
Despite the new skills the music was still essentially disco until the early 1980s when the first drum machines were introduced. 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 1983 the Muzic Box club opened in Chicago. Robert Williams owned it, but yet again the driving force was a DJ, Ron Hardy?. Hardy always opened his set with "Welcome to the Pleasure Dome" but the chief characteristics of the club's sound were sheer massive volume and an increased pace to the tunes. The volume is self-explanatory, 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, dances like "Punking-Out" or "Jacking" being very popular.
The first tune that can be considered House is a choice of two, both arriving in early 1984. The tune that was chronologically first was Jamie Principle and Frankie Knuckles' "Your Love", it was a huge hit in the clubs but was only available on tape copies. The second tune was later but critically on vinyl - "On And On" from Jesse Saunders?.
By 1985 House music dominated the clubs of Chicago, aided by two main factors. First was the boost offered by the musical electronic revolution - the arrival of newer, cheaper and more compact sequencers and drum machines (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 on the new drum machines. Second was the rise in Chicago of the Trax record label, founded by Larry Sherman (the owner of the only vinyl pressing plant in Chicago) this was something of double-edged sword. In its favour Trax was very fast to sign new artists and press their tunes, establishing a large catalogue of House tunes. But the label used recycled vinyl to speed the pressing process resulting in physically poor quality records. Also disappointing were the sharp business practices of the label, many artists signed contracts that were rather less favourable towards them than they hoped. Trax became the dominant House label, releasing many classics including "No Way Back" from Adonis, Larry Heard's "Can You Feel It" and the first so-called House anthem in 1986 "Move Your Body" from Marshall Jefferson. This tune gave a massive boost to House music, extending recognition of the genre out of Chicago. Other tunes by Steve 'Silk' Hurley 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.
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, especially Manchester, as an extension of the 'Northern Soul' genre. The key English club was the Hacienda in Manchester, founded in 1982 by Factory Records?. But until 1986 the club was a financial disaster, the crowds only started to grow when the resident DJs (Pickering, Park and Da Silva) started to play House music. House was boosted by the tour in the same year of Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis as the DJ International Tour. Amusingly 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.
But House was also developing on Ibiza. A hippy stop-over and a site for the rich in the 1970s by the mid- 80s a distinct Baleric mix of House was discernable. Clubs like Amnesia where DJ Alfredo was playing a mix of Rock, Pop, Disco and House fuelled by 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 and drug to UK clubs, like Shoom in Southwark (London), Heaven, Spectrum and Future. 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. In Chicago Marshall Jefferson had formed the House 'super group' Ten City (from intensity), demonstrating the developments in "That's the Way Love Is". Away from Chicago in Detroit there were the beginnings of what would be called Techno, the first tune placed in this category was "Strings of Life" by Derrick May?. May described it as George Clinton meets Kraftwerk, it gave a darker, more intellectual sheen to House.
The combination of House and Techno came to Britain and gave House a phenomenal boost. Clubs began to feature specialist House nights - the Hacienda had "Hots" on Wednesday from July 1988, 2,500 people could enjoy the British take on the Ibiza scene, the classic "Voodoo Ray" by Guy Called Gerald (Gerald Simpson) was designed for the Hacienda and Madchester. But rather than be confined in the clubs ambitious promoters took the music to large temporary sites such as fields, handling up to 10,000 people in a single illegal event, usually termed Acid parties or raves. The events were shaped by Ecstasy, which greatly influenced the music too (you had to be off your face to enjoy it). Revelations of these 'dangerous' events in the tabloid press helped publicize the scene while also creating a 'moral panic' in less enlightened groups (the government, police etc.). The tunes that made these events were like "Everything Starts with a E" by the E-Zee Possee, "The Trip" by S'Express and "NRG" by Adamski. The publicity and the knowledge that these events could make significant amounts of money led more professionally criminal groups into raves. The police became more active to prevent or closedown rave. As the second "Summer of Love" arrived in 1989 the police became even more oppressive, culminating in a 1990 Act of Parliament. This was counter-productive, it both forced raves back underground and increased the criminal presence in organising raves. But the music continued, one of the finest Techno groups grew out of the rave scene, named Orbital? after the M 25? (from the London Orbital raves). Their British Techno hit "Chime" was snapped up by Pete Tong?'s FFRR label. By the end of 1989 House was mainstream music in Britain, it charted regularly with "Ride on Time" from Black Box being at number one for six weeks.
Back in America the scene had still not progressed beyond a small number of clubs in Chicago and New York, Paradise Garage was still the top club, although they now had Todd Terry?, his tune "Weekend" demonstrated 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.
While in Britain further experiments in the genre boosted its appeal (and gave the opportunity for new names to be made up). The idea of 'chilling out' was born in Britain with Ambient House? tunes like the Orb's "Little Fluffy Clouds" (with a distinctive vocal sample from Ricky Lee Jones). While in Manchester the indie rock of the Happy Mondays? was being transformed by the mixing talents of Oakenfold on the hit single "WFL". The music was being moulded, not just by drugs, but also the mixed cultural and racial groups involved in the scene. Tunes like "£10 to Get In" from Shut Up and Dance used that Hip-Hop staple of break-beats. With SL2's "On A Ragga Trip" they gave the foundations to what would become Drum and Bass and Jungle. Initially called Hard House?, it found popularity in London clubs like Rage as a "inner city" music. Initially showing just an increased tempo, tunes like "Terminator" from Goldie marked a distinct change from House with heavier, faster and more complex bass-lines - Drum and Bass. Goldie's early work culminated in the twenty-two minute epic "Inner City Life" and the commercial success of 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 back to the UK and in a softened form had chart success.
The Criminal Justice Bill of 1994? was another government attempt to strike at House - banning large events featuring music with "repetitive beats". There were a number of abortive "Kill the Bill" demonstrations and 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.
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. But mainstream success was found with Louie Vega and Kenny Gonzalez as Masters at Work?. Remixing and speeding up soggy rock they drew new fans to House. Other remixers also found success, Armand van Helden? with Tori Amos's "Professional Widow".
The key to House was re-invention. A willingness to steal or develop new styles and a low cost of entry encouraged innovation.

Re: Gay Jungle

ehhhhhhh enough homie you (vice) obvously do not know what you r talking about how you gonna say a song made by j ..majik came directly from house music.. who r u bulls**tting thats like some pioneer of drum and bass music.. hold on it might still sound fruity which i do think so, but its still strickly drum and f**king bass not no house bulls**t

Re: Gay Jungle

dude, house and dnb can go hand and hand.....thus the very succesful MUSE last night, dnb outside and house inside and both rooms were blowing up! no one was cracking on either music, and who cares if someone was gay groovin out the the dnb and then stepped inside to shake their money maker to the four fours.

I know i did that ALL NIGHT LONG.

I just dont understand how some of you people can be so reatrded. and yes junglist are VERY judgemental, but so are househeads....people in general are judgemental. It takes an open mind to not hate on others. So stop hating on what someone does behind closed doors. be happy that they are happy. Or is that why you're hating becuase you're not?

hhhmmmmm

Re: Gay Jungle

didn't take long for the homophobe comments.... hahah..
yeah i guess i am mildy homophobic.. but only to the point of "not in my ass thank you"....

other than that... i was just being phunnneeee......

just for the record i always thought french kiss was a s**te tune. canoe - i understand your point, great i agree wholeheartedly.. in fact i was the ONLY non gay jungle DJ in london to ACCEPT A BOOKING from JUNGAYLISTIC... so everyone hold yer horses with the ignorant homophobe comments.... now READ the question i ASKED... and if you can answer it - REPLY... because noone (apart from thepoet) has even attempted to answer the question...... respect for trying to answer thepoet.. but not quite the answer i was looking for....

Re: Gay Jungle

house bulls**t?

explain yourself yo!

Why do you hate on that myusic so much? do you think that if you're not DOWN with jungle only that you're not a true junglist.....quit limiting yourself and open your mind,......it's f**kign MUSIC YO!

hate on something worth wild like police brutality, or guns rights, or people who kill babies, but hating on music is a wase of time!

Re: Gay Jungle

did you just hop out of a diseased uterus!???? love is not a game wouldnt have existed with out house! the warped synth's is all from house! what about the new peshay cut? you got me burnin'? eh mutherf**ker!

Re: Gay Jungle

http://www.nakedsoccermom.com/images/erica/244.jpg



cant we all just get along?

Re: Gay Jungle

just cuz mc me doesn't like house, i don't think that affects other people's opinions so you should just accept it. some people do open their minds to music but just don't like it. i hate it when someone tells me i need to open my mind to something if i don't like it....just cuz they like it cuz people's opinions are just different.

Re: Gay Jungle

to answer your question.
I would have to say that HOUSE is soulful. not to say that dnb isn't, but to me it fufills a different need in me. It's a more aggressive and angry need, it's a rough and rugged, balls out dancing need.

house music to me soothes my soul, i grrove when i'm on the dance floor, my movements less punchy and violent.

I think that gay men, are nto agressive, well some not all, i'm just making generalizations.
THe point is, they probably dont NEED the aggression of dnb, and that's why they like house and groove out to it. And it's an older music as well. dnb has not been around as long as house has....let me see....

Re: Gay Jungle

peteg....


*yawn*


your point.../.?


keyword: was


you seem to know everything peteg....but, fact of the matter is i dont need your insight to the history of the jungle/dnb scene in L.A., been here since its inception and your recounts of the scene are from someone whos only been into it a few years...how old are you again? im sure im quite older then you, hence, ive been in the scene longer than you.....so your commentary is useless....to me at least....but thanks none the less

Re: Gay Jungle

i'm not saying he has to love it.

but WHY would you waste your time saying you HATE a certain music? it's pointless

Re: Gay Jungle

actually i am sure there ARE gay junglists.. i think in trying to be funny i may have offended some people (s**t happens) and you missed the point of my question.. whatever... no-one can answer it - um.... before you go calling me unknowledgable and try to 'educate' me on our music please look up my history and understand that i don't need educating on that particualr subject. i wrote some of it. but thanks.

but back to the point at hand.. My question (with no funny har har comments and no sarcasm) is as follows:

I am sure there ARE gay junglists.. this i do not doubt... just the same as there are gay rappers and gay republicans... but this is my question...

why do gays tend to gravitate towards one particular genre of music? why House in particular... ok so the history of the music can explain some of that.... but we live in the 21st centruy... and that is PAST history... there are gay men alive who have never heard of the chicago house scene etc etc.. but they still gravitate towards house music... is this a personal preference? peer pressure? what is it?

++edit++
ok thepoet so you have answered some of my question.. it MIGHT be the aggressive thing.... hmm interesting thought..
ALSO - i might say i HATE onions (i do hate onions) is it a waste of my time to say so? expressing ones opinion ) no matter how violently you disagree) is NEVER a waste of time.

incidentally i am fully aware of the influences house music has made on MANY genres i like.. i USED to make house music way back in about 1989... yes i am that old...
but just because house music has influenced jungle doesn't mean i have to like house...

vice said "the warped synth's is all from house!"

AND??? your point is what?? i have to LIKE it because a certain SOUND i might use came from it?? what logic is that????? so i guess i have to like orchestral parlour music because its got strings in it? and i guess i have to like ANYTHING with an electric guitar in it because peshay onced used an electric guitar sample??? i suppose i have to like mosebleed techo too because the all used 303's??
get real

[ edited by mcme - 27 Jul 2002 16:25 ]

Re: Gay Jungle

yeah like she said...i go dancing at jungle clubs to let out my negativity....people go dancing at house parties to let out their positivity. that's how it seems to me. just keep your s**t aggressive and don't make it all happy/sappy and you should be fine danny

Re: Gay Jungle

i answered your question me.

read it.

*****************
BREAKBEAT Glory - What's The Story? Is there a year zero with clearly mapped co-ordinates for the beginning of jungle? When did we first fall in love with subsonic bass, breakbeats and digital creation? You can trace the raw concepts back to Meat Beat Manifesto's 'Radio Babylon' or DJ Kool Herc's pre-hip hop invention of breakbeats. Perhaps you prefer to root the whole thing in 'Amen Brother' by The Winstons or 'Think' by Lyn Collins - the two tracks that spawned drum n' basses favourite drum breaks. You can wait until after acid house then travel through the drug/technology interface into acid, rave and the well documented waves of hardcore, artcore, Bukem, techstep and darkcore again. Beyond this there is no clear history, just endless rogue production units swapping names, sounds and identities like militia working black ops both in and out of ever-evolving micro-genres.
Some say Fabio and Grooverider are the story of drum n' bass yet current darkstar Ed Rush was turned onto the scene after checking Spiral Tribe play hardcore while the derided ragga-units worked inside a loop of producers cutting tunes for the pirates where new sound spread across the airwaves. At the moment ideas move simultaneously underground and overground, fresh sonics coming off leading DJs' dubplates, baby label headz signing to majors, new crews appearing all over Europe and US or the efforts of Bowie and Everything But The Girl to communicate/emasculate drum n' bass for the global mainstream.

Drum n' bass is control versus chaos: hi-fi-sci-fi beat programmes that expand and contract, roll and squeeze, rinse out and explode to generate physical abandon on the floors. Some people reckon Fabio, Groove, Doc Scott and Goldie (Cleveland Watkiss introduced him with "the Goldicus has landed" on the mic at a recent Metalheadz) control drum n' bass but no one posse can hold onto the sound for long. Teddy Riley's started cutting breaks, James Lavelle and Coldcut's Ninja Tune reintegrate the sound into old skool/nu skool breakz culture while everyone from the acid jazz, ambient and gabber crews is claiming and making a version of drum n' bass for themselves. Is drum n' bass the music of the aftermath or just the music of now? Years after rave's chemical countdown pushed new sounds into being drum n' bass functions both in the comedown for older soldiers while all over the planet fresh kids take it as their sound of choice. Drum n' bass is old and new, drugged and clean, veteran and fresh, black and white, pop and underground, ambient and hardcore, ever-expanding, changing, mutating, rolling and moving. Destination unknown.

Re: Gay Jungle

heres some more
****************

BREAKBEAT Glory - What's The Story? Is there a year zero with clearly mapped co-ordinates for the beginning of jungle? When did we first fall in love with subsonic bass, breakbeats and digital creation? You can trace the raw concepts back to Meat Beat Manifesto's 'Radio Babylon' or DJ Kool Herc's pre-hip hop invention of breakbeats. Perhaps you prefer to root the whole thing in 'Amen Brother' by The Winstons or 'Think' by Lyn Collins - the two tracks that spawned drum n' basses favourite drum breaks. You can wait until after acid house then travel through the drug/technology interface into acid, rave and the well documented waves of hardcore, artcore, Bukem, techstep and darkcore again. Beyond this there is no clear history, just endless rogue production units swapping names, sounds and identities like militia working black ops both in and out of ever-evolving micro-genres.
Some say Fabio and Grooverider are the story of drum n' bass yet current darkstar Ed Rush was turned onto the scene after checking Spiral Tribe play hardcore while the derided ragga-units worked inside a loop of producers cutting tunes for the pirates where new sound spread across the airwaves. At the moment ideas move simultaneously underground and overground, fresh sonics coming off leading DJs' dubplates, baby label headz signing to majors, new crews appearing all over Europe and US or the efforts of Bowie and Everything But The Girl to communicate/emasculate drum n' bass for the global mainstream.

Drum n' bass is control versus chaos: hi-fi-sci-fi beat programmes that expand and contract, roll and squeeze, rinse out and explode to generate physical abandon on the floors. Some people reckon Fabio, Groove, Doc Scott and Goldie (Cleveland Watkiss introduced him with "the Goldicus has landed" on the mic at a recent Metalheadz) control drum n' bass but no one posse can hold onto the sound for long. Teddy Riley's started cutting breaks, James Lavelle and Coldcut's Ninja Tune reintegrate the sound into old skool/nu skool breakz culture while everyone from the acid jazz, ambient and gabber crews is claiming and making a version of drum n' bass for themselves. Is drum n' bass the music of the aftermath or just the music of now? Years after rave's chemical countdown pushed new sounds into being drum n' bass functions both in the comedown for older soldiers while all over the planet fresh kids take it as their sound of choice. Drum n' bass is old and new, drugged and clean, veteran and fresh, black and white, pop and underground, ambient and hardcore, ever-expanding, changing, mutating, rolling and moving. Destination unknown.

Re: Gay Jungle

A Brief History of Dub
The word 'dub' today is used to describe a genre of music that consists predominantly of instrumental re-mixes of existing recordings. These re-mixes radically manipulated and reshape the recording(through the use of sound effects). The production and mixing process is not used just to replicate the live performance of the recording artist, but audio effects and studio 'trickery' are seen as an integral part of the music. The roots of 'dub' can be traced back to Jamaica in the late 1960s, where it is widely accepted that Osbourne Ruddock pioneered the style(1). Ruddock turned the mixing desk into an instrument, with the Deejay or mixer playing the role of the artist or performer. These early 'Dub' examples can be looked upon as the prelude to many dance and pop music genres(2).

Jamaican music has always borrowed heavily from U.S. popular music form adapting this music to give Jamaica its own unique variations(3). During the forties 'Big Band' music was very popular in Jamaica, with swing bands touring all over the country playing at local dance halls, but by the 1950's these 'Big Bands' were starting to be superceded by smaller, 'more dynamic, optimistic' (4) bop and rhythm and blues groups. Jamaicans traveling to America in search of work were exposed to this new kind of music, which fitted in perfectly with America's postwar optimism. It was not only being played live but also through large sound systems, and this trend soon followed to Jamaica. Sound system operators started appearing in the ghetto areas of Jamaica's capital Kingston, holding dances in large open spaces called 'lawns'. These operators would also tour the country districts of Jamaica in direct competition with the big bands. These sound systems soon took over in the dance halls, because for many people who didn't own a radio, it was the only way to hear the new R&B music. 'Sound systems were also cheaper to employ than a dozen musicians and a 'sound' took no break' (5). By the middle of the 1950s, Duke Reid and Clement 'Coxsone' Dodd had become two of the premier sound system operators in Jamaica.

In 1954 Ken Khouri started Jamaica's first record company 'Federal Records' pressing licenced copies of American recordings, as well as a few local artists. Following his lead in this Duke Reid and Clement 'Coxsone' Dodd both held their own recording sessions, recording Jamaican artists for exclusive play on their own sound systems in the hope of gaining the upper hand in the highly competitive business. Duke Reid recorded Derrick Morgan and Eric Morris for sound system play. Reid, whose set(6) played at 'S-Corner' on Spanish Town Road, even titled Derrick Morgan's first tune 'Lover Boy' as 'S-Corner Rock' when it was played on the sound system as an exclusive acetate recording. Clement Dodd also had his first recording session in this year, recording over a dozen tracks with artists like Alton Ellis and Eddie Perkins, Theophilius Beckford, Beresford Ricketts and Lascelles Perkins.(7)

Young Jamaicans during the early sixties had been drawn to the major cities in search of work. They had not found it, and the mood of the ghetto areas had started to deteriorate. These youths or 'Rude boys' as they were called, started forming into political gangs from different ghetto's throughout Kingston. 'Rude boys connected with the so-called 'underworld', a layer of people who lived outside the law, and who had always patronized Jamaican dance music'( . The 'Rude boys' connection with the dance halls, as well as their style of dancing (which was slower and more menacing) changed the style of music being played from the more up tempo Ska(9) to the slower Rock Steady beat(10) . While many producers(11) have claimed to have pioneered the 'Rock Steady' groove it was Duke Reid who capitalized on it, recording and releasing several tunes by a variety of performers in this new style.

The 'Rock Steady' phase lasted little more than a year, and although Duke Reid and 'Coxone' Dodds had dominated Jamaican music for well over a decade, three other producers, Lee 'Scratch' Perry, Bunny Lee and Osbourne Ruddock (all of whom had worked for either Ried or Dodds at sometime) dictated the pace of Jamaican music in the seventies and beyond.

Lee 'Scratch' Perry ( or Rainford Hugh Perry) was born in 1936 in Kendal, a small town in the rural parish of Hanover, in the northwest of Jamaica. Perry arrived in Kingston in the late 1950s, and immediately tried to enter the music business. He started working for Coxsone Dodd as a 'gopher, bouncer, spy, talent scout, uncredited songwriter and eventually performer'(12) Perry left Coxsone's employ after a disagreement over payment, moving to a new label (Amalgamated) set up by Joel Gibson, where he recorded an early reggae hit called 'People Funny Boy' (which was a verbal attack aimed at his previous employer 'Coxsone".) Perry became well known as a producer and was instrumental in Bob Mailey and the Wailers early success. He linked up with Mailey and the Wailers in 1969, beginning a collaboration that resulted in 'definitive versions of some of the Wailers strongest work'(13). Perry, through his work as an artist, producer and engineer, has been one of the main people responsible in shaping the sound of Jamaican music over the last forty years(14).

Osbourne Ruddock (better known as King Tubby) was born in 1941 in Kingston, and worked as an electronics engineer (repairing radios and televisions) though out the 1960s. He owned a sound system (called 'Home Town Hi-Fi') by 1968, and used unique echo and reverb effects which set him aside from the competition. During this time, he also worked for Duke Reid at Treasure Isle Studio as the master cutter, cutting acetates(15). These 'one off' disc were designed to gain a competitive edge over rival sound system operators via their exclusivity. Ruddock was mixing one of these 'dub' versions when he accidently left out portions of the vocal track from the recording. On listening back, he decided he liked the effect of just having the bed track by itself and played it on his sound system.

He took it to a dance and played the vocal, which everybody knew, then played the dub plate of this rhythm track and people couldn't believe it.(16)

These new 'versions' of popular songs (combined with the unique effects of his sound system) soon saw Tubby's 'Hometown Hi-fi' become extremely popular(17). In addition Tubby had started working along side deejay Edwart Beckford, known in the dance hall as U Roy, who had begun answering the vocal sentiments of the singers with his own brand of outrageous jive talk. This vocal style known as 'toasting' is widely accepted as a precursor to 'rapping' (1 .

In 1972 Ruddock set up a tiny studio at 18 Bromilly Avenue in Waterhouse (a district in Kingston), he began to experiment with these instrumental recordings using various home built electronic effect devices such as reverb, delay and equalizers, and started to further manipulate the sound of these instrumental songs. He acquired a disc-cutter and a two-track tape machine, and using his home made mixer, started working closely with producers like Bunny Lee and Lee 'Scratch' Perry. Together with Perry he made the stereo dub album 'Blackboard Jungle' in 1973.

Joe Gibbs of 'Amalgamated' soon saw the potential of these instrumentals, and instructed Errol Thompson (Gibb's engineer at Randy's 'Studio 17') to start putting instrumental/rhythm versions on B-sides of singles, which he called 'dub'. Tubby bought a four-track mixing board from Dynamic Studio and, with his background in electronics, he was able to specially-customized this equipment to include faders. This enabled him to slide tracks in or out of the mix smoothly, giving Tubby the edge over his rival, Errol Thompson who had to punch tracks in more abruptly, using buttons. In 1974, Tubby started working closely with Bunny Lee, who supplied hundreds of rhythms, and recorded all his hit artists at Ruddock's studio (including Johnnie Clarke and Cornell Campbell). The studio now contained many effect devices, such as an echo delay which Tubby had made by passing a loop of tape over the heads of an old two-track machine(19).

There is general agreement that King Tubby's most prodigious period was during the mid seventies when working with Bunny Lee(20). With Lee relying on Tubby's experimentation and expertises of the 'dub' re-mix.

Improvisation was the order of the day; most of Tubby's dubs were mixed live, with the engineer playing his board like a great jazzman blowing solos on his horn, deconstructing and reinventing the music.(21)

While Tubby was not an instrumentalist, when recording Lee's studio band the Aggrovators(22), he was able to use his mixing desk and primitive effect devices as though they were an instrument, on occasion even physically hitting the spring reverb unit to create a thunderclap sound or putting a brief frequency test tone on deep echo into the mix (later he would use sound effects like sirens and gunshots).

It wasn't simply the fact that Tubby and his cohorts used reverb and delay effects in their mixes; the difference with Tubby, was that these effects were used to enliven radically re-mixed versions of songs. Tubby, a skilled and resourceful electronics expert, improvised endlessly with his studio equipment.(23)

Tubby started training other engineers (such as 'Prince' Philip Smart,(24) Lloyd James, better known as 'Prince Jammy'(25)and Overton 'Scientist' Brown(26).) in the intricacies of dub.

In the mid 1970s Jammy would become King Tubby's leading dub engineer at the Waterhouse studio. During his time at the studio he had mixed most of Bunny Lee's dub tracks. Then in 1978, Jammy started his own label called 'Imprint' and took his first step in record production. By 1985, Jammy had become the dominant Jamaican producer responsible himself for bringing a whole new generation of musicians and mixers into this genre of music.

As the 1970s came to a close, Overton 'Scientist' Brown took over as Tubby's leading engineer. Brown had first met Osbourne while working in his Televison and radio repair shop. He was given the opportunity to experiment in the recording studio during downtime. Brown would eagerly play what he had done to Tubby, to which Tubby would reply that he thought the work was weak and his apprentice still had much to learn. Years later Tubby admitted he was merely pushing Brown to stretch himself and these early 'dub's' had been excellent.(27)

'Every man who mixed at Tubby's got his own sound, yet no matter which mixmaster was at the board, the resultant music always bore the authentic stamp of King Tubby's'(2 .

During the early eighties, King Tubby devoted himself to building his new studio. Completed in 1985, it soon produced its first hit, Anthony Red Rose's 'Temper'. It looked as if Tubby was to become a leading producer in Jamaican music, until he was mysteriously gunned down outside his studio in 1986.

The Jamaican music scene has had very strong links to the United Kingdom since early 1960s. When Jamaican 'Ska' artists were signed by English record companies, their music was readily accepted by England's 'Mod' culture of the sixties(29). To some degree it has been these links and support that has made the export of Jamaican music much easier to the rest of the world. The combination of this with the growing popularity of modern dance styles such as 'Trip hop', 'Drum and Bass" and 'Jungle', (which are direct decedents of the originanl Jamaican 'Dub' music of King Tubby(30)) have brought many new artists and producers from outside of Jamaica to continue in the experimentation and the use of dub in their music. Steve Barrow of Blood and Fire says,

Tubby was, by any standards, a genius.....he invented Dub - which, as we know, is the pulse that beats through much of today's dance music from trip-hop to techno. If Lee Perry was the first surrealist of dub, Tubby was definitely the first modernist.(31)


England now has a large percentage of the total number of artists involved in this genre of music, with many of the leading producers being based there. Adrian Sherwood and The Mad Professor are two of these leading 'dub' exponents.

Adrian Sherwood (The producer behind the British On-U sound record label) has since the 1970s recorded many artist from within the 'dub' genre, such as Creation Rebel, African Headcharge, Singers & Players and Dub Syndicate. Often wildly experimental with studio techniques, sometimes running whole tracks in reverse, has also attracted artists from outside the realm of 'dub' such as Depeche Mode, Nine inch nails, Living Color, Garbage and The Cure, all of who have used Sherwood's radical approach to mixing to manipulate their material.(32)

The 'Mad Professor' alias Neil Fraser started producing and recording dub music in 1980. Over the past sixteen years he has become one of the premier artists of this genre. One of the most prolific creators in this medium and operating out of a vast studio expanse in Britain, he has released in excess of a 100 Albums, performing re-mixes for such acts as Massive Attack, Sade and Pato Baton. He characteristically uses electronic sounds in his dub such as bleeps, whirs and other electronic machinations.(33)

'Dub' Recommended Listening
King Tubby, 1994, Dub gone Crazy(The Evolution of Dub), Blood and Fire.

Lee 'Scratch' Perry and King Tubby, 1974,Blackboard Jungle, Upsetter.

Compilation, 1975, The Roots of Dub, Grounation.

Lee 'Scratch' Perry, 1975, Revolution Dub, Cactus .

Massive Attack vs Mad Professor, 19??, No Protection, Wild Bunch.

Bibliography
Larkin, C. (ed.) 1995, The Guinness Encyclopedia of popular Music, vol 1-5, Guinness Publishing, England

Newspapers and Magazines
Hawkins, E. 1996 'The secret history of Dub-reggae historians delve into the echo chamber", Eye Weekly, Toronto's arts Newspaper April 18

O'Hagan, S. 1997, 'Blood & Fire', The Guardian, November 7.

Internet
'Dub gone Crazy', [online},

http://www.interruptor.ch/dub.html [15th June 1999]

Islandlife, 1998, ''Early Years Lee Perry The Mighty Upsetter', [online}, http://www.leeperry.com/life/page5.html[12th April 1999]

Islandlife,1997, 'The Story of Jamaican Music', [online}, http://homepage.oanet.com/sleeper/bio01.htm [10th April 1999]

Jah, S. 'King Tubby', [online},

http://www.geocities.com/HotSprings/1392/kingtubby.html [9th June 1999]

Niceup, 'Blood and Fire liner notes', [online}, http://v-music.com/niceup/writers/steve_barrow/blood_and_fire_liner_notes [15th June 1999]

On-U Sound, 'Adrain Sherwood' [online},

http://www.obsolete.com/on-u/sherwood.html [2nd May 1999]

Sleeper, M, 'Brief History of Scratch', [online},

http://homepage.oanet.com/sleeper/bio01.htm [10th April 1999]

Smithies, G. 'Hopeton 'overton' Brown (Scientist)' [online}, http://www.geocities.com/HotSprings/1392/Scientist.html [18th March 1999]

Spence, D. Jetpack, 'Back to the Lab with the Mad Professor', [online}, Http://www.jetpack.com/lounge02/mad_prof/ [22nd July 1999]

The interrupter, 'The Dub me Crazy page', [online}, http://www.interruptor.ch/dub.html[15th June 1999] [9th August 1999]

Toop,D. 'Dub by John McCreedy', [online}, http://www.geocities.com/HotSprings/1392/Johnmccreedy.html [15th June 1999]

Wordup, 'King Tubby, Scientist & Prince Jammy', [online}, http://www.merseyworld.com/wordup/wordup4/tubby.html [22nd July 1999]



Music
Compilation, 1993, Tough than tough; the story of Jamaican Music, Island Records

King Tubby, 1994, Dub gone Crazy(The Evolution of Dub), Blood and Fire)

Re: Gay Jungle

hooray for THE POET !
A big thank you for schoolin the ignorants/sexually insecure people!
When are people gonna learn that all electronic music is related
and that we should just treat each other with Respect! It's all related man weather you like it or not. Open up your mind man you're just limitin your self! There ain't no reason to hate there is enough of that s**t already! I am not a Big house person but house music is extremely diverse incorporating so many rythms and styles that it is impossible to ignore!

Re: Gay Jungle

homophobes

Re: Gay Jungle

yo, yo check it out...m i have alot homies in the house industry 60% of them r fruit niggas.. and they will tell you drum