I'm not from Detroit, Europe or a Homosexual... why should I care about House music?

[Cole Cash]

Not everyone understands house music
its a spiritual thing
a body thing
a soul thing

.....

a soul thing.

 

[Sankofa Alwayz]

Not everyone understands house music
its a spiritual thing
a body thing
a soul thing

.....

a soul thing.

 

[3rdWorld]

Hip hop provides its listeners with refuge to be angry, ugly and stiff in a club. People suddenly stopped dancing and became hardcore caricatures..So what the fukk are you doing in the club homie, mean mugging and staring down people who came to dance..just get the fukk out and go to bed

There's no way a normal human being can listen to only hip hop, you'd lose your mind and sense of worth..how do you brehs manage

 

[Sankofa Alwayz]

Hip hop provides its listeners with refuge to be angry, ugly and stiff in a club. People suddenly stopped dancing and became hardcore caricatures..So what the fukk are you doing in the club homie, mean mugging and staring down people who came to dance..just get the fukk out and go to bed

There's no way a normal human being can listen to only hip hop, you'd lose your mind and sense of worth..how do you brehs manage

nikkas who listen to nothing but Trap music or Drill music all damn day I’ll specifically give Brooklyn/Bronx Drill credit for letting it be cool for these lil “hard” nikkas to dance but it’s still goon ass music at the end of the day.

 

[boriquaking]

Do you like girls?

 

[Giselle]

That Drake album is a disgrace to HIP HOP. I hope this ain't the future because i'd really be


I hope this doesn't become a trend. Game and Lupe coming next week, so i'm thankful for that

House music is from Chicago and is a Black American genre. Idk why you listed all those other places

 

[3rdWorld]

nikkas who listen to nothing but Trap music or Drill music all damn day I’ll specifically give Brooklyn/Bronx Drill credit for letting it be cool for these lil “hard” nikkas to dance but it’s still goon ass music at the end of the day.

It's ridiculous, the music itself preaches ignorance and hence its listeners tend to be ignorant to other forms of Black music.

 

[Thelonious Napz]

I'm not too familiar with House but this thread is putting me on to a lot of gems!

 

[Unknown Poster]

Ive been listening to house music for 32 years now.
My cousins in NJ put me on.
Discovered techno in 1997 and the rest was history.
Been making music since 1997
Djing since 1999.
I always knew it was gonna make a comeback with black folks it was gonna take some time.

 

[Unknown Poster]

I prefer this music becausw as much as I love hip hop and rap...shyt gets too negative. This music is just a nice escape where you can do so much more than in rap.

Plus the ladies love it...

 

[Sankofa Alwayz]

Ive been listening to house music for 32 years now.
My cousins in NJ put me on.
Discovered techno in 1997 and the rest was history.
Been making music since 1997
Djing since 1999.
I always knew it was gonna make a comeback with black folks it was gonna take some time.

I know a majority of your music is Techno but I think you said you’ve made some House music too in an old thread years back. Ever thought about joining the roster for the Capital House Fest in DC this September? I think they’re still letting DJs and producers sign up right now. It’s gonna be on the National Mall this year.

 

[Sankofa Alwayz]

I'm not too familiar with House but this thread is putting me on to a lot of gems!

Here’s a few more for ya

 

[IllmaticDelta]

Frankie didn't make a record until 1986.
Jesse Saunders made what is considered the "first" house record in 1984.
Your narrative about "gay musical stew" is all over the place.

They played that with the inclusion of drum machines and more synthy stuff that OTHER black djs never played








he had live mixes before that, that he and Ron hardy were doing that gave the musical stew of stripped down disco the club going teens would later base their sound off



I didn't say "gay musical stew" I said, "the musical stew of gay black djs"

Here is an article that touches more on it:

Knuckles:

While Frankie Knuckles has fondest memories of the period from 1977 to ’81, it was the following years when the Warehouse really began to change dance music forever. “By 1981, when they had declared disco is dead, all the record labels were getting rid of their dance departments, so there was no more up-tempo dance records,” Knuckles explained to writer Frank Broughton in i-D magazine. “That’s when I realized I had to start changing certain things in order to keep feeding my dance floor.” As well as embracing the new electronic dance music of groups like the Peech Boys and D-Train along with some of the more soulful Italian disco, Knuckles used a reel-to-reel to extend and repeat sections of disco classics. A new name for the music Knuckles was playing started to be seen around town, according to Chip E.—who was working at the Imports Etc. record store. “People would come in and ask for the old sounds,” he recalled in Last Night a DJ Saved My Life, “the Salsoul that Frankie used to play at the Warehouse. So we’d put up signs that said ‘Warehouse Music’… It worked so well that we started putting it on all sorts of records and shortened the label to ‘House.’ ”

Inspired by Knuckles, a new generation of bedroom producers had started to emerge in the city, offering their own DIY versions of what was now known as “house.” Advancements in technology meant electronic sound equipment was becoming quickly outdated. The result was gear like the Roland TR-909 and 808 drum machines became affordable tools of experimentation. As the music Knuckles played was rooted in soulful disco, many of these new productions were too raw for the refined ears of Warehouse regulars. “They would come and hear me play and then go back to their clubs, [like] the Playground, and they would do the same thing,” Frankie told Frank Broughton. “And they started putting together their own beat tracks. Which is okay, but I’ve never been one to sit back and play a bunch of beat tracks.” The Playground was the epicenter of this younger scene, where Jesse Saunders—who has laid claim to the first official house track, “On and On”—introduced many of house music’s future DJs and producers into this exciting new culture.

Enter: Ron Hardy

who went on to work the door at the Music Box and become a friend of Ron Hardy’s. “You walked in there and the volume and bass just hit you. It was this dark space with this incredible energy. It was far more underground than those other places.” According to Robert Williams, this is where the myth of Ron Hardy became a reality: “He really started to create his own style and skills. He had twenty-four-hour access to the place with all the equipment there, so he had time to practice and research music. Which in turn made him a better jock. This is where the Music Box really kicked off at.”


The out-of-control atmosphere in the Music Box was augmented by the many edits Hardy incorporated into his sets. Taking old disco classics and rarities, the sound scientist would reconstruct them often beyond recognition—a raw yet soulful new music was born. Whereas Frankie Knuckles’ edits were primarily intended to extend the dance-floor euphoria through soulful fluidity, Ron Hardy used the tape machine and EQ to jolt his crowd with a manic dark energy that teetered on the edge between beauty and chaos. “Ronnie was doing a lot of his own edits as well, and a lot of his edits were very repetitious. Very high energy and very repetitious,” said Knuckles to Bill Brewster in Faith magazine. “He would take a song, and he’d run that for ten minutes, before the song even played. And then he’d go into the song or go back to another ten minutes and just played one particular part.” But it was these very sound manipulations that created the wild intensity of early house as dancers screamed for mercy. Listen to Hardy’s prescient edits of the Dells’ “No Way Back,” Nightlife Unlimited’s “Peaches & Prunes,” or Blue Magic’s “Welcome to the Club,” and it’s not just the repetition that creates the dynamics, but the way he builds tension and release. And to the ears of his more youthful crowd, this was the sound of the future, and music they could truly call their own, inspiring many more to become bedroom producers. For Robert Williams, it was Ron and not Frankie who most inspired the new generation to become house music’s pioneers. “It was at the Music Box that the music changed,” he states. “People like Marshall Jefferson and Steve ‘Silk’ Hurley would come through and they would hear his edits and beat tracks. He was more influential to them than Frankie was. Ron definitely changed the sound.”

Most of these Disco + drum machine + 808s edits that Frankie and Hardy were doing live weren't recorded or official releases but the musical stew they created, gave the first House RECORD pioneers a style to run with, which is how it got stripped down

Despite Ron’s undoubted genius and his huge influence on the scene, only a handful of his productions were officially released at the time. And his few mixes for Trax and DJ International or his Trax solo release, “Sensation,” really don’t do justice to what we are now hearing through live recordings on the Internet or the few edits that have been released. “A lot of kids tried to market their edits and music. Ron didn’t do any of that,” explains Robert Williams. “He only made edits for the party.” In the end, it was a mixture of disinterest and distrust that ensured Ron Hardy’s greatest work was never officially released. “He knew how shady people like Rocky Jones were, because I told him,” adds Williams. “So he didn’t really mix with people like that.”

Ron Hardy’s radical style defined a new sound in dance music

While Frankie Knuckles' influence is undeniable, it could be argued that Ron Hardy was the real architect of the Chicago house movement. This is his story.

www.waxpoetics.com

 

[trap101-ETHout-Allegri-In]

I get the same vibe from this Black Coffee track



This classic was one of the songs that broke me into Afro House

This the one that does it for me



from min 15....makes me want to shout "Madda Africa"...

 

[FeverPitch2]

Here is an article that touches more on it:

Knuckles:



Enter: Ron Hardy



Most of these Disco + drum machine + 808s edits that Frankie and Hardy were doing live weren't recorded or official releases but the musical stew they created, gave the first House RECORD pioneers a style to run with, which is how it got stripped down

Ron Hardy’s radical style defined a new sound in dance music

While Frankie Knuckles' influence is undeniable, it could be argued that Ron Hardy was the real architect of the Chicago house movement. This is his story.

www.waxpoetics.com

Breh.
Stop.