GENERAL INFO.
Home
Letter From Director
Contact Details
2008 Industry Survey
CPS Industry Awards
Press Releases
CPS Reviews
Product Spotlight
Certified Products
KeyClub VIPs
Photographs
Mentor Program
Industry Events
Music Charts
Master Music List
Networking Forums
Join CPS Mailing List

THE 2008 CPS SUMMIT
Registration Discounts
Lodging
Travel/Directions
Event Announcements
Sun, Nov 18, 2007
Mon, Nov 19, 2007
Tues, Nov 20, 2007
Seminars~Workshops
Nightlife~Networking
History of Summit

ATTENDEES
Attendee Registration
Who Should Attend?
• • REVIEWS
Page1
Page2
Page3
Page4
Talent Spotlight
Attendee Networking
Join CPS Mailing List

EXHIBITORS
Exhibitor Registration
Who Should Exhibit?
Unique Opportunities
Product Spotlight
Join CPS Mailing List

SPEAKERS
Presenter Guidelines
Speaker Application

CPS CERTIFICATION
View Press Release
PDF Application
Product Reviews
Certification Details
Enrollment Details
Recertification Info.
CPS Learning Center
CPS Networking
CPS Crossword
CPS Store
Members Only Area

MISCELLANEOUS
Special Offers
Vendor Advertising
Join CPS Mailing List
Contact Us
Site Map



The History Of House Music
1985-1989


History of House Music
1985 | 1986 | 1987 | 1988 | 1989
History of House Music

In The Begining

It's been over twenty years since the first identifiably house tracks were put on to vinyl, over twenty years which have changed the technology behind the electronic music revolution beyond recognition but left the basic structure of house intact. It's seventeen 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 clubculture, 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 anever-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, tookthings 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 musiclegend - 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 in1977 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 NewYork). And the music was as varied as the clienteles - r'n'b based Black dance music and discopeppered 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 FirstChoice 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 wason the Mitch ball label - probably Z Factor's 'Fantasy', but there was also another Z Factor tune whichwent 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 stringsounds, 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 (orFarley '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 mixshows 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 thejump to vinyl.

"I started dabbling in making my own music." says Hurley. "Just making tracks to play as a DJ, not reallythinking 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 wasto 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 tobreak into a more commercial market with Precision. 'Music Is The Key' (the first house record toinclude 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 vocalsand 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 andwas one of the very first to get house on the radio in Britain with his immensely popular Jackin' Zoneshow on London pirate station LWR. "When 'Like This' and Adonis' 'No Way Back' came out, that'swhen it picked up. At first it was just drum machine programs and they were called trax, like there wasChip 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' andwe were both really excited by it."

Mean while, 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 soundof Colonel Abrams, the deep, soulful club sound that became known as garage was taking shape withearly 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'.

Click a link below to continue.

History of House Music
1985 | 1986 | 1987 | 1988 | 1989
History of House Music

| 2006 CHART | 2005 CHART |
| 2004 CHART | 2003 CHART | 2002 CHART | 2001 CHART | 2000 CHART |
| 1999 CHART | 1998 CHART | 1997 CHART | 1996 CHART | 1995 CHART |
| 1994 CHART | 1993 CHART | 1992 CHART | 1991 CHART | 1990 CHART |
| 1989 CHART | 1988 CHART | 1987 CHART | 1986 CHART | 1985 CHART |
| 1984 CHART | 1983 CHART | 1982 CHART | 1981 CHART | 1980 CHART |
| 1979 CHART | 1978 CHART | 1977 CHART | 1976 CHART | 1975 CHART |
| 1974 CHART | 1973 CHART | 1972 CHART | 1971 CHART | 1970 CHART |
Classic Music Collection .pdf Lists & More
| 1930's | 1940's | 1950's | 1960's | 1970's | 1980's | 1990's |
| The Beginning of Recorded Music (1800's) | 1900's-1920's | 1930's-1950's |
| 1960's-1980's | 1990's | Piracy | Supply Chain |
| History of House Music |

 


Outside Our Industry.
Wikipedia reference to CPS
Wikipedia reference to Disc Jockey
Wikipedia reference to Mobile Disc Jockeys

Register today for the 2007 5th Annual CPS Summit
Advanced registration offers in effect.
Click  here for the latest DJ Summit News
Start here with all the details you need to attend the 2007 CPS Summit
Vendors contact us today for unigue sponsorship opportunities at the nations ONLY dedicated Computer DJ event
 
Join Our Database To Receive Announcements
Keep Current With Our Community: click here to sign up.

CPS Community History - News - Announcements
CPS Awards - Congratulations 2006 CPS Industry Awards Winners.
Certified Product - Denon's DN-HD2500 Controller Awarded CPS Certification
Industry - CAMEO and CODJA Announce Merger.
Industry - 2007 Denon DJ Mix & Mash Remix Challenge
Industry - 2007 NAMM Show Considered "The Year Of The CPS DJ Controller"
New Product - OtsDJ Pro Debutes Video, Karaoke and Automated Beat Mixing
New Product - Native launches “TRAKTOR SCRATCH Certified” DJ mixer integration
Press Releases - Click Here To View Past and Present Industry Press Releases
Special Offers - Wholesale Entertainment Printing offering DJ Industry deals
CPS - New CPS Certification logo available for verifacation
CPS - What Does It Mean and Why Computer DJs Are Using The Term? (*pdf)
CPS Certification - Established in 2003 Read The 1st Public Announcement (*pdf)
CPS Summit - Read The History Of The CPS Summit Started In 2001 (*pdf)
Click here for FREE pdf file viewer to see some files above *PDF - Needs FREE Acrobat Reader To View -->CLICK HERE<--

The Official CPS Industry Survey
Click Here To Purchase Review DVds Of Prior DJ Summits

2008 Computer DJing Industry Survey
The purpose of the survey is to collect product-anonymous information about computer DJs, which we will aggregate and publicly share with the hardware manufacturing and software development community community. The survey features multi questions, and upon completion you will be entered in a drawing to win some great prizes and software. All responses will remain completely anonymous and no personal information will be shared, harvested or sold. The more completed surveys we get, the better our data will be, meaning our findings will be of greater interest to the hardware manufacturing and software development community. Be sure to take the survey! All of your information will remain anonymous, and once we receive enough responses, we'll announce when we'll publish the data. Click here to take survey.

Educational Review Material
Click Here To Purchase Review DVds Of Prior DJ Summits

DJ Summit Review DVDs
Did you miss last years Computer DJ Summit? After two years of coveing many 101 topics, future Summits will now focus on advanced learning. If you missed the wealth of information shared during the Summit you will find several review DVDs now available in the official CPS Store. These DVDs will catch you up for future events. DVDs ar available in two disc sets and mega sets. Click here for details.

General Program Details

CPS Certification Gives an Edge
In a white paper titled Certification: Networking With the Best, George R. Conrade, wrote, "Certification is an excellent way to gain a competitive edge and give proof of your abilities, knowledge, and level of skill. To be certified in any profession, whether it's as a Certified Public Accountant (CPA) or as a CPS Certified Disc Jockey (CPSDJ), means you have joined a network of individuals who meet consistent, knowledge-based standards of ability, position, experience-even ethics. When you pursue certification, you're testing yourself against these standards of proficiency." Click here for details.

Click to view details of the 2007 Dj Summit

2008 Computer DJ/VJ/KJ Summit
Special announcement... The 2008 DJ Summit will be hosted where it all began Atlanta, Georgia. This years event will be groundbreaking for the novice and experienced Disc Jockey. Anyone “already” or “planning” to mix mp3s or other music file format with hardware, software or combination of both. Block your schedule and don't forget to attend the Monday evening " Weddings Ground-0" seminar to discover the plans for the 2009 Summit.

NOTICE: The 2008 Summit is being held in a High-Tech room where you can plug-into the live experience. This is a full extended day of seminars. Sundays Atlanta-Ground-0 Experience is a day of networking and touring landmark locations of the city.


LAST UPDATED:
August 20, 2007


Advanced Search:




KEYCLUB SUPPORTERS



 
blank

Legal Notice: This information and content is provided to and from users "as is" and without any warranties.
Users must read and agree to the disclaimer prior to using such information and content.
All rights reserved. Passwords and Networking access may not be shared and any secured content may not be linked,
forwarded or reproduced in part or in whole. Failure to comply with these guidelines may result in the cancellation
of your password or direct access without notice. This web site is an independent source of
educational news and commentary and is not affiliated with any product or vendor.

Copyright Computer DJ Summit ©2007. All Rights Reserved. Use of this site is governed by our Terms of Use. and Privacy Statement. Reproduction in whole or in part in any form or medium without express written permission is prohibited. Other trademarks property of their respective owners. Computer DJ Summit.

blank