The History of House Music

Don’t Stop! The fundamental interview of MAN PARRISH! PART 1, By: Richard Graves aka DJ Black Adam of House 17, NFP

 

“My main Man Parrish, and Cool Raul…Cooler than the water in a Swimming Pool. The R. to the A. the U. and the L., Pushing more power than a Duracell! The M. to the A. the NN Y., The HIP HOP MASTER THAT YOU CAN’T Deny!” and surely, no one in their right mind could deny it. Man Parrish, Manuel Joseph "Man" Parrish (born May 6, 1958) is one of, if not the most prolific producer, writers, and composers of the electronic music era. Influencing the genres of Hip Hop, Electro, House, Freestyle to Dub Step, the music in his catalog are staples in the world of Electronic Dance Music. The following is from an interview I was honored to have with Man Parrish as he was on a train from Tampa to NYC in the winter of 2015, the following is from that interview.

Man Parrish worked often with other prolific producers from New York during the 1980s, John Robie. Arthur Baker and his music partner Raul Rodriguez. With Raul Rodriguez, he was part of the groups C.O.D. “In the Bottle” and RAMA “Don’t Want You to Be.”[1][2] I found out from Mr. Parrish that C.O.D. stood for “Cash on Delivery” (as in how they wanted to be paid for the project) and RAMA stood for RAul and MAn. Man and Raul also had a group called Two Sisters, of which the electro hits “B Boys, Beware” and “High Noon” were released under.[3][4] Man told me that the name Two Sisters was not about the two female vocalist on the songs.

“There was the queen at the office, who said that me and Raul hung around each other so much it was like we were two sisters. Raul liked that, and the name Two Sisters became the name of the group,. Then Raul wanted to have Theresa Pesco in the group, because he wanted to “get with” her, and she brought a friend in who sang and bang we got a group: Two Sisters, but the two sisters weren’t "two girls," the two sisters were me and Raul!”

Man Parrish was very humble as I expressed how influential and inspiring his music was to DJs and Break Dancers not just in New York, but all over the world. We began talking about one of his greatest hits “Hip Hop Be Bop.”[5]

He said: “You know, when that stuff came out it was local, urban, NYC and Philly, East coast…not so much West Coast. It bumped in Chicago, Detroit, Boston….now we look at it and it has sold 3.5 maybe 4 million copies, it appeared on “Grand Theft Auto” and “Shawn of the Dead.” In the 80’s the music kinda died out, and in the 90s, electro kids in England and Europe rediscovered it. They wanted to go back to their roots and find out who had made this stuff. Like Arthur Baker, Afrika Bambatta, John Robie and myself. We were making records for $500 or $1,000 dollars, just to pay the rent.”

I also learned that Man and Raul formed the group I.R.T. (Which stood for Interboro Rhythm Team) and produced the hit “Watch the Closing Doors.”[6] Another seminal hit from the Electro / B Boy Era. Man Parish talked about the term Hip Hop and the difference between Hip Hop and Rap Music.

He stated: “We worked with U.T.F.O on the Whistle song, which was Rap, (the term) “Hip Hop – Be Bop” was…Hip Hop, making your “hips hop” (dance) and “be bop” the sound of jazzy dance music, So Hip Hop Be Bop meant “dance to the jazz”, Rap records were MCs rapping over disco beats (Rapper Delight) and was to pump the party, Hip Hop was for the break dancers. Eventually Hip Hop and Rap merged into one.”

Man Parrish talked about the studio they recorded at, Vanguard Studios on 23^rd Street in New York, which was a Jazz studio that he, Arthur Baker, John Robie and others rented out evenings when it was not in use. Man used the example of how he and his friend Michael Rudestky (died August 6, 1986 in Boy George’s apartment) were working on Alisha’s “Baby Talk” and “Too Turned On” (both on Alisha’s 1985 self-titled album on Vanguard Records) in Man’s apartment.[7] They would rent the Fairlight Keyboard on a Friday night so they could get the one day rate and return it on Monday, as the place they rented the Fairlight from was closed on Saturday and Sunday. At Vanguard they would work from Friday to Monday morning banging out these songs. The studio time was 25 an hour, much cheaper than some of the main studios at $150 per hour at that time, so they would go in at 8pm and have a finished song by 4am. Regarding those sessions back then Man stated:

“I remember in (the early 80s) going in the studio…Afrika (Bambatta) would be laying on the couch, waiting to do his rhyme…they were running over session, which made us run over session….after us, Freeze was up after us recording I.O.U….we were pumping out a lot of music…a lot of stuff back in those days. Working on everything and anything we could get our hands on.”

Man was one of the few people in NYC in the early 80s to get his hands on professional synthesizers, which allowed him to be involved and called in on many projects. He worked with Gloria Gaynor, Klaus Nomi, Shannon, etc. Man worked with the Roland Juno II and Jupiter II, the Korg Poly 800, David Smith Instruments Prophet 1 and Prophet 5, an Oberheim Sound Module and an 8 step sequencer. The way Man composed his music was utterly incredible.

In our age of computer sequencing programs like Cakewalk, Reason and Logic or even using the various MPC machines, its hard to imagine a world without MIDI, this was a world that didn’t even have SMPTE. Man would have to manually record track after track and match the speeds on the tracks manually. Ten bars at a time, rolling the tape back, on a 24 track machine.

Man stated: “It would take 4, 5 maybe even 6 hours just hand syncing everything for a couple of bars, rolling back, 1, 2, 3 punch, and starting the drum machine on the down beat and run a couple more bars, do it again. That’s how we laid basslines and sequencing lines. No MIDI, all that stuff was done manually.”

Man also talked about the famous New York percussionist, Bashari Johnson (May 12, 1955), who would come in a play over the tracks.[8] About Bashari Man said:

“Bashari Johnson is a great percussionist, he worked with Michael Jackson. He was a local percussion guy, so we would give him $50 bucks, and he come in with his two big cases of stuff, put percussion on stuff and we’d have a record!” 

The Drum machine patterns that Johnson played over were created with the Roland TR 808 Drum Machine and the Linn Drum Machine. I asked man how they were able to get so much bass, as we heard in Two Sisters “B-Boys Be Dubbed” and in “Boogie Down Bronx” Man answered:

“I remember, we would have Herbie Powers do all our mastering, they would never allow anyone in the room when they mastered, but Herbie liked my music and would let us in the room. I would say: ‘Herbie, put more bass on it, put more bass on it! Make it fatter!’ and Herbie would say “I can’t because the grooves are gonna start touching and the needle would jump out the record!’ and I said: ‘We’ll make the record shorter!” so we would go back and edit the record. So it wouldn’t be 12 minutes long, it would be like 7 (looking at the twelve inch version of Boogie Down Bronx on Sugarscoop, you will notice the regular version is 5:10 and the Boogie Down (DUB) is 5:47.) The most space possible between the grooves to add more bottom, more low end on it.”

 

Man stated that Arthur Baker would run in the studio throw Man’s records down and complain to Herb Powers:

“Why come my records don’t sound like Man Parrish’s? Me an Arthur are friends now, but he hated me back then! (insert laughter)”

What Arthur Baker didn’t realize, was Man Parrish and Raul Rodriguez were recording this stuff in Man’s bedroom on the Tascam 8 track, bring it to the studio and bump it up on the 24 track. Man said:

“Boogie Down Bronx was done in my bedroom. Heck I worked with Village People in my bedroom, Crystal Waters in my bedroom., Man 2 Man, Boy George eating in my bedroom~. It was a trip with the Village People standing next to my bed singing into the mic!(insert more laughter!) So what I played went straigt into the 8 track from the synths, so it was very pure when we would bring the 8 track to the studio.”

I asked Man about the labels they worked with, as many DJs myself included, awaited records coming from Streetwise, Sugarscoop, Importe 12 and Disconet. Man told me that:

“Sugarscoop, Importe 12 and “Disconet, the first dj subscription service” were all one guy, Mike Wilkenson”

Shameless Plug, I am the first DJ from Chicago to tell Man Parrish that his song “Hip Hop Be Bop – Don’t Stop!” was a staple of Chicago DJs during the House Music era, and arguably is considered HOUSE music by many of us (not by genre but by being influential and a standard song played during the House Era of Chicago 1982-1989) to which Man laughed and said:

“Oh that’s funny, they think it’s a House record! (insert more laughter) With those beats? Really? Get the..What? Wow! Well that’s alright, I’ll take that!.”

Which exemplifies how Man Parrish is a guy who appreciates the fans of his music, and understands that his Electronic Music made in his bedroom, influenced all kinds of genres of Electronic Dance Music.  

To Be Continued….

 

[1] Herron, Gil Scott (writer), Raul A. Rodriguez, Man Parrish (producers) In the Bottle (New York, NY, Emergency Records, Brouhaha Publishing 1983) Discogs, accessed December 3, 2016, http://www.discogs.com/Jesse-Saunders-On-And-On/master/8442  

[2] Parrish, Man, Michael Stuart Rudetsky, Raul A. Rodriguez* (writer), Raul A. Rodriguez, Man Parrish (producers) Don’t Want You To Be (New York, NY, Sugarscoop Records, Nibbor Music 1984) Discogs, accessed December 3, 2016, https://www.discogs.com/COD-In-The-Bottle/release/69603

[3] Rodriguez, Raul A., W.T. Smith (writer), Raul A. Rodriguez, Man Parrish (producers) B Boys Beware (New York, NY, Sugarscoop Records 1983) Discogs, accessed December 3, 2016, https://www.discogs.com/Two-Sisters-B-Boys-Beware/master/94383

[4] Rodriguez, Raul A., Tessa Marquis (writer), Raul A. Rodriguez, Man Parrish (producers) High Noon (New York, NY, Sugarscoop Records 1983) Discogs, accessed December 3, 2016, https://www.discogs.com/Two-Sisters-High-Noon/master/54548

[5] Parrish, Man, John Robie, Raul A. Rodriguez* (writer), Raul A. Rodriguez, Man Parrish (producers) Hip Hop, Be Bop “Don’t Stop” (New York, NY, Sugarscoop Records, Importe/12 1982) Discogs, accessed December 3, 2016, https://www.discogs.com/Man-Parrish-Hip-Hop-Be-Bop-Dont-Stop/release/19816

[6] Rodriguez, Raul A. Man Parrish (producers) Watch the Closing Doors) (New York, NY, RCA Records 1982) Discogs, accessed December 3, 2016, https://www.discogs.com/IRT-Interboro-Rhythm-Team-Watch-The-Closing-Doors/release/201484

[7] United Press International, “American Musician Dies In Boy George`s Home” Chicago Tribune, August 7, 1986 (accessed December 5, 2016) http://articles.chicagotribune.com/1986-08-07/news/8602260755_1_kevin-o-dowd-george-o-dowd-drug-related-death

[8] “Bashari Johnson,” BASHIRI JOHNSON, Percussionist, Producer, and Educator in Brooklyn, New York, (accessed December 5, 2016,) https://about.me/bashirijohnson

What Really was the First HOUSE MUSIC SONG released in Chicago?

CHICAGO HOUSE the MOVEMENT: the Tracks, the Songs, the Sound and the Atmosphere!

Part 1: The First Chicago House Music SONG?

By: Richard Graves aka DJ Black Adam of House 17, NFP 

 

There has been much debate about the origins of Chicago House Music, from where or whom the coining of the name came from, to who made the first House record, to what are the true origins and influences of the music, etc. This series will examine these issues with proper historiographical methodology and journalist objectivity, something that has been sorely missing in this discussion. Most of the books, articles or documentaries about these questions are either produced or written by individuals who had no real connection to the Chicago House Music Movement or are too connected and invested in a narrative that overstates their own significance to the movement of CHICAGO HOUSE MUSIC. Part 1 of the series will address the question of: “What was the first Chicago House Music SONG?”

 

No, it was not “On and On” by Jesse Saunders, and it definitely was not “Dirty Talk” or the “M.B.O. Theme” by Klein and M.B.O or any other non - Chicago song that some would cite. Truth to tell, each of those songs, and others of the genres of Disco, Italo Disco (such as Klein M.B.O), Electro, Hi Energy, B-Boy Hip Hop, New Wave (New Order – “Confusion”) did influence what would become the genre of Chicago House Music. However, to grasp the truth about the issue it must be first stated that the genre of Chicago House Music is different from what should be called the “atmosphere of Chicago House” that one found in the night clubs and house parties of Chicago and the surrounding area during the early eighties to the mid-nineties. The atmosphere consisted of the music played on the air by The Hot Mix 5 on W.B.M.X. As well, the music played in the clubs across the city and suburbs by DJs like Ron Hardy of the Music Box, Julian Perez of Dilligaf’s and countless other DJs and promoters throughout the city and suburbs of Chicago. Songs from various genres could be played to make the crowd move. It could go from a disco Salsoul classic like “Double Cross” by First Choice, to an electronic jam like “Bostich” by Yello to an Electro B-Boy Hip Hop track like “Hip Hop Be Bop” by Man Parrish. The ability of the Chicago DJs to mix and more importantly blend these songs, not just play them, kept a crowd moving and created the ambiance of the atmosphere of Chicago House. The genre began to form when Chicago DJs and producers purposely decided to make their own music to be played in this environment. These DJs and Producers took all that influenced them and eventually created an actual new genre of music, HOUSE MUSIC. Many will say that Jesse Sanders created the format with his song “On and On” that simply is not accurate. 

 

You have books, documentaries and articles perpetrating this inaccuracy, for example British-Ghanaian writer and filmmaker Kodwo Eshun writes “Most people agree that the first house record was Jesse Saunders’ version of  ‘On and On’ in 1983.”[1] It shouldn't be surprising that many people outside Chicago perpetrate this idea because unfortunately the different DJ and producer camps in Chicago often are self-promoting and over emphasize their own importance in the movement of Chicago House and by mutual implication down play their colleagues, “rivals” and competitors from that era. The fact is, that Jesse Saunders, with his colleagues Wayne Williams (Dr. Derelict) and Vince Lawrence and contemporaries; Marshall Jefferson (Virgo), Duane Thamm, Jr. and Mike Macharello (Knight Action), Jaime Principle, Carl Bias (with Liz Torres), Juan Atkins (Model 500) and Farley Keith Williams (Farley “Funkin” Keith / Farley Jackmaster Funk) made some incredible home grown music in Chicago and Detroit. Respectively, songs and tracks like “On and On” (Jes Say Records - S9999 – US 1984),[2]  “Under Cover” (Jes Say Records -JS 9997 – US 1984),[3] “Go Wild Rhythm Trax” (Other Side Records - OTS 48 –US 1985),[4]  “Single Girl” (Let's Dance - LDR-071 – US 1984),[5] “Waiting on my Angel” (Persona Records - JP111 – US 1985),[6] “Mind Games” (Sound Pak - PL 5112-RRS, TR-520735 – US 1985),[7] “No U.F.O’s (Metroplex - M-001 – US 1985)[8] and “Funkin with the Drums” (House Records - FFK846-6273 – US 1985)[9] all were home grown Chicago and Detroit jams and great influences of  the House Movement of Chicago and the Detroit Techno Movement, yet none were the first House Song of the genre Chicago House Music. Yet all of these DJs and Producers and their works were direct influences on what would become the first Chicago House record. 

 

Up until early 1985 Chicago and Detroit producers had strived to become part of the dance music explosion of New wave, Punk, post Disco, Italo Disco, Electro, R&B Pop and Hip Hop. Similar to epic New York City producers Arthur Baker, John Robie, Man Parrish and John “Jelly Bean” Benitez. Jesse Saunders and his contemporaries utilized the Linndrum machine, the Roland 808 drum machine and Fairlight keyboards, etc. to make songs or tracks to be played at local Chicago parties to give them a leg up in the competitive world of Chicago DJs. Jesse Saunders made some of the best dance music of that era, but these DJs and producers were not trying to make a genre, they were making music to fit in established genres. In 1985 Rocky Jones, owner of the Audiotalent record pool would make history. 

 

That history was made when Rocky Jones felt it was time to create a music label that catered to the DJs that were in the record pool and the countless other DJs in Chicago playing in the clubs, halls and house parties all throughout the city and the suburbs. Up until that point, Chicago DJ’s looked towards labels that created music with their ears to the street; Sugarscoop, Cutting Records, Streetwise, Tommy Boy, Prelude as well as the many foreign labels producing Italo and Electro to give them underground hits to play in their mixes, all of them wanted to be the first to break a new song or play it a new way. As those labels either folded or became part of more mainstream labels going for the more commercial sound and abandoning the underground sound of dance music, Rocky Jones felt it was time for a label catering to DJs and that would be able to produce some of the new tracks and songs being made in Chicago. Many Chicago and Detroit DJs were inspired by people like Jesse Saunders and Farley Jackmaster Funk and decided to make their own music tracks, amongst them were young aspiring DJs and producers Chip E (Irwin Larry Eberhart II) and Steve “Silk” Hurley. 

 

In 1985, Chip E released an EP on Gotta Dance Records[10] titled “Jack Trax.”[11] Chip E went on from this point to become a legendary Chicago producer in his own right, with songs “Like This” (with K Joy), “Jack the House” (Femme Fion), “Godfather of House Music” and “If You Only Knew” (with vocals by Kevin Irving), all released on the first House label in Chicago, DJ International Records. While it is generally accepted that the term “House Music” had its origins in the Warehouse night club of Chicago, with the residence of the legendary Frankie Knuckles (and specifically the music played and heard there), it is without question that the phrase “House Music” and the related term “Jack” (a form of dance to House Music) got branded with the release of “It’s House” and respectively “Time to Jack” two of the tracks on Chip E’s EP “Jack Trax.” Though the phrase was coined, the genre had not materialized, this happened when Steve “Silk” Hurley brought a track he called “The Key” to Rocky Jones at DJ International Records. 

 

Steve “Silk” Hurley eventually of the group J.M. Silk (with Keith Nunnally), brought a four track instrumental called “The Key” to Rocky Jones. This track was heard at the Mendel High School gymnasium (a place where many “House Music Parties” were hosted) and became very popular and a staple in Steve Hurley’s mixes. Rocky Jones felt it would be better received by radio and DJs if the track became an actual “song” by adding lyrics. Rocky also brought in musician Peter Black who added orchestration to the basic four tracks of “The Key” using the Fairlight keyboard. Farley “Jackmaster” Funk, a friend of Hurley’s, who provided additional production and mixing on the song, suggested to Rocky a young aspiring vocalist named Keith Nunnally, whose soulful and powerful lyrics became a standard in Chicago House Music. Farley also contributed the classic intro of the new production by suggesting to Keith Nunnally to say” “Jack that body baby!” at the beginning of the song. Steve Hurley wrote the lyrics with the assistance of Nunnally, who added incredible adlibs to the final product. Rocky had brought all these elements together and took this from simply tracks by DJs made to further their reputations, to a full-fledged musical production and a track called “The Key” became a song, the FIRST House Music song called “Music Is the Key” by J.M. Silk on DJ International Records, distributed by Benji Espinoza’s Quantum Distributers.[12],[13]  The song went on to be a monster hit, and unlike many of the previous homegrown productions in Chicago, due to the marketing efforts of DJ International and the distribution efforts of Espinoza’s Quantum Distributers, the song not only was played in the mixes of the Hot Mix 5 but also played on WBMX and WGCI in regular rotation. As well as WJLB in Detroit and KISS FM and WBLS in New York. This song, and the collaborative work of all the parties involved made House Music a genre onto itself, and began the world wide spread of the music, from the basements of Chicago DJ’s to the clubs in England, Italy and Germany.

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[1] Peter Shapiro and Iara Lee. Modulations: A History of Electronic Music : Throbbing Words on Sound. (New York: Caipirinha Productions, 2000.) 75

[2] “Jesse Sanders ‎– On and On” Discogs,, accessed April 18, 2015, http://www.discogs.com/Jesse-Saunders-On-And-On/master/8442  

[3] “Dr. Derelict – Undercover” Discogs, accessed April 18, 2015, http://www.discogs.com/Dr-Derelict-Under-Cover/master/8508

[4] “Virgo – Go Wild Rhythm Trax” Discogs, accessed April 18, 2015, http://www.discogs.com/Virgo-Go-Wild-Rythm-Trax/master/5193

[5] “Knight Action – Single Girl” Discogs, accessed April 18, 2015, http://www.discogs.com/Knight-Action-Single-Girl/release/886819

[6] “Jaimie Principle – Waiting on My Angel” Discogs, accessed April 18, 2015, http://www.discogs.com/Jamie-Principle-Waiting-On-My-Angel/master/8369

[7] “Quest – Mind Games” Discogs, accessed April 22, 2015, http://www.discogs.com/Quest-Mind-Games/master/40548

[8] “Model 500 – NO U.F.O’s” Discogs, accessed April 22, 2015, http://www.discogs.com/Model-500-No-UFOs/release/1300331

[9] “Farley Funkin Keith – Funkin With the Drums” Discogs, accessed April 18, 2015, http://www.discogs.com/Farley-Funkin-Keith-Funkin-With-The-Drums/master/7206

[10] The Jack Trax were limited release on Gotta Dance and were released on DJ International (D.J. International Records, DJ 895,  US 1986)

[11] “Chip E – Jack Trax – Gotta Dance Records, 504072X, US-1985” Discogs, accessed April 22, 2015, http://www.discogs.com/Chip-E-Jack-Trax/release/211421

[12] “J.M. Silk, Music Is the Key, DJ International Records, D.J. 888 US - 1985” Discogs, accessed April 22, 2015, http://www.discogs.com/JM-Silk-Music-Is-The-Key/master/7808

[13] Information about the production of Music is the Key from interviews in the upcoming documentary: “In the Mix: The History of Chicago House Music, 1985-1989)

WE CALL IT ACID....By: Richard Graves aka DJ Black Adam of House 17, NFP

By: Richard Graves aka DJ Black Adam of House 17, NFP  

Acid House, what is it really? It has been reported by some in media that “Acid House” was a form of partying and dancing that was based on the use of “Acid” drugs while listening to “Acid” music. Luke Bainbridge wrote in an article for the Guardian.com that: “In the mid-80s, the UK embraced acid house, together with the new drug, ecstasy, with gusto. A new scene grew up around it that changed the social and cultural habits of a generation.”[1] While there is no denying that in the UK this “Acid” movement was a precursor to the “rave” scene; the music, Acid House is quite a different matter. 

“Acid House” is a sub-genre of Chicago House Music developed in the mid 1980’s utilizing the modulated baseline sounds of the Roland TB 303. The name “Acid” simply referred to the sound of the 303, however as the music travelled to Europe the term was synonymously used with the drug culture developing there. There were two song’s released in Chicago that utilized the 303 in this “Acid” format, one was Sleazy D’s “I’ve Lost Control” (1986, Trax Records, Sleazy D and Virgo)[2] and the Instrumental on the EP “We’re Rocking Down the House” by Adonis (1986, Trax Records, Adonis).[3] However; the song that properly started the subgenre was by a group named “Phuture” promptly titled “The Acid Trax” (1987, Trax Records, Phuture, TX142.)[4] This EP by Phuture is what established the name of the sub genre and set the standard from which other Chicago DJ’s and producers would use going forward in making “Acid House” compositions. The group Phuture consisted of Nathan "DJ Pierre" Jones, Earl "Spanky" Smith Jr., and Herbert "Herb J" Jackson, and later worked together and individually creating many other hits. 

DJ Pierre had other notable “Acid” releases that moved from the minimalistic sound of a mere track and were complete songs. Under the name Pierre's Pfantasy Club Featuring J.R. DJ Pierre released the song “Fantasy Girl” (1987, SRO Records, Pierre's Pfantasy Club Featuring J.R., 750487)[5] having complete vocals and additional instrumentation was a notable hit. Yet there were still incredible instrumental compositions being done in this genre. 

Local legendary Chicago DJ Armando scored a hit that would become a staple in Chicago hot mixes, titled: “Land of Confusion” (1987, Westbrook Records, Armando, AG-WB 4).[6] From this point many Chicago songs incorporated the Acid sound and many more incorporated the atmosphere that these compositions created. The sound was hypnotic yet underground and throbbing, a mixture or primal and electronic, the modulating sound of the 303 creating an atmosphere that moved the crowd alone, without drugs. Songs by Lil Louis, Mr. Fingers (Larry Heard), Mayday (Derrick May) and others would capture this essence sometimes using the 303 or other instruments that created a similar ambiance. The capstone of this sound during the Chicago House Music era (1985 -1989) were two releases, “Acid Over” by Tyree Cooper (1987, Underground Records, Tyree Cooper, Peter Black, UN 116 )[7] shortly followed by “Acid Thunder” by Fast Eddie (1988, DJ International, Fast Eddie, Joe Smooth, Peter Black, DJ 961).^[8] 

After the decline of Chicago House Music, the music carried over to New York and overseas, particularly in the UK in London and Manchester. One of the most notable releases utilizing the Chicago format for the genre was “Dream 17” by Annette (1988, Deconstruction, A Guy Called Gerald and Mike Pickering, PT 42562),[9], though the Chicago era was declining the sub genre of Acid House was emulated by groups such as 808 State, with and without the use of the 303.

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[1] Luke Bainbridge, “Acid house and the dawn of a rave new world” The Guardian.com, February 22, 2014, accessed March 27, 2015, http://www.theguardian.com/music/2014/feb/23/acid-house-dawn-rave-new-world

[2] “Sleezy D. ‎– I've Lost Control” Discogs,, accessed March 27, 2015, http://www.discogs.com/Sleezy-D-Ive-Lost-Control/release/2237

[3] “Adonis – W.R.D.T. House” Discogs, accessed March 27, 2015, http://www.discogs.com/Adonis-Were-Rocking-Down-The-House/master/6758

[4] “Phuture. ‎– Acid Trax” Discogs,, accessed March 27, 2015, http://www.discogs.com/Phuture-Acid-Tracks/master/5108

[5] “Pierre’s Pfantasy Club feat. JR – Fantasy Girls” Discogs,, accessed March 27, 2015, http://www.discogs.com/Pierres-Pfantasy-Club-Featuring-JR-Fantasy-Girl/master/40530

[6] “Armando – Land of Confusion” Discogs,, accessed March 27, 2015, http://www.discogs.com/Armando-Land-Of-Confusion/master/83617

[7] “Acid Over – Tyree Cooper” Discogs, accessed March 27, 2015, http://www.discogs.com/Tyree-Acid-Over/master/21719

[8] “Acid Thunder – Fast Eddie” Discogs, accessed March 27, 2015, http://www.discogs.com/Fast-Eddie-Acid-Thunder/master/91855

[9] “Dream 17 – Annette” Discogs, accessed March 27, 2015, http://www.discogs.com/Annette-Dream-17/master/176219