Legendary Chicago House Music Producer example essay topic

So many people have asked me this from all over the world that I thought that its time to write something about it, and help people understand what it's all about. I thought I would try and put something positive together to help you certain people out there. But this is my outlook on what House is, and how it came about. It is not definitive angle on how House music got started. It is through years of reading books, talking to dj's and producers, and going to club nights that has allowed me to throw down my opinions as to what House music is.

Disco and House music! House music was first and foremost, the direct descendant of 'Disco'. Many older and wiser Chicago, New York and New Jersey House dj's will agree with me on this. They will acknowledged that fact that it was due to New York's, huge Disco club and music scene that helped to create the music of House and Garage and its culture within Chicago, Usa. Frankie Knuckles, the acknowledged 'godfather' of Chicago house, got his start as a Dj via Manhattan, New York, Usa. Whilst there he was spinning Disco, Philly Soul records during the early 1970's with another legendary deejay figure, the late, great Larry Levan, New York.

Disco, the music that everyone loves to 'joke' about or 'snigger' about had already been going on for 10 years when the first electronic drum tracks began to appear out of Chicago, Usa. A great Description of Disco can be explain to us like this. 'The first days of Disco were filled with hope, and joy. The last days of Disco might seem very similar the fall of the Roman Empire'.

Disco music presided over a era of social change, such as War in Vietnam, the Oil Criss in the early 1970's, Economic recession, and also Improved social conditions with regards to the Black and Gay population within the Usa. Also Disco was the one music's that was to carry forward the ideas of the late 1960's 'Hippy Philosophy' of 'Making love not war'. But with Disco music and culture it went onto carried on the Hippy philosophy of making love and not war - in more fun and acceptable way for one and all. If I do say so myself on a more grander and a more sophisticated level. On a musical tip, Disco, music as we used to view it. It also changed how we viewed club culture today around the world.

Disco music and culture helped change how radio programing was to be done in the future, and lastly it had a important effect on how the balance of power in the music industry had between the small independent labels and the major labels records. By the end of its regin ( Disco music) was also responsible for the commercial creation of the 12 inch single to be made available for the general public and Dj's alike. The 'remix " that has become standard practice within dance music, and a new set of studio techniques were available for imaginative dance music producers that heralded from the Disco Craze. As for the Dj, this was his time. This was when the Dj as we know him today came of age; and we have Disco music to thank for this.

By the end of the 1970's, some 200,000 people frequented Disco night clubs or events in New York City alone every weekend. Disco accounted for anywhere up to 40% of the singles chart (Usa), and was estimated at bring in over $4 Billion dollars in the late 1970's. This form of entertainment was making more money then big movies of the time, also including professional sport within the Usa!! - Source taken from the Book called 'Last Night a Dj saved my life' - Headline Press - London However, 'Disco' eventually got captured by commercial exploitation, which led to the strong and huge rally against the Disco music culture called 'Disco Sucks' campaign in the late 1970's. In one bizarre and extreme incident, people /'s attending a baseball game in Chicago's Komi shi Park - Chicago White Sox Baseball team, were to witness something that they would remember for the rest of their lives! Dj Steve Dahl who had hated Disco music and culture that had spread right across the Usa had been whipping up a Anti Disco feeling via his All-Rock radio show called 'WLUP' for a few years.

He encouraged as many of the fans of the Chicago White Sox Baseball team to bring along all their unwanted Disco records, which after the game all were all tossed onto a massive bonfire and got rid off that way- (Date being 12th July, 1979). Disco music and its culture 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 of dance music already knew that its time was up, and were already beginning to develop a new style that was deeper, rawer and more designed to make people dance even more so then Disco. Disco music had already produced the first records to be aimed specifically at DJs with extended '12 inch' versions that included long percussion breaks for mixing purposes and the early eighties proved a vital turning point; and for that alone we must be grateful! Tracks such as Sinnamon's 'Thanks To You', D-Train's 'You " re The One For Me' and The Peech Boys 'Don't Make Me Wait', are records that have been continually sampled over the last decade and these records have allowed for Dj's or Djs / producers to take a different direction on looking how music can be made.

These tracks mentioned above with their sparse, synthesized sounds that introduced dub effects and drop-outs that had never been heard before by them. The First House Records?? Disco music with added electronica is one way of describing House music, although the phrase 'House music' wasn't used in its early days of its existence. In fact, the nightspot known as the 'Warehouse' within Chicago, Usa had existed since 1977, and it was only when at the time that New York born DJ Frankie Knuckles moved to a discotheque in Chicago, that the peoples began to talk about House music, as in, the music that was played over at the Warehouse. In the mid 1980's, cheap electronic equipment appeared, Trax records was founded in Chicago, and a new rawer, sleazier sound was being championed by Dj Ron Hardy at the Music Box nightspot, Chicago was all the rage.

House music crossed the distance to New York with the track called 'Mysteries of Love' by Mr. Fingers (Larry Heard, Chicago). The 110 bpm original instrumental be cane an anthem at the Paradise Garage Nightclub after Larry Levan gets hold of it on acetate. In the late 1980's, New York rose again with Todd Terry introducing sampling to house music. House in Chicago The birth place of House music was the Warehouse, in Chicago, Usa. As the 1970's became the 1980's, if you were young, black or gay, your church might as well have been this nightspot. This was a place where you could forget your troubles and escape to a better plane for a few hours of your life each weekend.

From 1977 to 1981, on a Saturday, right through to a Sunday afternoon people paid their $4 dollars to enter a building that was supposed to hold only 600. But, it regularly held well over 2,000 people. All who came here had one thing in mind to do. And that was to dance!

Which was made easy by the Djing skills that Frankie Knuckles, who had perfected his dj mixing skills in those Disco night clubs back home within New York City. Playing a soulful, funky and groovy style of Disco to his new Chicago audiences. For a long time the word 'House', referred not only to a particular style of music as to more of an 'attitude'. If a song was 'House', it really meant that it was from a 'cool club' that you heard this particular music from.

It usually meant an underground club, or something that you would never hear this type of 'music' on a commercial radio station. In Chicago, at that period of time, going to the right dance club could mean it was 'House'. If you went there with your friends you were 'House'. Walking down the streets within Chicago, you could tell who was 'House', or who wasn't by the clothes that they wore!! - Source taken from the Book called 'Last Night a Dj saved my life' - Headline Press - London The word 'House' was being used years before any musical references could be applied to the music that we know it for today. Chip E, an early House music producer gives us an indication of how the name got stuck to the music through an interview he gave.

He explained how the name came about. He used to work at the Imports ETC records store within Chicago. ' People would come in and ask for all the old sounds, the Salsoul that Frankie Knuckles used to play at the Warehouse. So we'd put up signs that said 'Warehouse music' to get peoples attention to re-issues and collectors items' It worked so well that we started putting it up on all sorts of records, and shortened the label to 'House'. And 'House' became the name of the music that was happening, that was hot, whether it was old or new'... - Source taken from the Book called 'Last Night a Dj saved my life' - Headline Press - London Frankie Knuckles, first experience with the name came when he was driving through the city and noticed a sign in the window of a bar stating:' We play House music.

' Bemused, he asked his travelling compatriot what this meant? She looked at him and said, 'It means like the music that you play at the Warehouse'... ! But by late 1982, the 'Warehouse' popularity began to dwindle. The owners of the 'Warehouse' had got tten greedy, and had doubled the entrance rate to the club. Also more the club had become less friendly, as the club became more commercialized.

Frankie Knuckles, eventually left the Warehouse and opened up the Powerplant, still in Chicago. His crowd followed him accordingly, leaving the future of the Warehouse in doubt. But the owners had a trick up their sleeves. First of all they renamed the club to be known as the 'Musicbox', and then they hired the another black talented Dj in the name of Ron Hardy.

Many people who can remember Ron Hardy, will testify that he was something else. Possibly in their eyes the world greatest ever Dj? Soon the club scene was set in Chicago, Usa of whom you wanted to party with during a weekend. With Frankie Knuckles, you got the more sophisticated, more smartly turned out party goer that was to be found at the 'Powerplant'. Whereas at the 'Music Box', with Dj Ron Hardy, the younger kids went there for the craziness of his dj sets. Remember, Frankie had been one of Chicago's top dance dj for 5 years, and was ruling the roost.

If Frankie was the Godfather of House music then it has to be said that Ron Hardy, was there to share the 'raising of this music child'! Another legendary Chicago House music producer called Chez Da miler adds, 'Frankie was ruling the roost. They were calling it House music now, and that was because of Frankie. And for Ron Hardy to come in there and steal Frankie's thunder, it was really something' - Source taken from the Book called 'Last Night a Dj saved my life' - Headline Press - London The 2 clubs became so successful that it was agreed upon that it would be in the best interests of all concerned that the they opened on different nights. With the Powerplant opening up during Wednesdays and Fridays. And the Music box opening up on Tuesdays, Thursdays and Saturdays!

The difference in dj styles between Frankie and Ron could be seen as this. Frankie des sets were more controlled, and his tempo's were much lower. He also paid much attention to the quality of sound within his sets. Ron Hardy, on the other hand played as if his life depended on it. His sets were based on pure energy.

No less, no more. He planned nothing. Speeding up everything as fast as possible, pitching records to plus 6 to plus 8. Equine like his life depended upon it. Slamming up the bass and treble without no hesitation.

With these 2 Djs genius at the helm. Chicago nightlife was unique in this moment in time. With no Studio 54 celebrity scene coming in to spoil the 'celebrations', as it had did so with the New York Disco scene. It allowed the music of House to stay underground and to reach more popple then it was ever thought possible during its inception. Hot mix 5 Dj's and Dj Radio show. Those that were too young to go to the 'Music Box or the Power Plant', could at least try and reach the music via radio.

The station in question was WBMX, based in Chicago, Usa From 1981 to 1986, a quintet of Djs from Chicago gave us another way of looking on how dance music could be presented to its listeners. Known as the Hot mix 5, they consisted of: Kenny 'Jammin' Jason, Ralph i Rosario, Steve 'Silk' Hurley, Mickey 'Mixin' Oliver and Early 'Jackmaster' Funk These des played anything which could include music's such as New Romantics styled music from England. See if these names rings any bells with you - ( Groups such as) The Human League, Depeche Mode, Yazoo and Gary Numan and European Pop / Dance music from artists such as Yello, Kraftwerk! In fact, during 1983, one third of all of the tracks that made up the Usa Pop Charts were from the Uk! Such was the dominance of the Uk S yth sound (New Romantics Sound), that the black ier Usa Disco sounds that Knuckles and Hardy were championing were having a had time of it on the dance floors within Chicago. But what the Hot 5 were renowned for was their mixing!

No one had heard this style of mixing or presenting over the radio airwaves within Chicago. ' All of the Hot Mix 5 Djs were amazing, technique wise. They would have 2 records of everything, everything was phased, then they would do backs pining and things on every song Perfect mixing, no mistakes, slamming shit, man' - Source taken from the Book called 'Last Night a Dj saved my life' - Headline Press - London The WBMX station within Chicago claimed that the show had up to 500,000 people listening to the show during its heights. Thats a sixth of the city's population. Students would deliberately miss school to tape the mixes. The city's then leading record specialist 'Imports Record Etc', would have a noticeboard explaining in full the mixes that were played on the show, to save their staff from answer sing the hundreds of questions that normally came about from people had listened to the show the day before!

Despite confusion of the original team, the names of replacements and the vendettas that surrounded the industry as a whole, these five remained strong - strong enough to leave a severe dent in the city of Chicago. They may not have parted 'best friends' - or have even passed as business associates - but they made Chicago, house music, and the world that surrounds that lifestyle what it is, as we know it today As Disco music began to wane in New York during the late 1970's to early 1980's, there now was a drought of new records available for Frankie Knuckles especially to play within Chicago. In New York, this problem was solved by the invention of HipHop and Electro music for many of the Djs there! But in Chicago, Disco music was still loved. Frankie Knuckles began looking at ways where he prolong the Disco vibe within the various nights where he played out to within Chicago.

By doing this it made him look backwards and analyse his older music within his music collection. As the 1980's, approached, Frankie experimented and began to play sounds that were more 'dubbed up' in style rather then the straight forward Soulful styles of Disco that he was re known for. He started introducing sounds from group such as The Peech Boys and D-Train, within his sets. He also started buying and including obscure imports, especially from the country of Italy - where the music of Disco was refusing to die! Frankie also started on making re-edits of songs that were firm favourites with the crowds that were with him originally at the Warehouse. He was using techniques that he had seen New York Djs using years before to keep the party going at their venues.

He started employing these ame new ideas and experiments in his sets in the Warehouse night club during the early 1980's. Even Frankie states, 'A lot of the stuff I was doing early on I didn't even bother playing in the Club, because I was busy trying to get my feet wet and just learn the craft. But by 1981, when they declared that Disco music was dead, all the record labels were getting rid of their dance departments, or their Disco departments, so there was no more uptempo dance records, everything was down tempo. Thats when I realised I had to start changing certain things in order to keep feeding my dance floor. Or else we would have had to end up closing the club' - Source taken from the Book called 'Last Night a Dj saved my life' - Headline Press - London Using a Reel to Real tape recorder, and assisted by his friend Eras mo Riviera, who was studying Sound Engineering at the time.

Frankie would take weird tunes like 'Walk the Night' by the Skat Brothers, or Jazzy Disco tunes like ' A little bit of Jazz' by the Nick Strake r, and re-edit them, extending the intro's and breaks, adding new Beats and sounds to them, to make them work better for the dancer at the Warehouse. Frankie adds, 'Even stuff like I'm every Women and Ain't Nobody by Chaka Khan, just things like that. completely re-edit them, to give my dance floor an extra boost. I'd rearrange them, extend them and rearrange them' - Source taken from the Book called 'Last Night a Dj saved my life' - Headline Press - London His Warehouse audience loved this. This technique was new, and hadn't been tried before in Chicago, as it already had been in New York - of which this technique was at least 5 years old in New York city. But it was now working here now in Chicago! Soon he was running tape projects they would contain complex mixes, as he ran new rhythms, bas lines and drum tracks underneath familiar favourite tracks.

It is these experiments that helped to create the music that we call House today Djs were to go away and experiment themselves on the styles that heard at the Warehouse via hearing Dj Frankie Knuckles and at the Music Box via hearing Dj Ron Hardy and of course hearing the Dj's at the radio station called 'WBMX'- or known to everyone within Chicago as the The Hot mix 5, on much cheaper and more powerful electronic Music computers, sequencers and Drum machines! House music was Disco music, made by Amateurs. House music was Disco. Its rhythms, its basslines, even its spirit - was recreated on machines that gave a near feeling to musical instruments - but never really got there! The kids that would eventually take up the 'chalice' left behind by those Dj experiments as mentioned above were at clubbers first of all rather then musicians themselves. The Dj's (mentioned above! ), who had aimed to preserve a music which had been declared dead (Disco), had created another from its ashes.

The Dj's aim was to drive the dancers into states of pure hypnotic fury, using endless rhythm tracks that work the dance floor via the use of a great vocal within the song - Source taken from the Book called 'Last Night a Dj saved my life' This style of music (House music) demanded an endless supply of simple, repetitive drum rhythms. The peoples of Chicago soon began to notice how these sounds that Dj's of the calibre of Frankie Knuckles, Dj Ron Hardy and the Hot mix 5 Dj's were coming up with and starting to experiment themselves!! It seems as if everyone at this period of time wanted to become a producer, to push under the noses of these Dj's. 2 x Local Chicago Dj / producers were to go that one step further then the others in getting their stuff produced and made onto Vinyl however. 1. Bryon Walters - Better known to the World as 'Jamie Principle' 2.

Jesse Saunders. These were the first 2 Home grown Chicago House producers. However, it was Jesse Saunders that first got the claim, of having the first commercial House track to be put to vinyl. It was with the track called On and One which was released on his own label called 'Jez say yes' during on January, 1984. This track takes all the accolades as being the first House track on vinyl.

Farley Jack Master Funk, states, 'Jesse was first. He put out records before anyone else conceived of doing it, got the girls, and all the fame. Jesse wanted to be the next Motown'. - Source taken from the Book called 'Last Night a Dj saved my life' - Headline Press - London However, Marshall Jefferson, explains that even though Jesse was the first (Jesse Saunders! !) to release a House track on vinyl there was still some short comings.

Jamie Principle House music tracks were heard in all of the clubs in Chicago at least a year before, before ever getting to be released on vinyl. But his work was too good to spark an interest for him to release his records to vinyl. Many people within Chicago thought that his releases were not from him. But made in Europe instead!! But it took Jesse Saunders track - 'On and On' that was put on vinyl as the first House music track to really open the possibilities of House music making money for producers!! Marshall Jefferson, another legendary House Music Producer explains...

' That's what inspired everybody. It gave us hope, man. When Jamie was doing it, nobody thought of making a record. His shit was too good. It was like seeing John Holmes ( The One of the worlds famous pornographic film star) in a pornographic movie. You know you can't do better'.

' But if you saw a guy in a pornographic movie with a 3 inch 'peter' (Penis), and all the women are swooning (rushing him) all over him and he's a millionaire, you would seriously consider having a go yourself, wouldn't you?' 'That's what inspired everybody about Jesse. They saw some one make it big. But not that great. When Jesse did his stuff, everybody said 'Fuck! I could do better than that!' - Source taken from the Book called 'Last Night a Dj saved my life' - Headline Press - London Almost overnight there was a frenzy within the City of would be producers trying to make House records. Dj's such as Frankie Knuckles and Ron Hardy, and others in city who only a few months beforehand were racking their brains on how they were going to make the latest Reel to Reel tape mixes that would last all night long for their respective Dance floors.

Were now being hand ied tapes from would be producers (i.e. young clubbers to play their mixes) in their club nights! !' Our sound was so different because we can just make a bassline and a Rhythm track and we can sell 10,000 copies of that in the city. All you need was a feel for the music. There are people that who have been to college to study music and they can't make a simple rhythm track. let alone a hit record. Its weird.

And it seems like a waste of time to learn that, because now a little kid can pick up a computer, get lucky with it, and write a hit' - - Source taken from the Book called 'Last Night a Dj saved my life' - Headline Press - London Trax Records and Dj International Records. Out of all the labels to come of Chicago. 2 will surely stick in your mind. Trax and Dj International records.

I'm right aren't I?' Music is the Key, 'It's Allright', 'Move Your Body', 'Choice Of a New Generation', Time to Jack', 'Yo Yo Get Funky' 'Jack Your Body' 'Runaway Girl', 'Promised Land' Baby Wants To Ride'? 'Washing Machine'? 'Can U Feel It?' 'House Nation', 'Acid Trax', Your Love'? 'U Used To Hold Me'. All of them Trax and Dj International Record hit releases. What's more they have introduced to us some the worlds greatest, house music's innovators such as: Larry Heard, Marshall Jefferson, Frankie Knuckles, Steve 'Silk' Hurley Other Chicago's house artists over the years comes to mind here as well such as Liddell Townsend, Robert Owens, Farley Jackmaster Funk, Mr Lee, Adonis, Fast Eddie and Ralph ie Rosario.

And they did it all by releasing records that sounded like they'd been pressed on sandpaper! House music from some of the titles that I have mentioned above took on the same cultural role as Hip Hop music and culture did within New York. You could say that within 1983 onwards, Chicago and its music of House was just as important for its young people and followers of the music, as it was for New York and its music which was HipHop and Rap. Both music's constituency were both poor and black.

Both music energy levels came from local Djs competing against each other. Each music's development arose out of each producer always thinking that he or she could do better at what the next guy or gay had just produced. Just as Rap and Hip Hop music went about its ways of making new singles through old discarded Funk, Disco and Soul Records via stealing basslines and drum patterns. So it was the same with House music.

House music stole in the same way that Hiphop music did for the creation new tune / 's. House music in New York City. Right from the start there was a difference in approach between the cities of New York and Chicago, when it came to House music. ' 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. Chicago ( The Windy City) was seduced to a far greater extent by the European sound and records that started to come through via their Pop Charts within America during the early 1980's. Whereas the with the Paradise Garage nightclub within New York city, House (more so Garage music) music evolved much more smoothly from First Choice and the labels like Salsoul, West End and Prelude records.

Todd Terry and House Music - New York, Usa: Todd Terry, from Brooklyn, New York City, Usa introduced to us 'sampling' within House music during the late - 1980's. Someone was bound to do it. It was just that Todd Terry got there first. A Hiphop Dj at heart first and foremost. Todd Terry applied the same logic that he learned through the sampling techniques that he had gained through Hip Hop music culture, and applied it to House music.

He changed how people /'s looked at House music more than once. He bought a stronger, and more percussive style to House music. So much so that in 1988, he bought out '6 massive dance floor House anthems' which rocked house music to its very foundations. Royal House - 'Can you feel it', Todd Terry Project's -' Weekend' and 'Bango's wan Lake's - 'In the name of love', Black Riot's - 'A day in the Life' and 'Warlock'. Soon Todd Terry became so well known on the the English Underground House & Garage scene; also with the English Dance music media that he soon gained him the nickname of 'Todd 'The God' Terry'. And with that came the nice pay checks that followed...

Well that's it for now. However, the story doesn't finish here. Far from it. There's lot more tell I can tell you. Remember House music, has moved from the story that has told above in these pages. But I just wanted to give you a start in understanding a little bit about the history of House music! !