DJ 2rip

Having learned about the beginnings of the rave scene around the United States the story always seems the same. House music was getting some play throughout the eighties but not quite catching on to the level where it could be played exclusively. Around the turn of the decade at the beginning of the nineties raves began to flourish around the United States and clubs that were playing a mixture of music began to hire dj’s that played strictly house music and techno. This story can be revisited in almost every major area city in the country; however it is important to recognize that each of these cities still tells their own story. It’s also a very difficult notion to capture & combine into a short, concise and effective write-up.The earliest underground parties in Nevada were hosted in the Black Rock Desert about 100 miles from Reno. The first of these parties was hosted in 1990. The surviving members of the Suicide Club of San Francisco started a newsletter which publicized these first underground Black Rock Desert events as “Zone Trip #4.” The organizers of Zone Trip#4 were Kevin Evans & John Law. Other events were also hosted in the Black Rock Desert at this time featuring house music dj’s. In 1991 a team made up of John Evans, John Law, Michael Mikel, Larry Harvey and Jerry James got a legal permit from the Bureau of Land Management to host an annual gathering in the desert, planting the seeds of Black Rock City LLC – the group that created the Burning Man Festival.Another early party in Nevada was hosted in Reno and was titled “Stretcheads” which was hosted in 1990, around the same time as the Black Rock Renegades. Stretcheads was a chance for dj’s to come together and play music while party people dressed up, danced and had fun. The notion of a “rave” had not yet been publicized much throughout the United States at the time. The venue was hosted at the Grange Hall located at the base of Mt. Rose Highway between Reno & Carson City. One of the first major parties that was thrown inside Reno was in 1991. This rave was titled “Rise Again” and was held at the Livestock Events Center on N. Wells Ave. A small collective of house music dj’s at this time in Reno consisted of Christophe, Olivier Desmet, and Richy Rich to name a few. Things began to pick up for Reno by 1992 as the nearby San Francisco scene continued to flourish. In Reno, DJ Christophe started Brilliant Productions and hosted monthly events outside of Spark, NV in the warehouses near Stanford Way. Monday night parties popped up around this same time frame which were held at the Visions gay bar which was located on Kietzke Lane. DJ Sulli hosted his first party on Sunday April 25, 1992 which was titled “Micro-cosm.” The party was hosted near Tahoe City and featured Christophe. Sulli was also on this lineup and spinning his first set in front of people. Other parties during this era ranged from being hosted in farmland on the outskirts of Reno which is now known as the Double Diamond to the Town Center Mall. Between 1993 & 1995 a venue called “The Fallout Shelter” which often hosted punk shows became a popular spot in Reno. This venue was located in the basement of a gay bar called Alley Cats. The dj’s primarily spun house music at this time and The Fallout Shelter was pulling at least 400 party people on a weekly basis. When compared to other areas during this time period, 400 people was a nice size but still considered small. Cofa Margarita on Virginia Ave was a popular venue as well as Icehouse at 310 Spokane St.Some would argue that the first peak in the Reno scene came around 1996 & 1997. A party called Ultra which was hosted in February of 1997 at a skate warehouse was busted for violating firecode & capacity laws. The party was off to an amazing start but was shut down by 1:30am by the police and fire marshall. From 1997 to 2000 house dj’s began moving into nightclubs while underground rave dj’s were playing breaks, trance, drum & bass, and happy hardcore. The dj scene had begun to unfold from a few smaller collectives to large numbers of dj’s that were hard to keep track of. In 2000 the Eskador crew of dj’s came together. They eventually changed their name to Annpro which consisted of DJ Poindexter and David Aaron to name a couple. They hosted one of the biggest parties that Reno had ever seen. The event was called Mission To Mars and drew 1600 people to the main showroom of the Ramada. That same year the Burning Man festival saw it’s first wave of law enforcement activity where more than 50 people were arrest for minor drug charges and the Bureau of Land Management issued citations. That number rose in 2001 when over 100 BLM citations were given out as well as several arrests. By 2002, Burning Man received it’s first FAA approved airport and the festival was progressively gaining more news coverage. This is a testament to how much the festival had grown from it’s roots at the start of the nineties. In the Reno rave scene, newer dj’s and party promoters began to establish themselves. Music styles began to change and a large majority of event information was being communicated through a discussion forum called www.renoraves.com. This mix was recorded live in December 2001. It was initially distributed as "Love Of Life Mix 1." The entire set is 2 hours long.Benedictus - NightmareJS-16 - Stompin' To My BeatJaydee - Plastic Dreams 2000Sil - Windows 98Commander Tom - Eye Bee EmSM Trax - Ignition!DJ Quicksilver - TimeriderBaby Doc? - HigherTony De Vit - I Don't Care

Gil The DJ aka Goal Gil grew up in California through the sixties and was attracted to the San Francisco concert scene ‘s sound & light shows. By 1969 he grew fed up with the number of junkies who had crowded into San Francisco so he moved to India, where he encountered the sadhus – Hinduism’s wandering holy men. Gil followed them around to live in caves and he even wore the same robes. He continued to make his way to Goa every winter where he banged on acoustic guitars at drum circles. Eventually a man named Alan Zion smuggled a Fender PA to Goa and live guitar and pre-recorded band music became the soundtrack.The crucial transition from guitars to electronic dance music came in 1983 when two French DJs named Fred & Laurent got sick of rock & reggae music. This was around the same time that “techno” had been proclaimed as well as “house music.” These two French dj’s used two cassette decks to cut and paste nightlong journeys of industrial music, electronic rock, Euro-disco and house. The mixes were designed to amplify the experience for psychedelic partygoers. Soon these dj’s were able to acquire underground music from the west. Sven Vath, a German trance producer/dj, showed up in Goa as one of the first booked nationally known dj’s. Unfortunately the partygoers were not transitioning entirely well to full-on techno. They were very attached to Bob Marley and Santana and The Rolling Stones. The dj’s who were playing primarily techno were often assaulted by people demanding rock music. Goa DJ’s were soon able to plug the functional needs of heavy psychedelic trance dancers into the musical picture. Within a few years a distinct sound emerged. DJ Laurent admitted in an interview that people took a very strong disliking to electronic dance music in Goa, but once a formula was conceived for producing music that catered to people on psychedelic drugs there was a better response. Towards the end of the 1980s the tracks played at Goa parties were produced primarily in the West with the colony of Goa in mind. Some trance records were made in Goa but not many. As time went on the evolution of the Goa trance state of mind continued as the word spread about the parties in this tiny state. Artistic developments began to emerge as visual artists displayed tapestries and paintings at events. Such art was visually stimulating to those who delved into the entire experience of “psy-trance.” The hypnotic, pulsing melodies & rhythms of psytrance mixed with lights, visual artwork displays and the hallucinations caused by psychedelic drugs created a blend created out of this world experiences for those who succumbed to the experience.In 1993, Juno Reactor released their first single titled “Laughing Gas.” Shortly following this came a full on release titled “Transmissions” which is considered to be one of the first official goa trance releases. They also remixed a tune which became the theme for the Mortal Kombat movie in 1995.By the end of the nineties, the psytrance culture had developed a large following worldwide. The music was not considered maintstream and often events were hosted which catered specifically to psytrance. By the year 2000 an Israeli group called Infected Mushroom became one of the most widely known acts of this nature. Their breakthrough album came just a year earlier titled “The Gathering.” Other artists such as Astral Projection, Hallucinogen, Man With No Name and Shpongle had become popular. Around that same time frame a record label named Tip World was pressing releases by artists like Logic Bomb, Yahel, Bio-Tonic, and Absolum.While psytrance had gained much popularity, the genre was not a major feature at raves in Europe or America. It was also very rare to find a club that catered to psytrance. The genre was very limited to festivals, however this was not the case for countries like Brazil, Israel, and India. Psytrance in those countries became part of the majority of genres featured at events, if not the most widely represented by dj’s and show promoters of their regions. The visual artwork at these events which included paintings and tapestries were often created using fluoro (fluorescent paint). The fluorenscent paint was used to reflect off of blacklights. The artwork often associated topics like aliens, Hinduism, or other religious images. The religious images were often eastern traditions. Mushrooms, Shamanism, and technology were also other topics used in the artwork. Investigating deep into the spiritual realm of psychedelic drugs such as mushrooms indicates that human beings have been combining music and hallucinogenics since the Paleolithic Period. The oldest representation of mushrooms were produced as rock paintings in the Sahara Desert which date back to about 5000 BC. Images of enormous mythological beings of human or animal form were often depicted side by side with a host of small horned and feathered beings in dancing poses. One of the most important rock painting scenes was found in the Tin-Tazarift rock art site at Tassili, depicting a series of masked figures in line and dressed as dancers currounded by geometrical designs. Each dancer in the painting is holding mushroom-like objects with parallel lines extending from the mushroom into the head of the dancer. In modern tribal areas the concept of shamanism is still prevalent. Shamanism is an ancient form of healing but shamans also excercise using hallucinogens to invoke shamanic spiritual journeys. The connection that we have in modern times at festivals and parties where hallucinogens are prevalent is that we are carrying on a tradition that dates back to prehistoric times. The psytrance methodology encompasses both musical and spiritual aspects of the rave scene, taking it to a level that is not necessarily the norm for other genres.This mix was recorded sometime in 2002. In early 2001 a dj named Swayd from my hometown introduced me to psytrance at a rave I hosted called "Let's Roll." Since then I followed many psytrance parties and collected records. My aspiration was to become a psytrance dj around that time but my collection remained fairly limited. I made several mixes just for fun but never followed through. This is one of the better compilations that I put together.Walhalla - Beathe InTalamasca - Telepathic AtmospheresLogic Bomb - Frequent FlyersOpus Magnum - Three Elements (Mental Remix)Delirious - Mushroom GodAlien Project - Artificial BeingsAtomic Pulse - PsychoactiveAbsolum - RecoveryTwister - VenomPOTS & Chris Organic - Tuna SaladPixel - Black In, Black Out

In 1986 the Music Factory Mastermix DJ Service was organized, creating megamixes through a special license. These megamixes were for DJ use and were only available through very strict channels. Some of the earliest mixes were created by Andy Pickles and Martin Smith. A few years after, Amadeus Mozart and Guy Garrett joined the Mastermix team. Their duo was called The Two Little Boys. Their series known as "Hit The Decks" was later to become a massive influence on two young producers called Ben Keen and Nick Sentience. By 1993 Amadeus Mozart had developed a strong friendship with Andy Pickles. This would be the start of what would later be known as The Tidy Boys. Their first release together was titled "Only Me" under the name Hyperlogic in 1994 which was the turning point in their career. The song used chord structure from U2's "New Years Day" and the vocals from Alison Williams "Sleep Talk." The song became a massive club anthem and was supported by every major club DJ in the UK, even Pete Tong. Red Jerry's label, Hooj Choons, created the buzz on this song by putting it out as a limited release.In the meantime, a dj named Tony De Vit was on the rise. In 1993 he received a residency at a gay house music club called Trade. At this time he was also approached by the Fantazia crew to mix one of the discs on the second album of the Fantazia House Collection series. The mix went on to be a huge UK hit and sold over 100,000 copies. By 1995 both Tony De Vit and The Tidy Boys were pushing a sound different from most other dj's. This sound combined vocal samples from hardcore tracks over up-tempo house beats with some trance aspects. The first release on Tidy Trax was released under the moniker The Handbaggers and was titled "U Found Out." To make the release look like it came from a dj's bedroom, Amadeus put his phone number on the disc as a contact detail. This was a move he later regretted due to late night phone calls and sexual harassment. In 1996 a label titled Nukleuz was formed as an offshoot from an Italian record labeled known as UK Media Records. The label first produced funky, house driven tracks but shortly jumped into the hardhouse sound. During this same year a night called Sundissential started happening in Birmingham at a club called The Pulse with Tony De Vit regularly behind the decks. By the end of 1996, Tony De Vit had recorded the first Global Underground mix, GU001: Tel Aviv. Some would consider 1997-1998 to be the breakthrough year of hardhouse. Artists like Baby Doc took to the scene and began to add new styles to the mix of hardhouse releases. The overall flavor of the genre was becoming harder and faster and in some senses, tougher. This could be seen in releases like Nuclear Shower which was released under UK Gold. Tony De Vit had, in 1998, joined the Tidy team after having a fallout with his previous sound engineer, Simon Parkes. He came to Tidy with six of Trade's main resident dj's to release songs on a 3 disc vinyl called the Trade EP. Tony De Vit worked with Paul Janes for his track titled "The Dawn." As they finalized the track Tony, Paul Janes, Amadeus and Andy Pickles listened to it. As it finished Tony De Vit took a deep breath and said "I can't go on from here without telling you something that may affect all of our future plans, especially mine... I have been diagnosed as HIV positive. But this new track has inspired me - it means a lot to me." The reason he titled his track "The Dawn" was because he wanted it to be the dawn of a new era in his life. He was diagnosed just six months prior to the release of this track. Sadly, Tony De Vit passed away on July 2nd of that year.In 1999, The Tidy Girls was founded by Rachel Auburn, Lisa Pin Up, and Anne Savage. Other dj's like Paul Glazby and Mark Grey were rising in the scene. Superclubs in Europe were becoming the next big thing and the concept was spreading in the United States.In the United States rave scene through the nineties, most rave production companies promoted mainly house, breaks and drum & bass talents. You would often find one or two trance, hardhouse or hardcore dj's on a lineup of 8-15 dj's. Around the crest of 1999 there was an uprising within the United States scene where harder or faster was better. The new generation of dj's started grabbing for hardhouse, hard trance, and hardcore records in their local record shops. This would soon pave the way for the rest of the rave scene.This mix was recorded live sometime in 2001. I have no recollection of what party I recorded this at. This was dubbed from a cassette tape so the quality is not as crisp as I had hoped, but it's not bad. Some fun tunes on there which I have identified as the following:Klubbheadz - Discohopping (Dub Foundation Mix)Reverend Mike Crawley - Pow!Klubbheadz - Work This PussySoulman - Put Your HouseThe Ultimate Seduction '96 - Organ SeductionThe Difference - Funny Walker (Da Techno Bohemian Remix)Club It - Real StuffLords Of House - The Beat Is BackPulzemaster - U Got To Be There (Damon O'Conner Remix)

On April 9, 2001 in Houston, Texas the owner of Club Waxx at 101 Leeland began receiving pressure from the local sports authority. The owner, Mike Jacksis, was advised to shut down Club Waxx to make way for a new basketball arena parking garage. Jacksis had intentions of keeping the club open, however an agreement was reached that relinquished his lease of the hip-hop & underground club. Club Waxx featured techno, trance and jungle since 1997. After the demolition of the club, Jacksis teamed up with Neil Heller who owned Club Hyperia at 2001 Commerce Street. Together they continued to host a variety of music from house, trance and drum & bass to hip-hop. Outside of the club scene in 2001, raves in Houston continued with fairly minimal disruption. Production companies like the KAOS crew hosted events like Revolution, KAOS Thursdays, and Mystery Machine. Bigtyme Productions hosted a massive on July 7, 2001 called “Audiotitstic.” The event was hosted in Audio Park at 2550 Reed Road in Houston. This party drew thousands of people and featured talent like Green Velvet, Mark Grant, Donald Glaude, Q-Bert, P-Trix, Dieselboy and DJ Brian. The Houston electronic dance music scene originally began to flourish as early as many other cities with disco and gay nightlife. At the start of the 1990s, there was a huge buzz over house music and the “party ‘til dawn” lifestyle that it fostered. JD Arnold and Michael DeGrace, both established DJs pushed house music in clubs like Rich’s, Therapy and Club Some. DJs that were not fully established in nightclubs had begun to host their own parties near the break of 1992. These were Houston’s first raves. The first full scale rave in Houston was called “Unity” which came later that year. Shortly after this first event a DJ named Chris Anderson of the Matrix Crew began hosting events, his first party was called "Brain Machine" and took place in October of 1992. The next year he started a radio show which was titled "Transmissions" on 91.7FM KTRU. Another DJ named Chris Sill had also created major waves for the Houston scene. He began his career playing nightclubs in Austin, Texas, moved to Houston to work for the legendary Rich’s nightclub, and left for San Diego to open a second Rich’s club in 1991 He was the co-host of a Thursday night event called “Hedonism” which was promoting house music events in San Diego. The weekly event became so well known and the nights were so memorable that in 1994 he moved back to Houston and opened the second installment of “Hedonism" events.In 1995, Albert Rowan aka DJ Bizz hosted his first rave in a Montrose club called Attica shortly after he was released from a short prison sentence for distribution of LSD. The party was called “Resurrection” and drew approximately 550 people. DJ Bizz’s event became popular and he began to work together with Chris Anderson who was still hosting parties as Matrix Crew. In 1998 the two became partners in Chemistry Records in Houston. Chemistry Records was a place for ravers to find party fliers and where dj's congregated to listen to and purchase new music. The operation became an epicenter of the city’s rave scene. While raves in the city snowballed in frequency and size since “Resurrection”, there have been some bumps in the road as had been seen elsewhere in the world. On November 24, 1996, DJ Bizz & Chris Anderson became a target of a Houston police initiative as officials attempted to put an end to the growing rave culture in the city. Authorities raided a party called “Reach” by Bizz’s crew Good Vibe Tribe which was hosted at a nightclub called Middle Earth. The raid included local TV coverage and 59 people were taken into custody and most juveniles were cited for violating curfew laws.The bust made it’s way onto news networks around the city while the nation was simultaneously receiving negative news regarding raves. For a short time the scene had diminished in Houston as parties shrank in size and less in frequency. Promoters during this time learned to become more thorough with their events by acquiring necessary permits and covering their bases legally.From this point and leading up to the year 2001, a wide range of venues was used for events hosting electronic dance music in Houston. Some events were weekly events while others were one time parties. DJ Dizzy hosted “Suave” at Slider’s, Gotta Move Productions hosted “Soul Phusion” at Waxx, Sundance & Mercury hosted “Dragonfly” at Power Tools at 709 Franklin, Ducttape Productions hosted “Digital Interface” at 1815 Washington, and Protoculture hosted “Rhythmatic Technology” at International Ballroom.The featured mix was a practice session that was recorded in 2001. This was a period where I was heavily involved in the trance scene. While I no longer have the recordings, some similar mixes that I released at the time played a major role in the acquiring the bookings that were offered to me nationwide.Joker Jam - Innocence (Chillout Intro)Shine - Feelings (DJ Tandu Remix)Lillian - You Give Me Music (Jaimy & Kenny D remix)Hardy Heller & Ray Boye - Lovin' (Fred Numf & Five Point-O remix)Matt Darey - Liberation (Deep Mix)Agnelli & Nelson - Vegas (Fear & Loathing Mix)Mark Norman - Return 2 EdenPatrick Reid - SplatFree State - Release (Dirt Devils Remix)Members of Mayday - 10 in 01 (Paul Van Dyk Club Mix)Ralphie B - MassiveCygnus X - Superstring (Rank 1 Remix)Insigma - Open Our Eyes (Odyssey One Mix)

During the mid-nineties the sound of Northern California’s raves helped received it’s mold by DJs like Jeno, Galen, Solar and Spun. The scene in San Francisco was able to expand rapidly because there were no curfew laws and venues like Homebase and 85th & Baldwin were making it possible to host larger events. In the late nineties venues like Soma Art Museum, “Where The Wild Things Are” museum on top of the Sony metreon, and Maritime Hall were popular.At the end of the nineties, promoters had a variety of venues at their disposal ranging from warehouses to upscale nightclubs or illegal outdoor areas. San Francisco was booming as artists from around the world were eager to play in San Francisco and the city was seeing multiple events on a given night. In the year 2000 much of that began to change when the city began to place curfews on granted permits. The imposed curfew for parties was 2am which slowly halted all night massive rave events, however many promoters changed their plan to host longer daytime events that lasted through the night until curfew.Two of San Francisco’s largest venues closed their doors not long after the new curfews had been imposed. There was diminishing momentum to host parties that drew tens of thousands of people. In the year 2000 the Homebase venue was beginning to see less usage and many parties opened in smaller, more intimate venues.In 2001, San Francisco had a large host of weekly dance music events. As with most parties around the country, the scene had an increased momentum towards nightclubs because they had existing liquor licenses and existing sound & lighting. Nightclubs also did not require special permits. On Sundays alone, partygoers could find nearly 15 events taking place throughtout San Francisco. "Freebeats" was held at An Sibin at 1176 Sutter St and featured an early lineup of dj’s playing music from 6pm-9pm. Stargate was hosted at 715 Harrison Street and charged $20 for a Sunday night lineup which featured 3 rooms of sound. Spundae was one of the largest nights to pop up around this time. While Spundae began back in 1993 it was able to withstand the times as it was held at 1015 Folsom, a superclub that was used previously for raves in the early nineties. This nightclub was featuring the world’s biggest dj’s on a regular basis and became a known staple for electronic dance music worldwide.During 2001 a plethora of other venues were utilitzed in San Francisco for rave events. Peacock Gap Country Club hosted “Heaven Eleven” by ANON SALON, Infected Mushroom played at 550 Barneveld St on June 8th 2001, and “Harmony Festival” was held at Sonoma Country Fairgrounds in Santa Rosa. “Metropolis” was a larger event hosted at 3COM Park on June 16th 2001 and featured Donald Glaude, Terry Mullan, Gene Ferris, Eddie Amador, Roy Davis Jr, Joey Mazola, Danny The Wildchild and Aphrodite.Halfway across the country in the Midwest, the scene in New Orleans had become under attack after the indictment of rave promoters who hosted a party on June 12th, 2001. The DEA & New Orleans Police conducted a joint investigation called “Operation Rave Review.” The 1986 crack-house law that was used to combat crack cocaine was designed to punish operators of the houses for the manufacturing and storage of illegal drugs. Violators under this law faced a maximum of 20 years in prison. That year the DEA attempted to classify Vicks VapoRub, pacifiers and glowsticks as drug paraphernalia. An article on July 20th, 2001 from salon.com quoted a promotional video distributed by the DEA which states that “raves are just a venue for drug purchases. They are no more than analogous to a crack house in which you go to buy the drugs and go out the back door.”Government attempts such a these led to a continued uphill battle for electronic dance music and raves. The fight lingered on for years to come, suppressing some of the most successful regions of the rave movement around the United States.This mix was made shortly after I purchased a brand new pair of Technic 1200mk2 turntables. It was a major upgrade from the Gemini Battlemaster decks I was using. I can specifically recall making this set in the basement of my parent's house while they slept. It took me about 10 different attempts to finally be satisfied with the turnout. After it was finished I intended to finish the mixtape as this was only the first side. The tape went unfinished and I never gave it out as a demo.Jurgen Driessen - Counter CultureSleepfreaks - PHBPako & Frederik - Hidden ObsessionCevin Fisher - Love You Some MorePOB & Boyd - LunaMax Graham - Bar NoneSalt Tank - EuginaGoldenscan - Sunrise (Ronski Speed Remix)

“Ancient life was all silence. In the nineteenth century, with the invention of the machine, Noise was born. Today, Noise triumphs and reigns supreme over the sensibility of men. For many centuries life went by in silence, or at most in muted tones. The strongest noises which interrupted this silence were not intense or prolonged or varied. If we overlook such exceptional movements as earthquakes, hurricanes, storms, avalanches and waterfalls, nature is silent.Amidst this dearth of noises, the first sounds that man drew from a pieced reed or streched string were regarded with amazement as new and marvelous things. Primitive races attributed sound to the gods; it was considered sacred and reserved for priests, who used it to enrich the mystery of their rites.” - Luigi Russolo, Art of Noises ManifestoIn 1913, Italian composer Luigi Russolo wrote a letter to a friend who was a Futurist Composer known as Francesco Balilla Pratella. The letter argues that the human ear has become accustomed to the noise of the urban industrial landscape and concludes that electronics and other new technology will help composers & futurist musicians to substitute for the limited sounds available through traditional orchestras. An instrument known as the Theremin was used in the twenties by composers like Honegger, Messiaen, and Verese. The instrument was known for an eerie high pitched wailing sound that was often used in horror films in the fifties. Another early pioneer was Oskar Sala who, along with Dr. Trautwein, built the Trautonium. The instrument was later altered into the Mixturtrautonium which was used to compose the music for Alfred Hitchcock’s “The Birds.” With the proliferation on musical tools, the musicians of the day were inspired to think about music in a different way. In 1939 John Cage’s “Imaginary Landscape #1” became the first piece of electronic music to be reproduced. When he was in college, John Cage studied at UCLA with the classical composer Arthur Schoenberg. Cage had demonstrated in his lessons that he had no skill in creating harmony and Schoenberg insisted that Cage would not be able to create music. Schoenberg told Cage, “You’ll come to a wall and won’t be able to get through it.” Cage replied, “Then I will beat my head against the wall.” Cage soon found others who were interested in challenging the concepts of art forms of the past. Cage’s early experiments involved altering standard instruments, such as putting plates and screws between a piano’s strings before playing. As his alterations became more drastic he realized that he needed entirely new instruments. Pieces such as “Imaginary Landscape Vol. 4” used twelve radios played at once and depended entirely on the chance broadcasts at the time of the performance for it’s actual sound. With the invention of the Moog synthesizer in 1964, the golden age of electronic music was born. The rock musicians of the sixties were already experimenting wildly with both instrumentation and form and had no hesitation embracing these new tools. Shortly after, the Mellotron was invented. This instrument was capable of playing samples. Sampling is the act of taking a portion, or sample, of one sound recording and re-using it as an instrument or different sound recording of the song. This recording features the oldest electronic records in my collection and was recorded on July 21, 2009. It was imperative for me to do this recording because there was so much more that led to the rise of electronic dance music and it really began with experimental music and avant garde prior to becoming synchronized in a fashion that could be used on danceflooors. The songs on this session are very raw and will have an odd composure to most listeners, however it was these records that helped break the boundaries in standard classical music production to give way to the sampling and beat creation that we now take for granted.Charles Dodge - He Destroyed Her ImageOskar Sala - Elektronische Impressionen, Nr 2Tod Dockstader - Eight Electronic Pieces #8Tod Dockstader - AssemblyLaurie Spiegel - Appalachian GroveVladimir Ussachevsky - Wireless FantasyOskar Sala - Elektronische Impressionen, Nr 1 (scratch in reverse)

Underground Resistance was a musical collective from Detroit, Michigan. They were the most militantly political example of Detroit Techno with a grungy sound and an anti-mainstream business strategy. The collective formed near the end of the 80's and related their music to the President Reagan era inner-city economic recession. Robert Hood joined the group after the cross-over into the nineties.As rave music began to flourish in the early nineties and techno had turned into gabber, Robert Hood felt that the soul of techno was becoming lost. He disagreed with the notion of techno transforming to be geared to ravers. When people complained that techno did not have enough feeling, producers began to add vocals with a piano on top of the music so that it would appeal to more people. Robert Hood wanted to bring techno back to the way it was meant to be and make it more underground again. This notion brought about the concept of minimalism in techno and house music. At the time Robert Hood described minimal techno as "Stripped down. It's just drums, basslines, and only what is essential to make people move." The concept caught on a few years afterward in house music, creating the genre known as microhouse. It also similarly helped to inspire a style called glitch. The origins of the glitch aesthetic can be traced back to noise music. In a Computer Music Journal article published in 2000, composer and writer Kim Cascone used the term post-digital to describe various experimentations associated with the glitch aesthetic. Glitch is characterized by a preoccupation with the sonic artifacts that can result from malfunctioning digital technology, such as those produced by bugs, crashes, system errors, hardware noise, CD skipping, and digital distortion.Minimal techno had not become widely popular throughout the many peaks of the rave scene. During the year 2001 there was a final insurgence of new ravers and new clubbers. Every new wave of partygoers often resulted in a more closed-minded approach to music, ignoring lesser known genres or more underground genres.The Detroit Electronic Music Festival (DEMF) continued to give Detroit and its overlooked history of electronic music major exposure both locally and nationally. Each festival has been held at Hart Plaza in downtown Detroit, and has been sanctioned and financially supported by the City of Detroit. The city's support for the festival has been seen by many as the first high-profile acknowledgment and celebration of the city as the birthplace of techno music.This mix incorporates a mixture of deep minimal techno paired with ambient & downbeat - all were selections from between the years 2000-2001.Markus Guentner - Aepfel & BirnenSutekh - DumpsterBetrieb - Gobe Landschaft Mit KuhPeter F. Spiess - Symbol ShiftGoldfish Und Der Dulz - Couch LegereBjoern Stolpmann - Being So NiceAudision - Gamma LimitDick Richards - BreatheSavvas Ysatis - On The HookHakan Lidbo - Wiretripping

Lonnie Fisher founded Ultraworld in 1992 after attending several Catastrophic raves that were hosted in DC by the Baez brothers. Ultraworld is known for throwing the first rave in Baltimore city on October 3, 1992 which was titled “Ultraworld Excursions.” The warehouse that this party was hosted in was located in a segment of Baltimore known as Canton. Canton is located along the outer harbor on the southeastern section of the city and is considered to be centered around O’Donnell Square. With an attendance of 600+ people, it was the first of over a decade of successful Ultraworld events.For the next two years Ultraworld hosted parties in the Erdman Ave Warehouse, 40 West Warehouse, Moravia Park Drive, a campground in south central Pennsylvania, and eventually at Timonium State Fairgrounds in Baltimore County which drew 3500+ in attendance. By 1994 Lonnie had moved into a warehouse where he & his roommates began to host events. In 1996 a narcotics investigator named Sergeant Smith became interested in the events at the Azar Court warehouse. Soon after, Sergeant Smith arrested both Lonnie & his roommates in an attempt to cite them with utilizing their warehouse events to distribute illegal substances. During that same year Ultraworld had begun planning for an event at a Baltimore City Park called “Lost City”, however plans became halted when Sergeant Smith contacted Ultraworld’s co-sponsor for the event to slander Lonnie by referencing the Azar Court arrest & criminal charges. Another narcotics officer named Detective Galbreath was then assigned to investigate Ultraworld. “Lost City” was moved to Tracks nightclub in DC after the police refused to grant a permit to Ultraworld for the event. After being told by the DC police “you can have a rave anytime” the next Ultraworld event called “Phoenix” was scheduled for November 27, 1996 at the DC Armory. The Baltimore police contacted DC officials and warned them that the Ultraworld event at the Armory would be a hotbed of drug activity. “Phoenix” pulled a crowd of 4000 people and had no issues. Ultraworld’s next few events went off without a hitch but in May of 1997 Detective Galbreath continued to cause permit problems for Ultraworld by slandering the company in conversations with their sponsors as Ultraworld planned their next Sunrise Festival. Detective Galbreath had collected data from rave email lists to use against Ultraworld in an attempt to prove that drug use was rampant at raves, particularly Ultraworld events. In a meeting with the Baltimore police & the detective it was determined that the permit for Sunrise Festival would be denied. On August of that same year Ultraworld hosted a party on one of Baltimore’s Harbor Cruise ships, The Lady of Baltimore. The event sold out at $50 per ticket, resulting in 550+ partygoers attending the event. In the middle of the night the Coast Guard came onboard and advised the crew that certain permits were not in order. The boat was directed back to the harbor where Detective Galbreath waited with a large group of police officers who were ordered to search everyone attending the event. No drugs or paraphernalia was found on anyone or on the cruise ship but one person had $1200 hidden inside his shoe. As a result Lonnie Fisher was detained and charged with three infractions which were made up by Detective Galbreath. The charges were eventually dropped by the city in 1998. Lonnie Fisher met with Mayor Schmoke of Baltimore on April 27, 1998 to discuss the issues with Detective Galbreath and the city. He & Mayor Schmoke discussed the culture of the American DJ scene and it’s impact on a global scale, referencing magazines like URB, DJ Times & Mixmag. By the end of the meeting, the Mayor asked: “What is it that you want?” To which Lonnie Fisher proposed that Ultraworld host two outdoor festivals in Baltimore every year. One to be held at Ferry Bar Park and the other to be held at Fort Armistead Park. Later that year Sunrise Festival 1998 took place at Ferry Bar Park but the event did not last past 1999 as Starscape at Fort Armistead proved to be the most superior venue and most successful event. The Starscape Festival of 1999 is where Scott Henry claimed his famous “sunrise sets” as he closed out the last timeslot of the party.In 2000, Starscape was rated by URB as the year’s best party. However the event continued to grow in size for every year consecutively from 2001 to present day.This mix was recorded in 2008 after The Oldskool Series became fully established. A majority of my breakbeat records were from the early millennium so this gave me a perfect opportunity to dust off some old wax and create a unique journey with tracks from Lot49 and Botchit & Scarper.Momu – This Is MomuSensei – I’m The Only OneOrange Krush – Swerve OnKarsh Kale – Distance (Might Junn Remix)Beber Tamra – Traveling (Koma & Bones Remix)Apex – Jump FunkMeat Katie – LapdanceDJ 43 – Pepper Spray (DJ Infiniti Remix)Robin Fox – I See StarsBackdraft - Demons

The evolution of house music in the UK in the mid 1990s led to the term "garage" to describe the style. It is said to have been previously coined by the Paradise Garage DJs in New York. Artists such as The Artful Dodger and Sillo brought garage music to the mainstream in the UK. Other artists like Dizzee Rascal were pushing an offshoot of the "garage" genre called "grime." Grime associated complex 2-step breakbeats, often between 130-140 beats per minute and incorporated hip hop and dancehall samples. While grime had become popular throughout the UK, major record labels were apprehensive to sign record deals due to a fear that the style would not sell on an international level. Both grime and garage had become predecessors to styles like 2-step, bassline house and speed garage.In the mid-nineties when drum & bass was becoming popular garage was often played in the second room of jungle events. DJ's began to speed up garage tracks to make them more suitable for the UK jungle audience. The media began to call this tempo-altered form of garage "speed garage." When tracks were being sped up the dj's would often use dub versions to prevent vocals from sounding like chipmunks.The the middle of 1998 speed garage and UK Garage were similar terms. Either term can be described by their mixture of sped up garage beats with heavy, almost junglistic bassline combined with timestretched vocals. Speed garage tracks often included a break in the middle where the beat is stripped down before the track builds up again.In 1998 "Gunman" by 187 Lockdown had become a popular dancefloor tune in clubs around the world. This was the year that everyone was learning about speed garage and the music had made it's way into clubs and raves everywhere. It can be argued, however that the year 2000 was the biggest year for speed garage as many dj's either switched genres to play primarily speed garage, worked it into their house music sets, or dabbled with it on the side. Starting in 2001, both speed garage and 2-step experienced a decline in popularity. Some experimental artists such as Horsepower Productions, Zed Bias, Wookie, and Steve Gurley stripped the R&B influence from both genres and the styles took on temporary terms such as "dark 2-step" and "nu dark swing." These changes in production helped to pave a new direction for the grime umbrella and eventually became direct precursors to what is known today as dubstep.The featured mix is without a recording date but was recorded somewhere between 1999-2001. It was another mix that I had not released to the public possibly near the end of my highschool years or early college. It features mostly speed garage tracks that were popular around that time.Mr. Oizo - Flat BeatDreem Teem - The ThemeNicole - Runnin Away (E-Smoove Remix)187 Lockdown - GunmanBaffled Republic - Bad Boys (Blouse & Skirt Remix)Boris Dlugosch - Hold Your Head Up High (Julian Jonah)Somore - I RefuseSneaker Pimps - Spin Spin SugarTori Amos & Armand Van Helden - Professional WidowUltra Nate - Free (Rip Up North Remix)Coco - I Need A Miracle (Sol Brothers Remix)Dsk - What Would We Do?

On December 28, 2000 the Milwaukee Journal Sentinel reported "Officials Cancel Party After Website Bills As Rave." The article then proceeded, "Washington County Fair Park officials have cancelled a contract for a New Year's Eve party after learning that it was being advertised as a rave party on the internet."The internet had become a major marketing tool since it's conception. Since then partykids and even federal & municipal authorities were using the internet to track down local raves. Websites like Hyperreal and email listserves were helping to spread the word of the next upcoming party. The irony is that raves have been historically reserved for those "in the know." In the early days it was hard to find a party unless you knew where to get rave flyers, had already attended events, or were friends with someone else who knew. It was often a matter of finding a local record shop or clothing store in order to find party flyers. However, the internet slowly began to replace this method as more and more people got connected.In 1996, a website called www.ravedata.com was founded by developer Matt Zinicola. The site put in place a real-time searchable database which was essentially a replacement of Hyperreal's "The GRID." The site was finally launched in 1997 and received 1100 hits on it's first day. Shortly after September of 1999 the site took on three regional rave mailing lists: Boston Raves, Florida Raves, and Southeast Raves. The number of subscribers had exceeded 4,000 and by the year 2000 the server was moving more than 500,000 messages per day.Similarly a private website had formed in Pittsburgh, PA which was hosted by Rich Stroud, titled www.lolli.org. The project had it's origin at the end of 1998 and the page was launched in 1999. The focus was to provide another way of communicating online with a single-page messageboard. The site also featured a series of Flash games. Ravers sought this site for entertainment as they played games like "Virtual Rave" or "Raver Beaker." The site was promoted completely by word of mouth and helped establish a tight clique of ravers. The site spawned out of a period where the region was utilizing www.andythepooh.com, PB-CLE or SCRIS. By 2000 www.lolli.org had begun to flesh itself out with the addition of member profiles which were featured in "Da Hood" and "Gangs" which members could use to create private user groups within the site. By late 2000 the site had 4 gangs and approximately 400 users. During the same year a movie titled "Groove" was released, dramatizing the underground warehouse experience in the San Francisco rave scene. The premise of the movie is that through a single email the word spread about a major party to take place at an abandoned warehouse. The movie illustrated many aspects of rave culture from finding a venue and setting up to personal interactions and relationships, tied together with music. The movie became immediately popular but did not receive great reviews.This mix was created at the end of the year 2000 and archived.Afterburn - FrattboyMainline - NarcoticSteve Gibbs - AzureJames Holden - HorizonsFilter Tip - Liquid LunchGus Gus - Purple (T-World Remix)M.I.K.E. - Someone SomewhereSonorous - Glass Garden Anjunabeats - Volume 1 (AnjunaDeep Mix)

During the early years, dissemination of "rave" within North American media was relatively slow. However during the late 1990s noise complaints were waking up neighbors in cities all over the continent. After the 90's more parties had media hype surrounding events as a result of overdoses, and other drug-related deaths such as overheating. Cities like Toronto, Phoenix and Pittsburgh were on the map after a small amount of drug related deaths which were associated with rave events. In 2000, Dateline NBC produced a segment titled "All The Rave" which showed footage of rave attendees talking about the drugs they were on and admitting the drugs they have experimented with. Also combined in the segment was a story of Hilary Farias who was given GHB at a rave. When she came home she went directly to sleep and was found dead the next morning. This segment led to parental outrage around the world and the follow-up called Teen Drug Polo" helped to seal any additional outrage regarding raves, despite the number of responsible party people attending events.A number of newspaper articles were written in effort to substantiate the claims that raves were unsafe. On May 5, 2000 the Toronto Sun's first page announced that the city's police chief had invited the Prime Minister to a rave to show him "how drug parties are threatening the youth." The article included a quote where the police chief claimed that "raves are threatening the very fabric of Canadian life." One week later the city council made a decision to ban raves on public property. Toronto's mayor Mel Lastman stepped to the plate after this to vow to shut down afterhours clubs and raves. While media coverage has been exploiting raves as being dangerous havens since the beginning of the acid house movement in the eighties, the overblown coverage in the new millenium formed a rift between parents and their kids and also within the rave community. By the end of the year 2000 it was prominent that party promoters were becoming more cautious of the hype regarding their events. Many nightclubs and afterhours locations had banned both possession and use of any form of camera at events. Other promoters had banned bookbags, doctors masks, binkies and in some instances glowsticks and kandi bracelets. As a result of these changes, some parties experienced small hits in attendance while others recieved larger hits in attendance. The scene as a whole, however, remained strong.This mix was recorded live in 2000. The tracklisting is not entirely accurate as these records are no longer in my collection but I tried to do my best in identifying them.DJ Jacq - SymbolismRetroflex - Moments ResistancePound Boys - Time BabySilicone Soul - Chic O Laa (H Foundation Mix)GBR X-Perience - Put Your HandsMatea & Matos - Got A Message (DJ Sneak Remix)Fondue - Pump The Boogie (Pumpin Dub)Statis Revenger - Happy PeopleSoul Providers - RiseLayo & Bushwacka! - Side A

Humans have the tendency to demonstrate a need to connect with one another in some form of group activity. For all communities to be psychologically healthy there needs to be a way for people to gather and exchange ideas or expressions as well as share common goals. Primitive humans spent a lot of their time sitting around fires and staring at the dancing flames & smoky forms. Anyone who has done this can understand how relaxing it can be and it gives your mind a chance to wander. It allows your thoughts to become fluid yet abstract. This is a trance-like state and in this state we have the ability to see the world from a different perspective.Doing this in a group setting, in an altered state of consciousness (be it drugs or alcohol) and performed in a ritual type setting can, in some ways, be considered a tribal experience. Though it is packaged differently today, people continue to flock to group events where they can make some form of group connection, Be it nightclubs or sporting events or social clubs.Rave culture had increasingly become an embodiment of modern neo-tribalism with the party as the ritual center. Although many younger ravers were unaware of the tribal roots of the rave movement, they became instinctively attracted to the rave scene because it gave them something they couldn't find anywhere else. Exceeding everything was a universal sense of the acceptance of differences amongst party kids. Raves had become a haven for people of all races, sexuality, religions and social backgrounds. By surveying attendees at raves at the change of the millenium you could find lawyers, teachers, psychologists, high school students, drop-outs, dreamers, scammers, nurses, nerds and college students. With diversity came growth and each raver, in themself, was a special promotional piece as they often collected flyers for upcoming events and memorized what the next major party would be. The millenium had shown that this growing bubble had no signs of popping anytime soon.The following mix was created in 2003 as a demo for a weekly event I hosted in the basement lounge of a restaurant in college, however it was only given to 10 people. The music I was playing during the early stages of this party consisted of a very tech-house selection. However my collection was not yet at the time up to date. This entire mix is strictly music from the turn of the new millenium.LoSoul - Lies Watch Your LiftReactor Music - Holes In SpaceTerry Lee Brown Junior - FeverLoudeast - Thank You (Jack Mix)Luke Slater - Body Freefall, Electronic Inform (Counterplan Mix)Hakan Lidbo - TelevinkenGet Fucked - De IcingRob Mello - Love NastyJackmate - The JackerThe RC Groove Project - The Sermon (B. McCarthy Remix)Silicone Soul - NosferatuBrothers Vibe - Manos LibreHomebase - Constant Love

The year 1999 was said to have been the major explosion of the global rave culture. Just as the life of stars in our cosmos, the year 1999 built up to one of the last years of the main sequence which carried across the span of a decade. Interest had grown dramatically in the dance & rave scene despite many ups & downs. Since 1991 an event called Winter Music Conference had taken place in Miami's South Beach. The conference was aimed at record labels, producers, and dj's. However as time grew on the event became a catalyst for the burgeoning South Beach club scene. In 1999 the first Ultra Music Festival took place on the Saturday immediately after the conference, which was hosted directly on South Beach.Gatecrasher, although founded in 1993, had become very popular at The Republic in Sheffield, UK. The club had been primarily house and techno oriented, however by the end of the nineties it was a haven for trance artists like Judge Jules, Paul Oakenfold and Van Dyk. Similarly, trance was becoming a bigger phenomena on a global scale. After the release of Paul Oakenfold's "Tranceport" in November of 1998, trance hit a breaking point. The CD featured many trance songs that were recieving a lot of play at the time, featuring artists like The Light, Paul Van Dyk, Transa, Three Drives on a Vinyl and Binary Finary. The follow-up to the series, Tranceport 2, was mixed by Dave Ralph and featured artists like Oliver Leib, X-Cabs, Sasha, Andy Ling, and Fragma. DJ Mag, which began featuring a Top 100 dj's of the world poll in 1997 started with only 700 people voting in the poll. The first two years, Carl Cox was nominated the #1 DJ in the world the first year of the poll. In 1998 Paul Oakenfold was nominated #1 with Carl Cox and Judge Jules falling behind. In 1999, Paul Oakenfold claimed the #1 spot again. Inside party scene, rave had become an often unspoken religion for many. While there are no formal priests in the rave culture, DJ's were often thought of as the equivalent as they were technically the head of proceedings, administering music and serving as the conductor of an inner journey of either thoughts or emotions. Drugs often contributed to the journey and especially by the end of the decade many people were sold on going to raves for "the experience." The experience included friends, drugs, music and an intense journey deep into one's self.While the dj used records to take people on a journey, the music became a common line of communication & understanding for most partygoers. It did not matter who a person was, what nationality or religion or sexual preference there was a common sense of acceptance. It was a promoter's job to ensure that no bad vibes would enter parties, therefore most flyers in the late nineties featured two acronyms on flyers which stated the basic norms for the events. The first was Right Of Admission Refusion (ROAR) which meant that anyone could be turned away from an event. Often this meant that bad attitudes or people that looked untrust-worthy would not be permitted into the event. The second acronym stood for Peace, Love, Unity & Respect (PLUR) which is said to have originated by techno dj, Frankie Bones, in the early 90s after a fight broke out at one of the Storm Raves. Frankie was said to have picked up the microphone and shouted "I want to see some peace, love & unity here or I'll break your fucking necks!" It was not until some time after this incident that the "R" was added to include respect. The full acronym was not coined until after Laura La Gassa had written an essay about "Peace, Love, Unity & Respect." This was an essay that she was inspired to write after her husband, Brian Behlendorf, came to visit her in 1993 to attend a renegade party in Washington, DC at RFK Stadium. Prior to the party, Brian had given her a booklet written by DJ Geoff of Wicked Soundsystem in San Francisco called "The Four Pillars of the House Community." After her essay was written, a raver on the ne-raves mailing list signed an email with "PLUR" and since then the term had caught on like wildfire and continues to be used to this day, primarily with candyravers.This session was mixed live near the break of the millenium. It was inspired by a spiritual experience I had of my own, which has remained over the years to be the best day of my life. This was also during a period where I had switched (temporarily) from being interested in primarily techno and house to a growing interest in progressive trance which stayed the course of a three years crossing through the millenium.3 Phase feat. Dr. Motte - Der Klang Der Familie (King of Spin Remix)The M&M's - Four PlayTimo Mass vs. Ian Wilkie - Twin Town (Main Mix)Joshua Ryan - PistolwhipDj Remy - BackstabberMea Culpa - Spiritual LightAurora - Hear You Calling (Fire & Ice Remix)Transa - Enervate (ETS Remix)

In 1999 drum & bass some of the most popular drum & bass dj's were AK1200, Dara, Aphrodite, J Smooth and Dieselboy. Along with them was dj's like Shy FX, DJ SS, DB and John B were popular. J. Majik was continuing to innovate, having started his own label known as Infrared a few years prior, he then released the Nightvision EP. This 3 disk set contained music by Goldie, System 3, John B, and Total Science. Other notable releases were tracks like "Stalker" by Usual Suspects which was featured on Dieselboy's "A Soldiers Story.""A Soldiers Story" was aptly named because it was popular to feature drum & bass dj's on side stages or second stages at multi-room events. While there were many parties aimed primarily at drum & bass it was rare to find house music or techno as side stage music to a drum & bass main floor. "A Solider's Story" was referring to the fight in getting drum & bass the recognition that it deserved.Outside of the drum & bass industry, raves continued to grow in popularity. However many ravers of earlier generations had begun to feel that the influx of new event attendees was damaging to the culture. Drug use was as much of a problem as it had always been, however it was clear to the older generation that kids were coming to raves specifically to use drugs. Trance, happy hardcore and even faster pitched techno had become popular with party attendees looking to indulge in party drugs like acid, ecstasy or derivatives of such. Many of the drug abusers falling into this category or interest of music were "candy ravers." Candy ravers often exchanged or shared small gifts, primarily toys, necklaces, beads, bracelets and stickers. The defining part of their appearance is that they typically wear a large number of homemade bracelets made of colorful plastic beads known as "kandi." The fundamental idea behind the bracelets was to remember past raves and commemorate new friendships. In many cases a Kandi Kid found one or more things to wear that would make them stand out from other ravers, often wearing the same outfit or similar style outfits at events in order to be easily recognized or known. It was also popular for people to come up with rave names which were aliases used in the party scene.On the other side of the spectrum, typical fans of drum & bass did not dawn kandi as their attire. Junglists throughout the span of the rave scene often wore hoodies and ball caps. During the end of the nineties almost all ravers were wearing clothing made by Mecca and Ecko. They also often wore Addidas or Kangol visors. Kikwear jeans and JNCO jeans were also popular as well as UFOs. UFO Clothing was actually developed in 1967, using military surplus as inspiration. UFO Clothing adapted it to the times by using music, art and contemporary ideologies as its foundation. The UFO cargo pants and skirts were made of a light weight, polyester & cotton blend which were made baggy which were popular for ravers dancing all night long.This session features a few popular tracks from the 1999 period of drum & bass. Some of the releases were from J. Magik's 3-disc Nightvision set which was one of my favorite releases at the time.Futurebound - SustainAccidental Heroes - DragsterKonflict - CyanideThe Ganja Kru - Ghetto BrotherSystem 3 - GatekeeperAccidental Heroes - ElementsRed One - Strangled DuckDJ Freedom - ChainsawJohn B - Gollum vs. Poison Arrow

As the nineties rushed on the media hype surrounding raves continued to grow. Daily newspapers as well as the evening news dedicated themselves to attempting to uncover the underground world of the rave scene and educate the public about the events, selling the older demographic on the notion that raves were a danger and a threat. The coverage in many ways created a promotion for the rave culture and as interest in the parties grew, so did attendance, as well as the budgets for hosting these events.In Washington DC, Buzzlife had been successful with their event at the Capital Ballroom. In 1998 the venue was purchased by John Boyle who soon renovated the venue and changed the name to Nation. In 1999, Nation became one of the only venues to own the famous EAW Avalon soundsystem. Unfortunately by May of that year, Fox 5 News did a report which sensationalized what took place inside the venue. They released a report which focused almost completely on drug use and also sited the DC Metro police for being involved as one officer who was on camera was alleged to have had a relationship with one of the ravers who they had been filming. The news report was the cause of a great deal of controversy leading to the closing of Buzz. For two weeks, Buzz patrons protested outside of the Fox 5 studio on Wisconsin Ave in DC. After a few months of being closed the party re-opened.During the same year a Philadelphia production company called Local 13 had thrown one of their largest events called Whistle 2 which was held at the South Jersey Expo Center in Pennsauken, NJ. The venue was sepereated into different rooms called dome: Pleasure Dome, Super Dome, Power Dome, Drum Dome and Industrial Strength Dome. The lineup featured dj's like Green Velvet, Nigel Richards, Frankie Bones, and DJ Icey. In Pittsburgh a company called Downlow had thrown their first party together in 1997 called Intergalactic Circus. Since then they had pioneered new venues that gave a home to many ravers through the end of the nineties. Some of these venues included the Rostraver Ice Garden in Bell Vernon, PA as well as multi-room Paintball Arena near the intersection of 21st & Smallman Street in Pittsburgh's Strip District. In 1999, Downlow hosted Magick! at the Paintball Arena which featured Roy Davis Jr and Felix the Housecat.In Ohio venues like Moda, Metropolis and The Eagles nest had become popular spots for raves. Most of the flyers that were designed for Ohio parties had very futuristic themes, often involving robots in the graphics. Between Cleveland, Akron, Columbus and Cincinnati several local dj's had made good names for themselves. Most parties between Ohio and Pittsburgh were featuring dj's like Tigger, Darwin, Ben Kenobi, Hazey, Deep Blue, and Lemon Lyman. This podcast is an unfinished studio mix that was meant to be discarded nearly a decade ago. It was recovered from an old PC that I was preparing to throw away. The tracklisting is as accurate as I could make it, however there may be some mis-listings.Green Velvet - Flash Percy X - WorklifeFrank Dubois - BuckledSteve Stoll - ThirtyS.O.L. - SolarisMijk van Dijk & Thomas Schumacher - DeliveryAde Fenton - The StalkerYousef & Sharam - Into The GrooveHeckmann - StahlwerkGerd - Arkest's BlazeSender Berlin - Nana (Alexander Kowalski Remix)

The untold story of Chicago is that after the birth of house, the city developed a major underground scene that mirrored other areas of the United States. By 1993 the Chicago rave scene had really begun to flourish with parties like 100% Pure Hardcore which featured Phantom 45 & Hyperactive; Rejoice which hosted Dubtribe along with Terry Mullan & DB; and See The Light which hosted Moby, Orbital & Aphex Twin. Throughout the nineties other popular acts in Chicago were Danny Breaks, Ruffneck, Woody Mcbride, John Acquaviva, Sleepy C, and Underground Resistance. The rave scene in Chicago mostly carried over the drum & bass sounds from artists like Phantom 45, techno from Detroit and a lot of Chicago-style acid house. Straight house music dj's were still often featured on lineups with artists like Derrick Carter & Doc Martin.The dj mixing style of Chicago has, since the days of disco, been a competitive format. As was seen with the birth of house music when dj's were constantly trying to outdo each other, the tradition continued the entire way through the nineties and into present day. Many Chicago dj's specialized in scratching and turntablism and most competed in DMC-style battles. Danny the Wildchild was one of these dj's who competed in and won the 1998 DMC Championships as well as Bad Boy Bill who won First Place one decade earlier in the 1988 DMC Championships.Bad Boy Bill became famous for taking Chicago house music to a level it had never reached before. Having started his dj'ing with the WBMX dj mixing team "Hot Mix 5" and soon undertaking the challenge of mass producing mixtapes, Bad Boy Bill had developed a base to springboard onto the international music scene. Bill showcased a great deal of local Chicago flavor in his mix series Bangin' the Box which also incorporated a great deal of regional techno. In 1997 he formed House Connection with Richard Humpty Vission. Together they produced two mix compilations that had set the tone for Chicago house mixing in the late nineties.In 1999 house music continued to progress forward. Pete Heller's "Big Love" was ranked as the #1 dance song of the year by Billboard Magazine while Junior Jack's "My Feeling" reached #31 on the UK Chart. Michael Moog's "That Sound" had also reached #1 on Billboard Magazine's chart, except this did not happen until the year 2000.The featured session is a house mix that was recorded live during my college years nearly a decade ago. In it's entirety it featured some of the most popular and well-known house and disco house tracks of the 1999 period.Kamasutra - BurninHardsoul - Fight The FeelingCeleda - Let The Music Use You UpJose Nunez - Hold On (Jazz N Groove Dub)Ministers De La Funk - Believe (Dub)Junior Jack - My Feeling (Kick N Deep Mix)Paul Jacobs - Happy Days (PJ's Unreleased Mix)Michael Moog - That Sound (Full Intention Dub)Gambafreaks - Down Down Down (Vocal Mix)Pete Heller - Big Love (Dronez Mix)

House music hit big internationally in 1987. It was popular in most big cities and in New York and Chicago it was primarily played in gay nightclubs. However in San Francisco, the gayest city in the United States, the crowds continued to listen to high energy disco. A lot of people felt that house music wasn't gay enough. It was too repetitive and too cold for many listeners. Similarly the majority of clubbers did not want to change. After the major AIDS breakouts in the eighties, people living in San Francisco wanted some stability and worrying about the hot new wave of music was not a priority.In February of 1989, DOc Martin started a Saturday weekly called Recess at City Nights. His idea was to mix gays and straights together which was a completely new concept at the time. Unfortunately the night only lasted a few weeks as attendance began to wear thin after the novelty of the new party wore off. Doc Martin soon moved to Los Angeles to become a dj on their rave circuit while a man named Pete Avila took over things in San Francisco and opened a party called Osmosis.Osmosis was barely successful, however it provided a haven for people to gather. This haven was a meeting ground for a group of people who would soon form San Francisco's first rave movement. During the year 1990 a group of about a dozen British kids had moved to San Francisco and began dj'ing at Osmosis. These dj's were Garth, Markie Mark, and Jeno. Each of these dj's had participating in the Tonka movement in the late 80s in during England's acid uprising. The Tonka movement was part of the DIY method of traveling sound systems & free parties. Having the same background these dj's stayed together as a collective and called themselves WICKED. Their vision was to bring this DIY method of partying to San Francisco.The members of WICKED left England to get away from the stress that was surrounding the rave scene. The busts. The promoters that were in it for the money. The clubs and their door policies. Everything was crumbling to them in England. They wanted to live a free partying lifestyle. This ideology struck well with the partykids of San Francisco. The stories of WICKED peace parties and one-love, open air events were attractive. WICKED's full moon parties were the most defining piece of San Francisco's rave history.WICKED raised money for their free full moon events by hosting a weekly in the basement of a Thai restaurant called Big Heart City. The venue was often used for Goth bands. The party was simply titled "WICKED" and often had a smiley face logo on the front with a quote and a lineup on the back. They were simply flyers which was quite standard back then.The first Full Moon Rave was in March of 1991 and only drew 80 people. However the people that showed spread the word of the good time and more people caught on to the parties. While each crew member was dj'ing the WICKED events, Jeno made a large impact on music listeners that came out to the events. He collected broken beat tracks, primarily off of the Shut Up & Dance label. His mixing has been described as "alien" because at the time people were anticipating pounding four-to-the-floor acid house. This method of using breakbeats was new to every dj in San Francisco and pushed the envelope to inspire the rave culture of the United States.DJ Freshtrax & Ace - TroyFantasy UFO - Fantasty (Master of the Universe)Feel the Power - Feel the Power (Feel the Klonk)Frankie Bones - Call It Techno (Bonesbreak Dub)Nation 12 - Hear the Drummer Get Wicked4 Hero - All Be FreeDirect - Let It Ride

1988-1991 was considered "The Summer of Love" because the expression of youth culture and their culmination at mass gatherings reflected the same sort of hedonism seen in the original Summer of Love in San Francisco in the 1960's. During this time warehouse parties began getting busted by the police frequently and nightclubs were becoming so overcrowded that it was necessary to enforce rigid door policies.In 1989 the scene made its way from the inner city clubs & warehouses to the countryside. Soon parties such as Sunrise, Biology, Energy, and World Dance came about. All of which maintained to be unlicensed parties drawing thousands of people per event. Acid house became a term that wore off as parties began to be known within the scene as "raves" and broken beats started to be introduced into the music by labels such as Shut Up & Dance. On September 16, 1989 the first fully licensed event took place at Jankins Lane on the London/Essex border hosted by a crew called Raindance. However within weeks police busted more than a dozen raves as well as raiding pirate radio station Centre Force and arresting their dj's. Promoters and partygoers became so infuriated that by the end of January of 1990 the "Freedom to Party" campaign marched in London against the "Increased Penalties Bill." Eight hundred people gathered in Trafalgar Square to hear speeches from both promoters & dj's. Later that same night a nearby warehouse was cracked by Weekend World and invited other crews like Sunrise, Genesis, and Biology for a free party that was organized in just a few hours. Police tried to break up the party but there were so many people trying to get into th building that it ended up being allowed to continue until 9am.Across the world the idea of raving had become well known. Cities all over the world were getting a slow glimpse at the new music culture that quickly flourished. Even in cities around the United States dj's had begun to play what was known as acid house. At that time many dj's had to mix house music with other forms of music, most often electro, eighties synth pop, and rock.This mix was made in 2003 after I had purchased my first lot of records from the 1987-1990 range. At the time I did not have a wide variety to choose from but the journey begins with Inner City which is a group that reached the #1 spot on international charts 11 times. It is followed by an eclectic mix of other popular songs during that time period.Inner City - Good Life808 State - Pacific StateLFO - LFOA Guy Called Gerald - Emotions ElectricCritical Rhythm - Fall Into A TranceMaurice - This Is AcidBang The Party - Release Your BodyIDLiasons D - Sirenas101 - Rock To The BeatLil Louis - French Kiss

The underground scene of Australia in the 1980s was made up of artists such as Soho, Planet Patrol, Yaz, and Serious Intention. Many of which were producing a combination of electro, disco and funk. A popular form of dance called the Melbourne shuffle came out of this era. It was a fast heel-toe action that incorporated body movements suitable for underground dance music.Melbourne becamse a haven for large-scale raves in the nineties era. In 1992 a crew known as the Melbourne Underground Development (MUD) began a series of parties called Every Picture Tells a Story. The parties were held in the Global Village warehouse complex in Footscray, Melbourne and drew crowds by the thousands.Outside of Melbourne in the Bushland areas, production crews were hosting "doof" parties. Doofs were essentially outdoor festivals held in remote country areas. The most popular area for this type of partying was around Mt. Disappointment for parties such as Earthcore and Kryal Castle. Across the country, Perth developed it's rave roots when dj's like Roy Jopson, Colin Clarke and Dave Jackson were mixing Detroit and German techno into their dj sets at the Limbos nightclub in 1990. On October 13, 1990 the first official rave was held in Perth that was titled NRG and held at the Network Dance Club on James Street Northbridge.By 1999 there was a plethora of production companies hosting events anywhere they could get their hands on. Sydney primarily held down a warehouse scene and focused on house music. Perth production crews mainly used nightclubs as their rave havens but catered more towards a hardcore, drum & bass, and trance crowd. Popular crews in the Perth region were Storm Productions, Bass Agenda Crew, Raggabone, and Technotainment. Some of the venues used by these crews in 1999 were The Factory Nightclub, the warehouse at 65 Edward St, Belmont Park, Osborne Park warehouse (Hutton St), Greenwich Bar, and a "superclub" called Redheads.The featured mix is a selection from my deep house archives from 1999. During this time much of the dance scene to me had become all about hard trance, hard house, hardcore, hardstep, hard this & hard that. However during that time I always enjoyed taking a step back and going deep & groovy. The majority of these kinds of sets were never played out since it was almost taboo to spin anything deep with the current influx of ravers that had popped up around that time.Romanthony & DJ Predator - Clap Ya HandzJoshua - RememberMiguel Migs - Easy Does It (Discoteque Mix)Aka Electric - My Sweet MeatBrooks - Inside the HeadsPetalpusher - Breakin It Down (Migs Dub)Atjazz - Come & PlayKerri Chandler - I KnowBlaze - Lovelee Dae (Primitive Dub)Romanthony & DJ Predator - Music Mind

Owner of Marine Parade Records and one-half of the production crew Tsunami One, Adam Feeland, released a breaks album called "Coastal Breaks" in 1996. At that time Freeland, Rennie Pilgrem and Tayo were hosting a party called Friction. They coined the term "nu skool" to describe the music that they were playing. Other dj's and producers such as Uberzone, Plump DJ's and Aquasky have since pioneered the nu skool arena. Hybrid was one of the prominent artists to come out of this revolution. In 1999 they released their first album called Wide angle. The compilation was a combination of progressive house and nu skool breaks with vocals and symphonic textures. While they may not necessarily be the originators of the genre, Hybrid was one of the most widely known artists that were producing "progressive breaks."On the other side of the spectrum there were groups like FreQ Nasty. FreQ Nasty broke down barriers with his music from tracks like "Boomin Back Atcha" to "Move Back". FreQ Nasty was mostly featured on the label Botchit & Scarper.By the end of 1999 Botchit & Scarper were gearing to change their name to Botchit Breaks. Distinctive Breaks Records was formed shortly after featuring artists such as Way Out West, Icey, Nick Hook and Hybrid.The nu skool sound had been characterized by most people as slower tempo drum & bass. It was unlike the funky Florida sound or big beat. The primary distinction was in the often growling, sometimes sinister basslines where the funky style of breaks had a lot of focus on using popular samples from funk songs, 80's pop and hip hop. Florida breaks was also influenced by Miami bass which was described in Episode 21. The most notable artists in the Florida breaks scene were DJ Sharaz, Icey and Baby Anne.While the Orlando scene was highly popularized due to Baby Anne & Icey, it mirrored the nu skool sound while still retaining it's "Florida" feel. However Tampa, FL had forged its own unique sound which was very heavy on sampling and became one of the most notable sound in the Florida breaks category of music. Tampa's biggest pioneers were Huda Hudia & DJ Volume. They formed Kaleidoscope Records in 1997 and churned out 20 classic records before the turn of the millenium.Since Florida was a prime area for drug trafficking, use of MDMA & cocaine had continued at a high level. A case study performed in 1999 by the DEA showed 3500 drug violation arrests. Around this time a drug known as GHB was being widely used around the country, especially in Florida. The drug was originally meant to be used as a sedative or sleep aid but became recreationally used in the latter period of the nineties. The drug was also popularized by date rapists as high doses of GHB would create a coma-like sleep that would last several hours. In 1999 GHB had become a Federally controlled substance and people became more alert to it's side effects.This mix was recorded live in 1999. It primarily focused on the nu skool sound which was quite popular at the time, however the end of the mix delves into some of the Tampa style of breaks with Huda Hudia, Sharaz & DJ Volume on the tracklisting.FreQ Nasty - Taking LibertiesRaw Deal - OscillatorsTonic & NG - PhoenixTonic & NG - San SiroBT & Tsunami One - Hip Hop PhenomenonLenne de Ice - We are I.E.Inner City - Good Life (Way Out West Remix)DJ Volume - UnknownDJ Volume - Get Loose (Sharaz's 4:20 Remix)Pull's Plastic Playground - 4 On The FloorHuda Hudia - Drop The Bass Now (Woofer Candy Mix)

In 1990 a teenager in Montreal named Ryan Lair had begun his days of partying in the gay house music scene. At the time the only place you could go to hear this type of music was at a club called Crisco. Within a year Ryan found himself promoting for the first rave in Montreal, titled Solstice. In 1991 the Montreal rave scene was made up of parties in warehouses. The early rave scene was a combination of the gay house music clubbers and a new breed of young party people. The vibe of Montreal throughout this time was centered primarily around house music. Ryan had soon entered the dj circuit as RC Lair and had developed a following in Montreal. In 1994 he moved to Phoenix, AZ to experience a completely different scene. The rave scene is Arizona was mostly into speedier tempos. Soulful house music was not widely accepted and genres like hardcore, trance and drum & bass dominated the scene. This would continue to be the pace for the Arizona scene for years to come.In 1994 an annual party had come into being, hosted by Swell/Basshead Productions, called Musik. Swell was the name of a clothing/record store that was owned by Alyssa & Russ Ramirez, however the production company also included Scotty Mckenzie. The annual Musik event had become a much respected event throughout Arizona, hosted on the last Saturday of every month. It was considered blatant disrespect for any other local promoters to host parties on the same night. However Wise Guy Productions, led by Darren Blatt, took on the challenge by hosting Tranceformation on the same annual date. In 1998, Musik was held at the Hyster Building which was a warehouse near the intersection of Ninth Ave & Madison. The party featured Superstar DJ Keoki, Mike Dearborne, Kelly Reverb as well as RC Lair and was also hosted by Z-Trip. Unfortunately the party was eventually busted by the Phoenix police. The bust allegedly took place after Ramirez had shown all of the party permits to the police officer when a kid lost control of an acid trip, took off his clothes and ran outside naked.Another popular event in Arizona is the annual Earthdance. The idea was conceived in 1996 by an artist/musician named Chris Deckker as a vision to unite the whole world through the universal platform of dance & music. Earthdance has become the largest globally synchronized event in the world. What began in 1997 with 22 cities in 18 countries has grown exponentially each year. The 1998 Earthdance was hosted on Saturday October 10th in a giant airplane hanger Mesa, Arizona and drew a crowd of 1500+ people. However it was busted by 1am and moved to the Nile Theater which was the alternative location. The lineup featured dj's like Pete Salaz, Hipp-E, Lego, and Kevin Brown. At 12 midnight GMT every dj around the world played the same track for world peace and at the same time unified dancefloors and all the dancers.1998 also saw the continued pursuit of desert raves, which had always been popular in Arizona. One special event during this year was the Emerald Forest parties. The venue was nestled in the foothills of Tonto National Park in a tiny valley that was known as "The Emerald Forest." Emerald Forest 2 which was hosted on May 9, 1998 featured a lineup of Adam Case, CL McSpadden, and Mitch Mills. The follow-up to this event was hosted later in the year on October 3, 1998 featuring 9 dj's playing mainly trance, hard acid and drum & bass.During the same year a popular house music & garage night had open up called Red Monkey at the Riverbottom Lounge. The event was hosted by Pete Salaz who, like RC Lair, had a deep passion for house music and soulful melodies. Overall the crowd was mature but there was a definitely mix of ravers and non-ravers.This mix is a session of deep house and tech house from 1998. The reason I chose to host this along with this chapter is because I can relate to the way that RC Lair felt when moving to Arizona, expecting crowds to love the house music he was playing but he had to develop himself and transform his sound, tailoring it to the crowd and the venue. This is something that I have to do on a weekly basis when I travel from city to city or from venue to venue.David Alvarado - T.O.Two Right Wrongans - Straight Ahead Then Take The Next WrongAdam X - Deepest MemoryOmega Man - Imaginary TripVincenzo - King's Last RideSolomonic Sound - Seeing ClearKenny Hawkes - Sleaze DubbingMannequin Lung - City LightsFreestyle Man & Morris Brown - Remedy

As the drum & bass sounds of the mid-nineties began to move towards lighter sounds such as that of intelligent or jazzy drum & bass. In 1996 there was a rise in drum & bass sub-genres such as "hardstep," "techstep," and "darkstep." These were attempts to bring the genre back towards it's darkcore roots. Techstep became a big deal leading up to the later portion of the decade. The genre, while deeply atmospheric, was often characterized by samples from science fiction themes mixed together with cold and complex percussion. By 1998 all of the genre splitting had come to an end for a short time. More genre splitting would occur after the change the millenium however.This mix was recorded live in the garage of my parents house and represents exactly what my style was like back then. However I certainly did steer more towards techstep for the majority of my days spinning drum & bass.Vortexion - This Side DownMatrix & Dom - The VandalCalyx - NarcosisDT - CheckmateFlex Camp - Style WarsAphrodite - Acid JunkyEZ Rollers - Tough At The TopFuture Cut - PlasticDJ Tek - The Year 2000

While Cybotron, the first major release from Juan Atkins in Detroit, may be considered the first techno record it is also arguably known as the first electro record. Across the United States, Afrika Bambaataa released "Planet Rock" in 1982 while Hashim released "Al-Naafiysh" in 1983. Electro was dominated by staccato, percussive rhythms with heavy use of effects such as reverbs and delays. Electro was a primary influence in the development of Miami Bass.Miami Bass became popular at the start of the 90's. The genre was a type of rap music that was geared towards fast-paced dancing. 2 Live Crew is said to have a large influence and with their hit singles like "Me So Horny" the genre became more widely popularized. By 1993 the underground sound of Miami Bass was becoming extinct as groups like Tag Team released "Whoomp! There It is" and Quad City DJ's with "C'mon And Ride It (The Train)." These releases made it onto mainstream radio and many dance cd compilatons. With the commercialization of Miami bass, a few dedicated dj's in Detroit began similar productions of their own. DJ Assault & Big Red were a hip hop group that dj'ed fast-paced dance music. While working at Buy-Rite Records their owner encouraged them to incorporate techno into their mixes. Right around the time that they signed with Buy-Rite Records, DJ Godfather was popping up on the Detroit scene. DJ Godfather and mentor DJ Dick had put together a couple of bass singles in 1993 and 1994 as Bass Association. In 1995 they founded Twighlight 76 along with DJ Nasty, moving their production in a more techno direction but still combining Miami Bass samples. Leading up to this point the electro & techno community in Detroit was a primarily black scene. By the mid-nineties a white teen from Ann Arbor, Michigan had climbed into the DJ scene and started combining Detroit's new style after seeing Assault and Godfather at a rave. The style of this sound was often considered to be "fast stuff" or "mix show music" but Disco D quickly coined the phrase "ghetto house." This term rubbed the originators of this music in a very wrong way, however the name stuck. The term also has other monikers such as booty house and ghettotech.Booty house took on it's shape around 1992 an features stripped down, 4 to the floor, drum-machine driven tracks layered with sexually explicit lyrics. It was also known as Juke House upon it's conception and was said to be founded in Chicago. Ghettotech is the cousin of Juke/Booty House and follows the groundwork described earlier regarding Detroit and the incorporation of techno, juke house and electro gave it a Miami Bass feel.This mix was recorded in 2003 but the wax selections are from 1995-1997. This recording, like many of the previous, has never been distributed. This particular mix never had a name associated with it and I shortly gave up mixing this genre after the tape was dubbed.DJ Slugo - BallsDJ Slugo - Track Is For The MenUnknown - Beat That Shit UpDJ Godfather - Playa Haters In Dis HouseTwighlight 76 - Roll It, Ride It, Shake It (12" A Side)DJ Deeon - Where The Hoez (Uh Oh)Dance Mania - T-N-E = TarisBig Daddy Rick - Hoe Bend OverDJ Godfather - PumpUnknown - Giggle DatBig Daddy Rick - Beyond The InfernoBig Daddy Rick - BalloonsTwilight 76 - Roll It, Ride It, Shake It (12" A Side)DJ Nasty - Where Them Hoes AtDJ Slugo - Wouldn't You Like To Be A HoeFarley Jackmaster Funk - Beat That Bitch With A Bat

Since 1990 Nicole Maalste had been studying drug use and drug cultures in the Netherlands. In 1995 she started a project, subsidized by the Ministry of Health, that would monitor "risky behavior" and drug use at raves. The study found that one-third of partygoers have felt ill at raves but only 10% actually sought out first aid which was typically provided at most large scale events. As raves continued to become more popular these facts were mirrored across the world.In 1997 a drug monitoring system reported that the ecstacy market had become polluted as chemists began using other drugs in the pill make-up, but selling them as pure MDMA. Such things had been seen in the past but with raves continuing to make an upswing the total number of partygoers using ecstacy was on the rise, creating a growing number of pill mishaps. That same year a magazine called NewScientist published as article that started out by saying "Panic reigns. Fear overwhelms logical thought. Pointless activity replaces reason, and sensible advice is no longer heard." The article actually did not scrutinize the use of ecstacy but called more intense studies to action so that the public can become more informed about it's effects. The article also called for organizations to honestly present the forthcoming information.Fastforward to February 1999. An organization called DanceSafe was founded by Emanuel Sferios. DanceSafe became a self-described harm reduction organization that promoted health and safety within the rave and nightclub community. The nonprofit group began sending volunteers to raves to test pills that users believed to be Ecstacy. The group was under immediate scutiny because the testers would hand the pills back to the individual. Approximately 28 chapters were established around the country, some operating under different names such as FLOWER in Pittsburgh.In an ABC News chat transcript DEA representative, Steve Casteel, and DanceSafe founder Emanuel Sferios were questioned on many aspects of their work. When asked if he has ever been to a rave, Steve Casteel replied that he had been in attendane at events as an attempt to get a feel for what was going on with the ecstacy culture. The DEA representative reported that earlier in the 90's ecstacy seizures were relatively small but nearing the latter portion of the decade the number had grown to the millions.Rewind back to 1997. Global Underground was reflecting the performances of high profile DJs in venues from around the world. The first five installments of the series was recorded in their perspective clubs. The original was mixed by Tony De Vit in Tel Aviv and released in November of 1996. The second installment was never released. By March of 1997 the third installment featured Nick Warren live in Prague.Nick Warren also became a part of the group called Echo which soon changed their name to Way Out West. Their debut was also in 1997 with an ablum that spawned singles "Blue," "Domination," "Ajare," and the UK top 15 hit "The Gift." In the early nineties, ravers found their information through online email networks. The most notable were PB-Cle, SFRaves, SoCal-Raves and DC-Raves. A member of MTN-Raves named Sarah Gianetto built the AZ-Raves website when the MTN-Raves mailing list seemed to be growing overpopulated. In the summer of 1997 she helped form a booking management company and record label with DJ Inertia. Their first release was "Time" by The Dream Traveler, which had become an international hit and was chosen as the opening track for Paul Oakenfold's legendary "Tranceport" compilation. The same song was illegally used for the production of Britney Spears: Live In Hawaii. This mix represents some of the underground progressive house that was produced in the 1997 era. Some names in the credits that are worth noting are Peter Presta, John Digweed, Victor Calderone, Way Out West and Noel Sanger.Aleem - We Try To Do Our BestTipple - The DriftDJ Gordon - Moonshine BoogieVictor Calderone - Price Of LoveBBC Click - I'll Do 4 U (Peter Presta Remix)Chupher - Funk 2 Nite Freespirit - TwilightClanger - Seadog (Way Out West Remix)Chakra - I Am (John Digweed Remix)Noel Sanger - All We Are (1997 Mix)

In 1995 a website named Erowid was founded by an organization called “Fire & Earth Erowid.” The site actually remained as a part-time project up until the end of the 90’s. The website specialized in the controversial niche of providing accurate, specific and responsible information about how psychoactives are used around the world. The site soon became a cross between a library and a journal.During that same year a jewelry maker named John Dwight wrote a letter to the city to request a traffic tunnel to shoot for a “promotional video compilation.” The idea was initially used during the filming of Stephen King’s “The Stand” which took place in Pittsburgh. However, Dwight’s motive was not to simply shoot a video but to throw a party – Tunnelvision. The city approved and this event went down as one of the most legendary parties on the East Coast. The Tunnelvision party hosted artists like DJ Sun, Speedy J and Dieselboy. The stage was set up with a wall of television sets next to the dj booth and 1500 ravers danced around in baggy clothes. Halfway into the night a large man stripped down naked in the middle of the party and began humping the speakers. He then attempted to charge the television sets next to the booth but was stopped by Joe Lesesne. The naked man was then loaded into a minivan and kept safe for the rest of the night but became an implanted memory for party attendees. Midway into the night, neighbors in the surrounding area began complaining over noise. This sparked media interest. The event hit the news by the next morning and marked as a turning point for the Pittsburgh scene. In 1994 Fuel Productions, headed by Rick Worth aka Stickman, hosted Synovial Fluid. The event featured Deadly Buda, Ryde, and Dieselfboy. This was one of the largest Pittsburgh raves during that time period. A week after Tunnelvision, Rick Worth hosted a party at the Washington County Fairgrounds. They had forecasted that the party would pull at least 1000 people, however only 300 showed up. This marked Pittsburgh’s first slowdown. Across the United States in the deserts, Full Moon Gatherings were growing in popularity. Around 1993 a group of individuals had felt that the rave scene was becoming too commercialized. Their inspiration came from the Wicked full moon parties in San Francisco. The first Full Moon Gathering was hosted o in the Lake Castaic region north of Los Angeles. sound system was soon brought into the desert, however the first few events were nothing record-breaking and attendance was low. Soon the crew was completed by DJ Daniel, John Kelley, DJ Brian, Dj Treavor, Petey, Mr. Annand and Tha Roman. In February of 1997 directions were given out over KCRW radio and an attendance of over 2000 showed up for that particular Full Moon Gathering. In the morning of that event, helicopters flew over the party and police in riot gear descended upon the crowd. Following this, Moontribe began making their events more difficult to access by limiting advertisement of events and finding land far away from civilization.In 1995, however the scene was experiencing a boom coming out of Chicago. Carlos Sosa aka DJ Sneak developed a new sound that would revolutionize house music forever. The disco filtered grooves became Sneak’s signature sound. The new sound would inspire artists such as Daft Punk and Basement Jaxx. In 1996 people all around the world were taking cues from Chicago house. Boris Dlugosch produced vocal house bomb “Keep Pushin.” At the same time Strictly Rhythm Records had become one of the first dance labels to recognize the value of actively licensingsingles to non-US territories and actively exploited the advantage. The label continued to push out songs regularly, along with Henry Street Music which license The Bucketheadz popular track “The Bomb.”Armand Van Helden - Mecca ToastNorty Cotto - Time To Rock A PartyDJ Sneak - Throw Your Hands UpDa Mongoloids - Spark Da Meth (Bangin Like A Benzi Mix)Aleem - Filtri OrganiRuffneck - Everybody Be SomebodyBoris Dlugosch - Keep Pushin' (Pushin Mix)Freestylers - Don't Stop (Deep Energy Mix)ATFC - In & Out Of My Life (Lab Rats Dark NIght Vocal)That Kid Chris - I Believe

Rewind to San Diego, 1986. Leading up to this year die-hard San Diego party kids make a 2 hour drive to downtown Los Angeles. Many of the popular Los Angeles parties in the mid-80s were hosted in hotel banquet rooms. One of the most famous was The Park Plaza Hotel. When Todd Zweig went on a trip to Ibiza, Spain that year he had a refreshing musical experience. The massive parties and Balearic dj style ignited his motivation to put an end to the two hour drive to LA and give people in San Diego an event that brings all types of people together under one roof. This was the birth of Playskool.Playskool, which was eventually renamed Playscool after legal confrontations with the Hasbro Toy manufacturer, was held at Hotel San Diego at Broadway & State Street. During this time the acid house revolution in Europe had not even begun and dj's mostly played artists like The Cure, Aerosmith and Anita Ward. By 1988 Playscool had become so big that Zweig made his first arrangements to use the San Diego Sports Arena.Zweig had hired George Kreiger who promoted and staged bungee jumping demonstrations for this first event at the Sports Arena. The bungee jumpers were to run across the rafters dressed as police officers and descend upon the crowd as a joke. During practice an operational error took place which led to both jumpers falling to the floor below. No casualties took place but the situation led to a lawsuit which had eventually become case law titled American Casualty vs. Kreiger. After this incident happened in 1987 the decision was made to make Playscool a yearly event.In 1989, Mark E. Quark was asked to take over Greyboy's "World House" night at Soma on Market Street in San Diego. The event was a copy of Bart Blackstone's "One Nation Under A Groove" events. However the "World House" night came to an end within a couple of months only to re-open shortly afterward with Mark E. Quark as the resident dj, supplied this time with more promotional power. The second run was highly successful with turnouts of 600 - 1000 people per weekend. At this time Quark was mixing between artists like Front 242 and Nitzer Ebb as well as Lords of Acid, Phuture, Lil' Louis and even some disco & funk. However as time pushed on there was less industrial and more acid house being released. While it was new at the time, acid house was positively received in San Diego however it wasn't until he began playing Belgian & Detroit techno around 1990 when people would go completely apeshit for the music.In 1991 Mark E. Quark was living in a warehouse space at 9th & G St with Brian Weinberg who owned and rented out sound systems for various parties. Brian along with Paul Smith, who was the Playscool arts director, came together as SkinTwo Productions and threw several parties at the warehouse, aptly naming them "Ware's The House." These were some of the first warehouse parties in the city. Around the same time frame a DJ named Daemon showed up to an underground warehouse party hosted at a different location. He got into the party by carrying his records, posing as a dj. Once he got in he was greeted by Mike Lee who took him to the dj area. The previous dj had become too fucked up on drugs to continue holding the crowd and Daemon jumped into the dj booth to help create some movement on the dancefloor. At this point it was announced that Daemon would be the resident for the upcoming MicroRave events hosted by Mike Lee & Claudio Canive. These were considered to be the more underground events and others like them continued to spring up hosted by such crews as Double Dipped, Global Underworld and Outlaw.Until this time period the police had actually, for the most part, accepted raves. They were glad there was no violence and drug use had not yet become rampant. Similarly, any drug use at the time was typically ecstacy which the police saw as a happy drug. On July 22, 1994 an incident would shake the foundations of the San Diego rave scene. At a Moonlight Massive party hosted under the 8 Freeway at the end of Juan Street there was a shooting that killed two 15 year old boys, reportedly over drug money. The murderer had been on acid himself and had reportedly killed the wrong people. Partykids were detained at the scene for several hours as police investigated the crime. The incident showed all over the news and had become a major down-turn for San Diego raves. Promoters became more cautious and sometimes feared throwing events while police and the media began to keep a close watch on parties and venues.By the mid-nineties Global Underworld Network was hosting the famous Narnia events. These events would host such talents as Deelite, DJ Dmitri, and the Wicked Soundsystem. By 1996 Playscool reached their 10-year anniversary on October 4th. The lineup featured six rooms of music which included acts like Rabbit In The Moon as well as Sandra Collins and Planet Soul. In 1997 the American Casualty vs. Kreiger case had come to a close and Todd Zweig had decided to retire from hosting events.This week features a blend of house music from the entire portion of the mid-nineties including some tribal tunes as well as classic house. The graphic for this mix was taken from a flyer for a San Diego based rave that featured Mark E. Quark, Daemon, Hipp-e and DJ Dan.Mr Oizo - Kirk (Intro)Francois K - Edge of TimePeace Division - Faze KDanny Tenaglia - Bottom HeavyLoose Pigeons - The Logical Song (Henry St Remix)LoSoul - Open DoorThat Kid Chris - Black Jack (Radio Edit)Cevin Fisher - Music Saved My Life (Hard Mix)95 North - Who's Hoo (Dub Mix)Seeds & Stems - Get U HighStatic - Anthem (Let There Be House!)

In 1994 Paul Oakenfold broadcasted a set on BBC Radio 1's Essential Mix that was largely inspired by beach parties taking place in Goa, India. The two hour mix was seperated into two parts, one half being the Silver Mix and the other being the Gold Mix. This mix was a springboard for many producers such as Li Kwan, Salt Tank & Vanelis. Around this time the popularity of trance was beginning to rise. During 1994 the trance scene was continuing to develop. Listeners grew increasingly interested in trance not because of the complexity in rhythm but from the complexity in melody & harmony. Many trance songs began to incorporate a method called "gating" which turns the volume up & down rapidly om a rhythm piece to create a stuttered or chopped sound. Ecstacy had quickly become a primarily trance drug while LSD was also used very frequently in the trance community. The swooping synth patterns and the gated vocals in trance was a stimulating effect while using these drugs. Similarly dancers would take advantage of the breakdowns in trance music to break from dancing and take in long breaths of air. This rushing sensation would then build as the buildups in the music reached their peaking point.By the mid-90's came the introduction of vocal trance which added vocals and a pop-like structure while producers like Robert Miles were pioneering dream trance. One of the most famous dream trance productions was "Children" by Robert Miles.Other producers would move in a different direction. DJ Scot Project is often hailed as the founder of hard trance. Hard trance focused on pounding beats and more simplistic synth pads. It also incorporated more of an emphasis on acid sounds. This was taken to the next level with the acid trance genre which actually held more similarities to that of acid techno.Near the end of the 1990's many of the producers that pioneered the sound of trance had abandoned the genre completely. Oliver Lieb who debuted in 1993 as LSG was one of these producers. Li Kwan - Point ZeroLuxor - Superstitious (Nursery Mix)Coloured Vision - Violet RainAlbion - This Is ForDJ Jamo & Jack Knives - Strings Of HeavenSkylab - AccidentScot Project - U (I Got A Feeling)

Between the year 1995 and 1996 jungle began splitting further into other sub-styles. What was once known as jungle was now being recognized as drum & bass by newcoming fans. During 1995, P-Funk introduced "P-Funk Era" which would revolutionize the sound of drum & bass as many artists began to incorporate more rolling basslines into their production.During this same year jungle became more commercialized. Though he was mostly intrigued by acid house and Detroit techno, Alex Reece rose to become a very influential name in the jazzy/intelligent drum & bass scene. Although remaining an underground genre, Goldie's "Timeless" sold 150,000 copies in the UK alone. Goldie also formed his label Metalheadz in this time period which signed Doc Scott, Dillinja, and Photek. Intelligent drum & bass was seeing a large popularity while the jungle sound of the early 90's had slowly begun to fade away.In 1996 Grooverider coined the term "hardstep" for a new wave of drum & bass productions. Hardstep was a move dancefloor oriented style when compared to intelligent drum & bass and the language of the track composition incorporated the same rolling bassline that was becoming widely used in the previous year. From hardstep there immediately came techstep and darkstep.P-Fun - P-Funk EraAlex Reece - Pulp FictionDJ Pulse - Let You In (Wax Doctor Remix)88.3 feat. Lisa May - Wishing On A StarAphrodite - Wanted It More & MoreRichi & Jmj - Free La Funk (Pfm Remix)Jon The Dentist - France (DJ Trace & Ed Rush Remix)Roni Size - SecretsBigga World - My Perspective Adam F - MetropolisAquasky - Images

Some Orlando, FL doctors estimate that there were approximately 60+ drug related deaths in the city between 1991 and 1997, many of which were linked to the Orlando rave scene. The city had risen quickly and fell quickly due to the widespread amount of excessive drug use. Heroine was very popular in Orlando during the mid-nineties and was actually so much of a problem throughout the city that the police worked to take control, creating "The Rave Review Board" which would impose a curfew on nightclubs which would end any afterhours activity. Since Orlando raves were always held in nightclubs their scene, knocking out the majority of rave promoters from the city as they began looking to the suburbs.The beginning of the Orlando rave scene can be traced back to a club called Oz. The main promoter of Oz, Stace Bass, had two major residents: Kimball Collins and Dave Canalte. Dave Canalte eventually became musical director for Disney's Pleasure Island.DJ Icey's roots date back to the same period but at a club called Sub-Zero where he was growing an appreciation for breakbeats. He soon moved on to play at a club called Edge which was supposed to have a Top 40 theme - but not under Icey's watch. With the club packed every weekend from 1991 to 1997, Orlando was growing on the rave map. But simultaneously the drug situation inside The Edge had gotten out of control. The crowd members were often considered to be "gangster ravers." A backlash to these happenings came from within the scene.Firestone nightclub opened up in 1994, hosting primarily progressive house acts. Progressive house was considered to be a more mature sound and in clubs like Firestone a dresscode was enforced. A split in the scene had become evident with "Edge kids" on one side wearing JNCO jeans, doing ecstacy or heroine and listening to breaks. The other side were "Firestone clubbers" who were dressing up, doing cocaine and listening to progressive house.Funky breaks in Florida caught on primarily because it was a fusion of styles. The area was already big on electro. There was also the booty shaking music of Miami bass. Funky breaks combined these two but with more of a rave essence. It was also widely accepted because it sounded like a hip hop version of techno/house. In the early to mid-ninetees you would see breakdancers popping and locking at events.This podcast presents some popular breaks tracks that were released between 1993 and 1996. It illustrates some Florida breaks like Icee and also the sounds of UK Big Beat producers like The Crystal Method and Chemical Brothers.2 Bad Mice - BombscareDJ Icee - Gotta Get SomeThe Freestylers - Don't StopDJ Icee - Tricks ThemeSilicon Valley Def Stars - Phat PhuzzThursday Club - A Place Called AcidLionrock - Packet of Peace (Chemical Brothers Remix)Anoesis - Trouble Down GrooveThe Crystal Method - Keep Hope AliveChemical Brothers - Chemical BeatsThe Woodshed - Reefaman Cometh

After the 1994 Criminal Justice Act nearly left the British free party scene in ruins many traveler artists moved away from Britain to Europe, United States, Goa (India) and even Australia’s East Coast. The free party ideology spread through Eastern Europe. This period marked the rise in French, German and Dutch sound systems and Teknivals.A teknival is a free event where any artist who enters is encouraged to participate, often leading to several days worth of randomly placed sound systems, cafes, tents and vehicles. The most famous free party sound system was Spiral Tribe which originated in West London and hosted the Castlemorton Common Festival in 1992 which drew a crowd of 35,000. Some say that this event had a huge impact on the lawmakers to develop the Criminal Justice Act.The musical background of techno truly resides in Detroit. The blueprint for the entire genre developed from the Belleville Three: Juan Atkins, Kevin Saunderson & Derrick May. Derrick May described techno at one point as “It’s like Detroit. A complete mistake. It’s like George Clinton and Kraftwerk are stuck in an elevator with only a sequencer to keep them company.”The instruments utilized by the original techno producers in Detroit included drum machines like the Roland TR-808 and bassline generators like the Roland TR-303. The TR-808 was developed to assist artists in making demos of their music and the TR-303 was developed to assist practicing guitarists with bass accompaniment. A second wave of techno producers soon came onboard. The Belleville crew was joined by artists including Carl Craig, Kenny Larkin and Stacey Pullen. Underground Resistance was also defining their own sound with artists like Jeff Mills, Mike Banks and Robert Hood. UR was a group of artists who viewed themselves as a paramilitary group fighting against commercial mainstream entertainment.In 1990, Richie Hawtin and John Acquaviva started the Plus 8 record label which was based in Ontario. Many of the initial releases were industrial hardcore recordings. One of their last hardcore pressings was Cybersonik’s “Thrash.” They decided to depart from their hardcore concept when they played a club in Rotterdamn in 1992. The resident dj was playing “Thrash” when the crowd began to yell an anti-semitic football chant. They were prompted to change their musical direction by slowing down their tempos and engaging more funk and soul into their music. The label had eventually taken a sabbatical in 1997 when Acquaviva decided to concentrate on dj’ing and Hawtin began a new label called Minus.This podcast captures the sounds of various regions that participated in developing the sound of techno as a whole, ranging from Paul Johnson in Chicago to Hardfloor in Germany and Funk D’Void in Barcelona. The timeframe for this music is dated to 1994-1995. Nerk - Nok 1Tok Tok - Snack 1Hardfloor - Into The NatureFloppy Sounds - UltrasongSlam - Positive EducationRobert Hood - UntitledDJ ESP aka Woody Mcbride - Slow MoChristian Vogel - TimeHardfloor - Beavis At BatPaul Johnson - Bouncing Bed SpringsPaul Jonson - TenaciousSoup - ExposureFunk D'Void - Jack Me Off

In 1994 Armand Van Helden released his first major track titled “Witch Doktor” which made it to the top 5 list on the Billboard Hot Dance chart. On the other hand Erick Morillo was continuing to pump out classic tracks. He had first gained speed with his productions under the pseudonyms Reel 2 Reel, RAW, and Lil’ Mo Ying Yang. In 1994 he produced “I Like To Move It” under the Reel 2 Reel name which hit #1 on the Billboard Club Play chart. He immediately began traveling the world to play gigs, eventually becoming a millionaire. The song was used in television as well as in the 2005 Dreamworks film “Madagascar.”In the early nineties Danny Tenaglia first began remixing music. One of his earliest remixes was of Right Said Fred’s tune “I’m Too Sexy” which was released in 1991. In 1993 he released a remix of Jamiroquai’s “Scortching the Planet Earth.” In 1994 he remixed Madonna’s “Human Nature.” Tenaglia’s first epic tune was actually The Daou’s “Surrender Yourself” in 1993.In 1994 Saved By The Bell hosted an episode titled “The Rave” where Zach and the gang host a rave to fund their trip to Cancun, Mexico. That same year Beverly Hills 90210 also featured an episode where the crew attend an underground Easter party. Growing awareness of underground events at this time led to a growing interest in the media to hype and exploit the rave culture using drugs as a main link behind each story. Part of this was also due in part to the Criminal Justice Act of 1994. The new spark in media attention broadcast the reality of raves to the ears and eyes of people everywhere, igniting yet another wave of ravers that channeled themselves into the circuit.That same year Buzz in Washington DC ended their year-long run at The Eastside Club to re-open for short periods at both The Ritz (which is now an office building) and again at City Lights (now Love Nightclub) before they settled in at The Capital Ballroom in 1995. The first full-on "Supersting" event by Buzzlife was hosted in 1996 with a brilliant lineup featuring Carl Cox, LTJ Bukem and Laurent Garnier.Armand Van Helden - Break The 80sBrooklyn Queen Express - Musek (Roc Hard Mix)Roxy - Love To Do It (Danny Tenaglia Remix)Syncopation - All Washed UpCajmere - Brighter Days feat. DajaeGeorge Morel - Don't Give UpPraxis - Turn Me OutAngel Moraes - I Like ItSmooth Touch - Take A Trip (Erick Morillo Remix)The Daou - Are You Satisfied?

In 1991 Chris & James Griffin started a small dance party in Cheltenham UK. This night eventually became known as Trance. Chris & James soon decided to part ways to hold their own individual parties. Chris formed Perception while James went on to organize Fantazia. New Years of 1992/1993 was the 6th Fantazia event and possibly their largest, with an attendance of 16,000. In 1992 Jaydee aka DJ Robin Albers released the classic hit called 'Plastic Dreams' on R&S Records. The track hit #1 on the US Billboard's Hot Dance Music/Club Play chart.With an idea originally conceived by Eddie Gordon, DJ Pete Tong began hosting the Essential Mix. The first broadcast hit the air on October 30, 1993. While The Essential Mix was usually pre-recorded and played via studio there were also live versions of the show that branched from venues in the UK to other areas such as Ibiza, North America, Germany, and South Africa.While it was always accepted that Age of Love was the first trance tune ever pressed, Dance 2 Trance was considered to have released the second trance pressing ever titled "We Came In Peace." Progressive trance became a popular sub-genre which contains elements of house, techno and ambient music while trance focused more on anthemic qualities and melodies, moving away from arpeggiated analog synth patterns. Compared to the classic definition of trance, the progressive subgenre was deeper and more abstract, however continued to maintain the three typical structure elements of build-up, climax & breakdown. Meanwhile uplifting and epic trance took their buildups and breakdowns to an exagerrated point.The genre immediately began to rise in popularity, finding it's niche in being 'edgier' than house, more soothing than drum & bass, and more melodic than techno.This podcast demonstrates again the rise of trance in a compilation of very popular songs from 1993. Next week we will look again at "progressive" dance music as we begin to move into 1994, prior to returning to the house and techno sounds of the mid 1990s.Jaydee - Plastic DreamsWith It Guys - Let The Music Take ControlStrategy - High EnergySourmash - Pilgrimage To Paradise (Barrel Beat Mix)Nico - DarkstarJagga - FinitoGolden Girls - Kinetic (Frank De Wulf Remix)Humate - Love Stimulation

As stated in Wikipedia the term "electronica" encompasses a wide range of contemporary electronic music. The music is designed for a wide range of uses which can include foreground listening, some forms of dancing, and also background music. Electronica soon became a catch-all phrase for ambient, chill-out, downtempo, downbeat, and any abstract forms of electronic music. The focus on songs, a fusion of styles, and combination of traditional along with electronic instruments often sets electronica apart from straight ahead styles like house, techno and trance.In 1991 Autechre released their first single titled "Cavity Job" but did not release a full album until 1993. In 1989 Moby signed a contract with Instinct Records and releaed "Go" which reached the UK Top 10 in 1991. In 1992 Aphex Twin released his first album "Selected Ambient Works 85-92" which came out on R&S Records, the same label that released Beltram's Energy Flash. In the rave scene the earliest mentioned chillout room was at Konspiracy in Manchester, UK. In chill rooms people would often find couches accompanied with dim lighting and projectors with trippy images displayed. This culture carried over into the United States as well as raves and nightclubs around the world. Every chill room had it's own personality, some better than others. The Higher Intelligence Agency helped lift chillout music from the side stage to the main stage with their Oscillate parties in Birmingham.In 1994 Sonic Soul Productions hosted their first chill-out event in Baltimore, MD. This event led to the series of "Cloudwatch" parties. In 1997 a compilation was released under the Sonic Soul label featuring artists such as Steve Roach, DJ Spooky, and DJ Who.Eric Idle & Richard Wilson - One Foot In The Grave (Wireless Mix)Mark Van Hoen - Battery EndingControl X - Ambient 4LFO - El Ef OhAphex Twin - Shiny Metal RodsMoby - Bad DaysBeaumont Hannant - UtubaAutechre - ChatterF.U.S.E. - SlacControl X - BabylonPlastikman - Plastique

The Cleveland rave culture was inspired by a college radio dj from station WRUW named Stevie T. In 1992, he along with DJs Lars Fischer, Mike Filly, and Rob Bertrand attempted their first rave together. Unfortunately it was busted by the police before it even started. Soon after this, Mike Filly teamed up with DJ Rob Sherwood to form Tone Deaf and Color Blind Productions. In June of 1992 the crew hosted TIDAL RAVE featuring a live performance by 2 Unlimited. Their second event, KOOLAID in July of 1992 featured F.U.S.E. as well as Joey Beltram & Richie Hawtin. KOOLAID took place in a warehouse near East 4th St & Prospect. In June of 1992 a promoter named Jimmie Allen hosted A MIDSUMMER'S NIGHT with headliner Sleepy C in Akron, OH.In 1993 Joe Lesesne began the PB-CLE (Pittsburgh-Cleveland) mailing list. This list grew exponentially and moved to what is now hyperreal.org in the fall of 1995.Rewind a few years back and you have what may very well be the start of the Washington, DC rave scene. Giovanni Baez can be accredited to being one of the first East Coast rave promoters, throwing parties known as Catastrophic. In 1990 Scott Henry, Tony Japzon & Charles Fields produced a party called Orbit. The first Fever event was hosted at the Paradox in 1992.Far away from the East Coast, in Salt Lake City UT, a man named Pete Ashdown along with partner John Webster had begun importing acid house to Utah. The first party was set to go off when the venue owner cancelled the arrangement. Several months and several venue issues & cancellations later Ashdown & Webster hosted "Rave 1 - Utah's First Rave." The party pulled roughly 120 people and was a mix of ravers and non-ravers. Ashdown dj'ed the whole night while his partner ran the door. He and Webster hosted two more follow-up parties in Salt Lake City while the next wave of events were hosted by a DJ named Chris Sick along with support from his girlfriend Jodi Nielsen. In 2006 Pete Ashdown ran for the Utah Senate election against incumbent Orrin Hatch. In 1992, Speedy J a Dutch techno producer broke through with a release on Richie Hawtin's & John Acquaviva's Plus 8 record label known as Pullover. Kenny Larkin who also released an influential track on Plus 8 has been described as "massively influential" on producers all over the globe.This podcast encompasses various shades of techno from both the United States in Detroit to European techno and widely know and resampled tracks such as Moby's "Go."Speedy J - FlashbackPsyance - MotionFUSE - TechnotropicMoby - GoKenny Larkin - We Shall OvercomeFellows - Last LaughMoby - Drug Fits The FaceBiosphere - Fairy TaleHardfloor - AM TripSven Vath - BarbarellaDa Sampla - With A Piece of Ice Acid Jesus - Move My BodyUnderground Resistance - NocturbulousRobert Armani - Circus Bells

Inspired by productions such as "Can You Feel It?" by Larry Heard aka Mr. Fingers, deep house emerged from Chicago around the year of 1988. Producers such as Masters At Work and DJ Pierre helped define the genre leading up the 90's. Deep house tracks had a slightly dissonant feel as the jazz elements in many of it's tracks were brought out by using more complex chord structures than previous house music songs.At the start of the 90's there was much more happening all around the country, particularly in the New England & Mid-Atlantic region spanning from Boston to New York to Washington, DC and also Pittsburgh. The sounds of hardcore had ripped through all of suburban America. In New York Frankie Bones was pushing Storm Raves which had their final party in 1992. In Pittsburgh in 1991, a shop called Turbo Zen was opened by Joel Bevacqua aka Deadly Buda. Turbo Zen kicked the Pittsburgh rave scene into high gear with the production of Power Rave in 1992 which featured Richie Hawtin, John Acquaviva & Adam X. Across the Mississippi a man named Kurt Eckes was pioneering the hardcore sound into massive rave productions. Hardcore was a perfect taste for Milwaukee as the town had an insatiable taste for heavy metal, from thrash to death. The promotion headed by Eckes was known as the Drop Bass Network. In Milwaukee it was not rare to see ravers dancing under giant goat heads and pentagrams. People in this area found rave music's most popular drug ecstacy to be "too soft." The drug of choice in Milwaukee was LSD.With the passing of the Summer of Love, the rise of hardcore and the spawn of the American rave scene there were plenty of people trying to find the style that suited them. Many of the house and techno heads continued to stick to those genres because it was what they knew electronic dance music to be. Groups of New York, San Francisco, and Chicago house music producers continued to either beef up or tone down their productions. During this time artists like Mark Farina continued to provide warmer, more ambient and jazzy sounding melodies as the deep house music scene flourished.This podcast introduces several deep house tunes from 1991 through 1994. We will embellish on house music and it's role in the rave scene in the coming episodes.Mystic Phases - Don't You Feel ItAngel Moraes - I Like It feat. Octavia LamberSuburban Soul - Do My ThingBalance - The Dance (Off Da Beat Dub)Funky Green Dogs - Reach For Me (De Dum Dub)Mark Walker & Joe Issa - Better PlaceEnrico Mantini - Kill & GoEnrico Mantini - Everday & NightBass is Base - The Spirit feat. SyndicateLast Americas - Look Listen Love (Robotman Mix)Nick Jones & Acei Carter - Shake ItK.E.L.S.E.Y. - This Way (Deep Mix)Joey Negro - Feel It

The following paragraphs are notes regarding major developments in house music in the United States. During this time there was consistent movement of records from the United States into Europe where the sounds of Chicago were motivating dj's in vacation places like Ibiza, Spain. In 1983 Jamie Principle released "Your Love" to a reel-to-reel cassette. To this day the original track is still unreleased although many bootlegs exist. Marshall Jefferson recalls in an interview on Pump Up The Volume "We thought Jamie was a god. We had no idea this was just some kid making music in his basement. I thought Jamie Principle was some millionaire from the UK. I didn't even know he was black!" Larry Heard aka Mr. Fingers produced "Can You Feel It" in 1986. His sound was noted for it's warm production style and soulful vocals that helped lead the way for the sub-genre of deep house to emerge. When Earl Smith and DJ Pierre purchased a Roland 303 bassline machine in 1984 the unit did not come with a manual or directions. Once they plugged it in the machine was preset to a strange sound. It was making a high pitched squelching noise. DJ Pierre played with the knobs on the machine to manipulate the sound. Earl Smith added drums and they sequenced it to reel-to-reel, titling it "Acid Tracks." This tape was given to Ron Hardy before the Music Box had even opened. On opening night Ron Hardy played the track and it immediately cleared the dancefloor. However, Hardy was persistent and played it again with only a few people really paying attention to it. He tried a third time later in the night and it was becoming accepted. On the fourth try the crowd went insane and the record became a hit. In 1987 Michael James, a friend of Derrick May, recorded a ballad in Derrick's studio. After Michael James left the studio Derrick May looped a part of this ballad and added drums to create "Strings Of Life." This track reached anthem status in 1989 and put Detroit techno on the map, paving the way for even more successes to come. Jamie Principle - Your Love Mr. Fingers - Can You Feel It Kevin Irving - Children Of The Night Phuture - Acid Trax Farley Jackmaster Funk - The Acid Life Bam Bam - Where's Your Child? Fast Eddie - Acid Thunder TOT - What U R The Garden Of Eden - Garden Of Eden (7" Mix) A Guy Called Gerald - Voodoo Ray Yazoo - Situation Corporation of One - Real Life Sueno Latino - Sueno Latino Marshall Jefferson - Open Our Eyes Rhythm is Rhythm aka Derrick May - Strings Of Life Ce Ce Rogers - Someday (Original 12" Mix)

"In the beginning there was Jack... and Jack had a groove. And from this groove came the groove of all grooves. And while one day viciously throwing down on his box Jack boldly declared LET THERE BE HOUSE. And house music was born." Jacking was a form of dance that spawned from "punking out." Punking out involved bending a person over on the dancefloor and grinding on their backside. The humping motion carried over and people began doing humping, jumping & pushing motions that were then considered to be "jacking." People would be seen inside the clubs jacking each other, jacking speakers, jacking the dj booth, jacking doorways, and jacking walls. It was a release for people to go to the clubs and "jack their bodies." This release was inspired by the house music. In 1983, Jesse Saunders & Vince Lawrence produced a stripped down interpretation of a song by First Choice. Jesse was also entertained by the idea of Laid Back's "White Horse" where the vocalist would proclaim "Bitch!" This exclamation shows up throughout their release. The tape was titled "On & On" and was eventually committed to vinyl in the same year, being recognized as the first official house music pressing. Jesse and Vince were still teenagers at the time. One year later Keith Farley aka Farley "Jackmaster" Funk recorded an influential Chicago house track titled "Funkin With The Drums" which was created entirely with a drum machine. Other similar records became prevalent after this. These types of records were known as beat tracks or rhythm tracks. Chicago soon had two major house record lables, DJ International and Trax. In 1986 these labels brought several hits like Farley "Jackmaster" Funk's "Jack Your Body." Farley produced his first major release with Jesse Saunders, Duane Buford & Vince Lawrence. They needed a singer that could bring a lot of soul. That singer was Darryl Pandy. The release was titled "Love Can't Turn Around." It reportedly reached Number 10 on one of Britain's music charts in 1986.Marshall Jefferson was also making waves as he created a piano rhythm that would show up on acid house tracks for years to come. This record that was released as "Move Your Body" helped house music skyrocket from where it stood in 1986 and became noteably the first major anthem for the genre. Laid Back - White Horse (Ultimix) Jesse Saunders - On & On Farley Jackmaster Funk - Funking With The Drums Again Housemaster Boyz - House Nation Ron Hardy - Baby, Baby, Baby, Aw Shucks Kenny "Jammin" Jason & Fast Eddie - Don't Want It Jillian Mendez - Get Up Nitro Deluxe - This Brutal House M. Doc & Steve "Silk" Hurley- It's Percussion Risse - House Train LNR - Work It To The Bone Farley Jackmaster Funk - Love Can't Turn Around Ce Ce Rogers - What Is House Music

It can be awe-inspiring to investigate the very roots of a culture and even more-so to realize how fast an evolution has spawned. The Moog synthesizer was developed in 1964 and was the first subtractive synthesizer to use a keyboard as a controller. Since it's conception we have seen electronic music develop for over 4 decades. Kraftwerk's album "Autobahn" from 1971 is often considered the first electronic music pressed to disc and marketed. During this time other electronic groups such as Tangerine Dream were also pressing discs. Such music had inspired Juan Atkins from Detroit who soon began a duo called Cybotron. Under this name Juan Atkins and his partner James Davis released several songs including the first pressing labeled as techno which was titled "Alleys of Your Mind" in 1981. They coined the term techno to describe any electronic sounding band such as Kraftwerk. Many people often argue that music produced by Cybotron should be considered "electro." Looking back again at the 70's there was another notable revolution. A style of music was being produced on the Salsoul record label that featured latin drums, funk guitar and strings. The label was releasing uptempo music geared for dancing. This sound became known as disco and the movement sprang forward very quickly after the release of the hit movie Saturday Night Fever. The Salsoul label was also the first to release a 12" inch single which featured extended remixes that were geared specifically for dj's. These 12" inch records were also known as the disco maxi-single. Disco had hit it big and dj's Frankie Knuckles and Larry Levan had already become established nightclub dj's from playing the gay music circuit. The two were soon invited to play records at The Paradise Garage on 84 King Street in New York City in 1977. "The Garage" became Larry Levan's dj residency while Frankie Knuckles packed up and moved to Chicago to take his place at The Warehouse nightclub. In New York Larry Levan played eclectic dance music, mixing out of disco and into Van Halen records or obscure avant garde fare like Tangerine Dream. In Chicago, Knuckles was pushing continuous mixes of disco at The Warehouse. Knuckles was very fond of vocal tracks with inspirational messages. By the turn of the eighties, few people were recording vocal disco music. Rock radio DJ Steve Dahl organized the 1979 Disco Demolition Derby at Cominskey Park in Chicago where one hundred thousand disco records were dynamited and broke out into a riot. Immediately after, the record industry had proclaimed that disco was dead. Many labels dropped their dance departments but Frankie Knuckles continued to push on by playing the songs he revered. A record store in Chicago named "Imports Etc" was eventually the only record store that continued to carry classic Philly/Salsoul-style records. With Frankie Knuckles being at the forefront of this style, other dj's were associating the Salsoul flavor with The Warehouse nightclub. The record store labeled the crates holding these releases as "House Music" or "As Played At The Warehouse" to market them. This is where the term "house music" is said to have come from. Starting in 1981 DJ's soon began running drum machines and using EQ cuts to reshape and remix the music live, taking mixing to the next level. This club-style mixing inspired by The Warehouse made it's way to Chicago airwaves with a WBMX disc jockey crew called The Hot Mix 5. The Hot Mix 5 included notable talents such as Farley "Jackmaster" Funk and Ralphi Rosari. Suddenly more dj's were coming out of the woodwork as The Warehouse flavor of music continued to inspire the black gay community in Chicago. In 1983 The Music Box opened in Chicago with resident DJ Ron Hardy. Ron Hardy was addicted to heroine during the times of his residency so he was usually high while he was dj'ing. As a result of the drugs, he often felt as if music needed to be faster. This is likely where his nickname "Heart Attack Hardy" came from. As Derrick May recalls, Ron Hardy played some of the most sensational sets of his time. Hardy always opened his sets with Welcome to The Pleasuredome by Frankie Goes To Hollywood. One of his trademarks was playing records backwards. Many do not realize this but Ron Hardy was also the first dj to drop the groundbreaking "Acid Tracks" by Phuture on a club system. It was a track that would change the history of dance music forever. However oddly enough the first time this record was dropped, the crowd cleared the dancefloor.No longer the only dj in town, Frankie Knuckles felt that it was time to step up his game. Other dj's soon caught on and it was a constant competition to one-up each other. These dj's began using two copies of the same record to extend breakbeats or cut out parts of a song that they did not wish to use. They added drum machines to their setups as well and their styles involved using more EQ cuts and faster mixing. The competition got to be so intense that dj's soon started working on their mixes in the studio, using the facilities to add more originality to the music. Clubbers began to realize how easy it was to make tracks using samplers and drum machines. This led to many non-dj's taking a step into the studio themselves, releasing their music on reel-to-reel tapes. Many of these productions consisted of nothing more than a bassline and a drum pattenr. In a matter of months the producers of these tapes began adding samples, effects, and melodies. This podcast illustrates the sounds of early electronica as well as the Salsoul disco sound. All of these tracks were playlisted by Larry Levan, Frankie Knuckles & Ron Hardy. There are some mixing styles blending in to illustrate how dj's would extend a breakbeat by backspinning as well as sampled drums beneath disco tracks. Kraftwerk - Numbers Kraftwerk - The Robots Cybotron - Alleys Of Your Mind Frankie Goes To Hollywood - Welcome To The Pleasuredome The Salsoul Orchestra - Ooh I Love It (Love Break) The Salsoul Orchestra - Ooh I Love It (Original 12") Skyy - First Time Around Instant Funk - I Got My Mind Made Up First Choice - Let No Man Put Asunder

In the context of Jamaican pop culture, a sound system was basically a group of DJs and MCs. The crews would load trucks with generators, turntables and huge speakers to set up street parties. Many of these dj's were very set on playing "exclusive" music which would only be shared amongst their own sound system. These exclusive records were pressed onto an acetate disc called dubplates. In the record industry these discs were used as test pressings to help master a recording before the track was pressed to vinyl and mass produced. After the break of 1994, the entire United States was beginning to more widely embrace jungle. Dieselboy, who at the time was living in Pittsburgh, was hosting a show on Carnegie Mellon's radio station WRTC. In 1994, Dieselboy released "The Future Sound of Hardcore" which was his first major mix. The demo sold over 100 copies online through the first electronic mailing list application known as LISTSERVs. Selling this mixtape was a slow process but it eventually snowballed into a variety of gigs up and down the East Coast. Since the term "jungle" had become so closely related to the reggae-influenced sound, dj's and producers who did not incorporate reggae sounds began to adopt the term "drum & bass." Incidentally this term was used several years prior by a London KISS FM disc jockey named Trevor Nelson to describe rougher funk melodies & "raregroove" that he was playing on the pirate radio station. The release of General Levy's "Incredible" in 1994 was another major turning point for jungle. This record featured a quote by General Levy himself which turned a lot of heads for other major drum & bass producers. Many of these producers began to feel that the genre was taking on too many violent elements mixed with crowds that were tinged with gangster type of appeal. This was the birth of "intelligent drum & bass." Intelligent drum & bass focused on warm, jazzy elements. It also featured samples that were atmospheric with deep basslines. Alongside the evolution of intelligent drum & bass, ragga became more stripped-down, featuring more aggressive snare drums. This style was soon titled as being "hardstep." This podcast is to musically chart the progression from acid house to darkcore, not quite leading into hardstep or intelligent. The previous episode did not demonstrate any tracks that featured the Caribbean dancehall/ragga style that had become and integral part of the jungle culture. That sound is found on DJ Spice's "New Stylee" and DJ Sparks "Hang Dem High." 4 Hero - Mr. Kirk's Nightmare (1990) 2 Bad Mice - Bombscare (1989) Stakker - Humanoid (1989) Rufige Cru - Darkrider (1992) Holy Noise - I Am A Nightmare Walking (1992) Aphrodite - Raw Motion (1992) Subject 13 - Armageddon Countdown (1992) DJ Spice - The New Stylee (1992) DJ Sparks - Hang Dem High (1992) 2 Bad Mice - Underworld (DJ Hype Remix)(1993) LTJ Bukem - Demon's Theme (1991)

At the turn of the nineties techno had become a catch-all term denoting anything less traditionally soulful than house music. Hardcore techno was the first fully fledged genre of European rave music. Almost as soon as it was produced and imported DJ's like Fabio & Grooverider conducted experiments with house music records that employed breakbeats and sped them up to similar speeds of 200 beats per minute. They did this with records that had noticeable breakbeats such as music produced on the "Shut Up & Dance" record label and songs like "Humanoid" by Stakker. This sort of experimentation help pave the way to the rise of UK Hardcore.Hardcore became popular in Europe in 1991 and was influenced by groups like Prodigy who put out such anthems as "Jericho" and "Charly." Acen produced the 1992 anthem "Trip To The Moon" and the music had become a fusion of pounding, fast-paced broken beats. Often this was complemented by piano riffs and pitched up vocal samples.This new style of music served as the introductory rave sound in many North American towns. Cities like Chicago, New York and San Fransisco were influenced by house music but in suburban areas and rural towns, hardcore was the first "techno" heard by most people. By spring of 1992 raves cropped up all around the United States, including cities like Pittsburgh, Dallas, and Milwaukee. In Canada, Toronto took on an "all hardcore" personality, doing their best to copy what was taking place in England. By 1991 groups of teenagers had begun to explore the house-based lineups of Toronto's warehouse scene. The warehouse scene was a very mature crowd who's aphrodisiac was alcohol. These groups of kids eventually grew disenchanted with the warehouse scene and started their own event called Exodus at an afterhours club called 23 Hop. This is where Mark Oliver began playing alongside Dr. No. While this party did not last more than six months it breathed life into the Canadian underground hardcore scene. In 1992 Alex Clive, who had been throwing parties for a year prior threw his fourth installment of a rave called Chemistry. They became ranked as one of the best-known rave promotion circuits in North America. Naturally someone had to take things to the next level...The promotions team responsible for doing this was called Nitrous which was formed of seven partners, one of which was a notable commercial DJ named Don Burns aka Dr. Trance. As Nitrous this crew hosted parties in the Ontario Science Museum and the CN Tower. With the rise of hardcore came an influx of drug use in the rave culture. The whistles and toys that were first seen in England at Danny Rampling's Shoom events became prominent everywhere hardcore was represented. Children's party accessories like glowsticks were suddenly also very popular and dancers began wearing excessively large T-shirts, wooly hats and children's bookbags. Luckily police had little worry around this time about raves. Up until this point they had remained safe as well as successful.In the winter of 1993 the fun started coming to an end for some. The period in general was very dark. Pills had deteriorated in quality, speed was being sold as ecstacy, and overdose rates increased. To mirror this there was less traditional hardcore being produced and a divide had soon grown that seperated the hardcore scene in general. Happy hardcore was one side of the rift with darkcore on the other side.In 1994 the Criminal Justice Act was passed which led to the crackdown of many illegal raves, outlawing them and preventing a large number of massives from taking place. This law also increased police powers of unsupervised "stop & search" along with an entire section that covered collective trespass & nuisance on land as well as a dedicated section to raves.This episode is a look at some vital hardcore tunes that were released between 1991-1994.Tracklisting:Prodigy - No GoodCodene - Hilton ParkVol 2 - Turbo SoundRamos & Supreme - Crowd ControlProdigy - Out Of SpaceSubdoh - SeductionYolk - Bish BoshUnknown - Mayday AnthemTyrrany - Off Me HeadUnity - Unity (FSOL remix)

During the same time that WICKED was hosting their Full Moon events another crew with likeminded ideals was formed by Malachy O'Brien, Martin O'Brien and Jason Walker. This crew started a nightclub party called Come-Unity at 1015 Folsom in San Francisco. They eventually formed an event called Gathering.San Francisco at this time was also enjoying the same Summer of Love feeling that had swept through Europe. In the 1960s people were taking acid and sharing their ideas and doing what they could to spread those ideas. At the turn of the 1990s the same notion was applying to ravers on ecstacy. Around this time parties had become similar to tribal rituals as theories of futurism and free thinking mixed with psychedelic experiences.By 1991 a man named Mark Haley had arrived in San Francisco, also coming from England. He joined forces with Dianna Jacobs from Osmosis and also Preston Lytton to form a company called Toon Town. The crew decided that their first party was going to be centered around technology which borrowed virtual reality systems, lasers and other cool computer-based gadgets. They also introduced "smart drugs" into the mix which was made up of pills & drinks concocted of amino acids, vitamins and anticonvulsants which were supposed to stimulate the body's systems. This first party marked a period for the second wave of San Francisco's ravers as a younger group of kids were in attendance and many were wearing glow in the dark outfits, doctors masks lined with Vick's Vaporub, goggles and tie-dyed clothing. This marked a period where there were two schools of thought: Wicket/Come-Unity who were focused on the same ideals as that of the 1960s and Toon Town that focused on the future. Raving had now blown up in San Francisco. Stores like HouseWares & Ameba opened up which sold clothing, stickers and mix tapes. They even sold tickets to events and passed out flyers for upcoming events. It seemed as if more parties were rapidly popping up and by 1993 there were so many people throwing parties that it was difficult to keep track of.Toon Town had driven to make it's New Years party of 1993 the biggest rave San Francisco had seen by using the Fashion Center Expo Hall on Townsend Street and organized 3D Video, Holographic Exploration Exhibitions, Virtual Reality, Interactive Video and a huge sound system and laser show. The turnout was amazing but soon after the party had ended Dianna Jacobs left Toon Town. At that time the police had begun to crack down on parties by monitoring phone lines and collecting flyers. In the Spring of 1993 WICKED had stopped promoting Full Moon parties and Toon Town had become extinct. While larger events came to a temporary halt, San Francisco continued to make an impact on the world of electronic music. Scott Hardkiss produced "Raincry" under the moniker of God Within while Gavin Hardkiss (aka Hawke) produced both "Speaking in Tongues" and "The Trip." Robbie Hardkiss made up the final part of the Hardkiss group. Together they tailored the sounds that they heard at San Francisco events into music that were sold & distributed around the world.In other regions of the world, the first Essential Mix was released on BBC's Radio 1 in the UK. Rabbit In The Moon made their breakthrough debut with O.B.E./Freak To The Beat which came out on Hallucination Recordings. Later that year Phases Of An Out Of Body Experience was released on Hardkiss Records. John Digweed and Nick Muir debuted their label Bedrock Records, named after a clubnight in London.This podcast features some of the biggest, most inspiring progressive and ambient songs from 1993 leading up to a remake of the very first trance recording which was produced in 1990 - The Age of Love.Rabbit in the Moon - Out of Body Experience God Within - Raincry Future Sound of London - Papua New Guinea Bedrock - For What You Dream Of Havana - Ethnic Prayer Grace - Not Over Yet Unknown - UnknownJam & Spoon - Age of Love (Watch Out For Stella Club Mix)

Early jungle evolved from acid house productions that sampled breakbeats. Key acid house tunes during the evolution period from 1989-1992 were 808 State's "Cubik" and Stakker's "Humanoid." Also during the same time Frankie Bones released "Bones Breaks" which was one of the first "breakbeat" productions. In the early 90's hardcore music was perceived to have become too commercial. Producers like DJ Hype, Mickey Finn, Grooverider & Fabio began stripping down the elements of hardcore, removing the happy elements and replacing them with half-time basslines and multiple break structures. Many productions in this era were also taking samples from horror movies with screaming, yelling and crying sounds. The genre really began to break around the time of 1992. It was still considered hardcore at the time - in fact the term "darkcore" was designated to this style.Examples of Darkcore are Goldie's "Terminator" (1992) and Top Buzz's "Living In The Darkness" (1992). These tracks took some of their cue from from the darker sounds of Belgium techno - tracks like 4 Hero's "Mr. Kirk's Nightmare" (1990) and The Psychopath's "Nightmare" (1991). The dark sound appealed to many people in dancehall & reggae communities. The Jamaican "sound system" culture influenced the emerging sound with remixing techniques from dub & reggae. Darkcore & dancehall were being mixed together at parties until soon dancehall reggae was incorporated into the sound of darkcore. As the yet-unnamed genre evolved, the use of sampled breakbeats became more complex. The most notable sample is the Amen Break which was taken from a funk song by The Winston Brothers called "Amen, Brother." In 1993 the confusion surrounding this style finally broke. Jungle had finally gained it's own identity with dedicated UK club venues such as Roast, Roller Express, and Telepathy. Andy C produced the classic jungle hit "Valley of the Shadows" while Ed Rush formed the darkcore party "Bloodclot Attack."The origin of the term "jungle" is absolutely debatable. However the emergence of the term can very roughly be traced to Jamaican/Caribbean MC's where they often made references to "the jungle" or "junglists." A junglist was a reference to anyone living in Kingston, Trenchtown - the area that was known as "The Concrete Jungle." Across the Atlantic, Toronto's hardcore scene began to split as well, creating the largest jungle scene in North America. In London, jungle was a very Black, non-rave sound. The only difference in Toronto was that there was very little Black interest in jungle and the majority stayed away from it. In the United States, Black interest was still primarily focused on the house music scenes of New York & Chicago. The winter period linking 1992 to 1993 was considered a very "dark" time, especialy for the Toronto rave scene. The overall quality of ecstacy that was being sold was deteriorating, the use of speed was on the rise, and crack was becoming increasingly popular. Overdose cases were becoming far too common in the rave scene while criminality & scamming had also rooted itself in the hardcore arena. Running parallel to what was happening in the winter of 1992 was Darkcore. In response to darkness that was coming from the UK, other producers of hardcore began moving in the opposite direction. The "happy" elements of hardcore were soon being embellished, creating what has ever since been the arch-nemesis for the jungle community - happy hardcore. This podcast features some of my early jungle collection with tracks from 1991-1993. For me early jungle was defined by Roni Size & LTJ Bukem. Both of which remained a huge inspiration for me throughout the 1990's which you will see as we near the millenium. Tracklist: Rufige Kru - Fabio's Ghost Q Bass feat. Skeng Gee - Gun Connection Dubplate Remixes - Simply Rolling Brainkillers & Lewi Cifer - Hurt Me Roni Size - Fresh Ravers Choice - Side B Roni Size - The Refresher LTJ Bukem - Bookworm LTJ Bukem - Logical Progression David Bryce - Logical Reprise Bodysnatch - Euphony Brainkillers & Lewi Cifer - On A Different Mission Xenophobia - The Phoenix

Germany's involvement with the dance music culture paralleled that in the UK. The German scene also revolved around the Chicago sound in 1987 and in 1988 acid house spread throughout the country. After the fall of the Berlin Wall in 1989, free underground techno parties were found all over East Berlin.During this time, Belgium became known as a prominent factor in the development of the second wave of techno. R&S Records had released tracks by artists like Joey Beltram and CJ Bolland. Their sound was rough and metalic with discordant synth lines. Joey Beltram invented a sound that became known as "the hoover" that got it's first exposure on the track called Mentasm. This same sound would become used prominently in hardcore and early drum & bass.In 1991 there became a growing rejection of the rave culture, mainly by producers and labels who wished to redress what they saw as being corruption and commercialization of the original techno sound that came from Detroit. However this did not stop the natural evolution of the music scene. It just so happened that while this was going on Frankie Bones was setting up the first rave parties in the United States. Frankie began producing music in 1987 and one of his releases known as Bonesbreaks won him a large following across seas. When he flew to England to play at Energy he was astonished to see thousands of people waiting for him to play. Motivated by this experience, Bones began throwing some small parties along with Adam X and Heather Heart. In 1991, Bones had began writing a column for a Canadian dance magazine called Streetsound and talked frequently of people "coming together." Bones is said to have been the person responsible for coining the acronym PLUR which stands for Peace, Love, Unity & Respect. By 1992 the small parties that Bones was hosting began to build his name. Soon the parties were drawing thousands of people. These parties soon became known as Storm Raves. They often took place in construction sites, derelict horse stables, and brickyards. The setting was tough and so was the music. Instead of playing the happy British-based "acid house" these parties catered towards the noisy and grinding sounds of German techno and the riff-based Belgian techno. Crack, cocaine, PCP and other hard drugs began to filter into the New York rave scene. The parties also began to spill over into the city. Rave-baron, Lord Michael, saw the opportunity at hand and brought rave music into the nightclub scene with the help of Peter Gatien. DJ's Scotto & DB joined to form NASA which promoted the nighclub events at Limelight and Palladium. A conflict shortly grew between the underground Brooklyn Storm Raves and the NYC rave clubs. By the end of 1992 dj's like Keoki and America's first "techno star" known as Moby came into the picture to move America onto a broader scale in the global culture.This session was also mixed in 2003. Energy Flash & The Vamp were two of the first techno songs I had ever heard back in 1991. They were on an unmixed compilation CD that I had gotten from a local store and played a major influence on my music tastes as I listened to more and more techno growing up. Outlander - The Vamp Joey Beltram - Energy Flash Joey Beltram - Jazz 303 Orbital - Chime Tasti Box - Rush Cybex Factor - Die Schopfung Trilithon - Choice Orbital - Omen

After Chicago's birth of acid house, vinyl was moving more rapidly across seas. In 1987 it seemed as if more people were catching on to what was coming out of the United States. "Acid house" was also a term being used in England to encompass any form of house music that sounded "crazy." This was the year when Ian St. Paul and Trevor Fung invited Paul Oakenfold to Ibiza to celebrate his birthday. Paul brought along Danny Rampling and Nicky Holloway and they spent the majority of their time between Amnesia nightclub and Cafe Del Mar. Trevor Fung & Ian St. Paul were previously running a small gig at a place called Project near London but had shut the party down to focus on partying. During the fall after their Ibiza trip, Paul Oakenfold started an afterhours party at Project but within a few weeks was raided by the police. However, Danny Rampling had opened up a successful night at a fitness center south of the Thames in London. This night was called Schoom, which later adopted the smiley face logo which would become the international symbol for acid house.Paul's lack of success did not get him down. A few weeks after the opening of Schoom he tried again, this time utilizing the back room of a huge club called Heaven, titling the event "Future."Both Rampling & Oakenfold had to move parties to various venues in early 1988. Rampling's Schoom was moved to a YMCA but had become so big that he had to move it to a nightclub where ecstacy use began to rise at a rapid rate. This was a time when football violence was escalating but rival fans would find themselves dancing together in a state of euphoria.In April of 1988 Paul Oakenfold opened Spectrum on a Monday night to utilize the entire Heaven venue, which was considered by many to be a very bold move. Surprisingly the party was so huge that even on a Monday they packed to capacity with nearly a thousand people waiting outside to get in.Nicky Holloway eventually pulled together and formed his own party called The Trip at London's Astoria. The party also turned out to be huge. Police soon caught on to what was taking place at these events when they cruised past The Trip and found hundreds of kids running around screaming "Acieeed!" and jumping in fountains in front of the club. Throughout this period a group named Hedonism began hosting illegal warehouse parties. Other parties, mostly illegal, were eventually formed such as Apocalypse Now, Genesis and the famous Rage party which was hosted by Fabio & Grooverider. Many of these events quickly came under the attack of local media such as ITN television and The Sun newspaper. "Raving" had finally been a term given to people who attended such events and police also worked in full force to prevent illegal parties from happening.This mix was made during my college years near the turn of the millenium. At the time I was collecting records and competing with other dj's to have "the most rare collection." Doing this gave me a solid background and working knowledge of the roots of my musical tastes and has transpired everything I currently am as a dj.Oval Emotion - Go Go (Deep Destruction Remix) Drum & Bass - I Love You Black Riot - A Day In The Life Royal House - Can U Party (Todd Terry B-Boy Remix) 2 In A Room - Take Me Away Underground Resistance - Jupiter Jazz Simon Sed - Criminal