“Back to Life” presents its third installment repressing one of the best acid tracks ever produced, a must have for any collector: Bam Bam “Where’s your child?”, originally released on Westbrook Records in 1988 and licensed by Desire Records in the same year. Chris Westbrook needs no introduction: he is the sole owner of legendary Westbrook Records, always linked to the acid scene.
Chicago veteran Boo Williams presents his latest limited-edition missive. Opener ”Tribulation” is sweet and spacey, with Williams wrapping fizzing, techno-tempo drums and bubbly bass in intergalactic synths sounds and chords so emotive you might start blubbing on the dancefloor. It comes accompanied by a deeper, acid-flecked flipside dub that also boasts some exciting new synth solos (track three) and a slightly slower, but no less energetic or musically positive, bonus cut called ”Mental State”. Predictably, this is every bit as alluring as the EP’s other tracks.
Another classic jammer from 1992 lifted straight from the Strictly Rhythm vaults. Phuture aka acid House pioneers Spanky and DJ Pierre (with a little help from Roy Davis JR) turn in a driving, acidic monster in true Wild Pitch style. Probably the only record that begins with a sinister voice saying ‘This is cocaine speaking’ before diving head-long into one of the best anti-drug House records ever. Bubbling 303 basslines and cavernous handclaps combine with a funked out, dubbed out synth line that just doesn’t stop.
Club Chi’ll have found a holy grail of house right here. Chicago house legends Marshall Jefferson and Jungle Wonz having unearthed, unreleased tracks played by Ron Hardy, direct from the tapes in 1985, then lost for decades with no one but the Music Box crowd hearing them until now… 35 years later. Those lost tapes have now been recreated through Marshall’s unparalleled and unquestionable production skills, and who better to give you their story than the man himself:
“I would take tapes to the Music Box and Ron Hardy would play my music. VIBE was one of those tracks. I recorded VIBE in 1985, but it became one of my tracks that I just forgot about until some guy on Facebook sent me a recording of it, that was taken from a club. The only person who I ever gave a recording of VIBE to was Ron Hardy. The only other people I know who had copies of the track was Gene Hunt and DJ Emanuel Pippin.
The original version of VIBE was made using a Roland 707, Roland JX8 P keyboard and a Roland 727 drum machine. I was still working at the Post Office at the time, and this was pre-Move Your Body (The House Music Anthem). VIBE was the building blocks for Move Your Body because it was using the instruments on the track that I discovered what I could do with the bass sound, to make a track like Move Your Body.” – Marshall Jefferson
Likewise, ‘Human Condition’ by Jungle Wonz, sees Marshall reuniting with Harry Dennis, using the same base as Vibe Three but with Harry providing the vocals with his brilliant poignant lyrics over the top, that are evidently relevant for us all today. Speaking on ‘Human Condition’ Harry expressed, “The track we have is on terms of suffering in the Hoods of Chicago or any place with poverty, and it’s deep.”
Space Ghost returns with hedonistic house anthems for your living room dance floor on his latest EP, Time To Dance. On this new EP, Space Ghost gets on the mic and takes us back to the early days of house music, effortlessly mixing the deep bass rhythms of Chicago with the Nu Groove-era of the East Coast.
OPIA sublabel Euphoric State welcomes the warm and analogue sounds of evergreen producer, Dan Piu. The Swiss producer is known for propelling vital, and ahead of their time sounds since the early 90’s. The ‘Let’s Come Together’ EP makes no exception as Piu showcases some of his catalogue ranging from 1994 -2020. The aptly named ‘Bleepy at 5AM kicks off the EP, an early morning energiser with a spring in it’s step. Followed by and crafted in ‘94 is ‘El Viento De La Noche’, four and a half minutes of pure emotive bliss, a raw house vibe from the golden era. B1 ‘Angry Giant Machine’ glides you through its twists and turns, a glitchy and playful number ready to make you move. ‘Mimic Human Form’ is a cross between modern Italo and mysterious electro, a curious outing with its low swung bassline, and swirling synths. Out of ‘99, and still sounding fresh is ‘Q.H.’, a straight up hip-hop energy, with dusty broken drums and rap samples. A fitting ending to a spectrum of sounds.
Every home should have this record from the 2 of the originators of deep House. “Do You Know Who You Are?” EP from 1989 is as flawless as it gets, often imitated over the years but never, ever bettered. Every single track on this slab of wax is a classic. Virgo manage to reach right inside & take us somewhere on every cut while maintaining an otherworldly sense of melody & rhythm, some of the playing on this record is incredible & so accomplished, “In A Vision” for example still sounds like it’s beaming right at us from the future while “Take Me Higher” carries it’s stately, Reggae-like vibe along smoothly while retaining enough bounce to keep the floor locked in.
Seminal acid house from 1986. Marshall Jefferson’s seminal release has been re mastered from original DAT’s and released in original Trax Red labels. Released in conjunction with Trax / Harmless.
Another slice of essential Knuckles / Principle magic, here the duo’s love of Italo and Euro pop records seems to collide with Chicago’s darkened dance-floors and raw drum machines. Perfectly sleazy and insanely danceable, Jamie Principles voice was made for Frankie Knuckles pristine productions and their unique styles compliment each other endlessly. Both tracks featured on this 12″ take us into the subterranean night life of Frankie and Jamie’s world, a world of yearning, heart-break, love and acceptance. A huge pairing of tracks on their initial release and still to this day some 25+ years later, “It’s A Cold World / Bad Boy” was a total game changer, almost verging on pop but too “outsider” to gain the mainstream attention it so deserved, the record stands today as a true classic.
DJ durable double-pack that dances down the line between the old style Chi-town House sound and slamming Jakbeat.
The Brewmaster General (Brew Records, War Games) makes his long awaited debut on L.I.E.S. Currently, Amsterdam’s bearer of the underground torch, Robert Bergman follows suit in the tradition of his BREW label delivering his signature brand of chaotic jacking house madness over four tracks. Expanding on forefathers Sleezy D, the experiments of DJ Rush, or the Muzique clique, Bergman runs his tracks through the meat grinder serving up some of the most psychedelic house out there in this day and age.
Mr. Fingers classics from 1986. Re mastered versions from the ‘Traxbox’ compilation.
Phuture only released a handful of tracks (plus an album a full decade after their debut), but have remained a legendary act in the development of Chicago house for their stomping 1987 single “Acid Trax”, the track that began and defined the acid house sound. The group was formed by DJ Pierre, synthesizer fan Spanky and Herb J in 1985 as a recording entity to produce records for Pierre to mix into his sets at several crucial Chicago clubs. After being turned on to the high-pitched squelch of the Roland TB-303 synthesizer (marketed as a bassline machine for solo guitarists), the trio emerged from the studio with a track they called “In Your Mind”. Ron Hardy previewed the track at his legendary club the Music Box – where it became known as “Ron Hardy’s Acid Track” – and Phuture re-made the cut with production by Marshall Jefferson. Released on Trax Records in 1987, the single created a dividing point between the Chicago sound before and after it, with hundreds of “Acid Trax” imitations flooding the local market. After it caught on in Britain as well, the single soundtracked the wave of club madness which coalesced in the rave movement by the end of the decade.
From ”Tomorrow” and back to plus thirty years, more precisely in 1987, a teenager named Thomas Barnett released the track ”I Can Feel It” mixed by Juan Atkins, one of the first mix by who became the main DJ and producer from Thomas’s hometown, Detroit. Today ”I Can Feel It” is a very hard to find record that finally will be available for an official reissue via Omaggio.
Mr. Gene Hunt, Chicago house music legend, is back on LA Club Resource with the”After School” EP. Gene digs deep in his vast archives and unearths three hard hitting tracks for fans of old school house. Heard in the clubs and on mix shows back in the days, these tracks finally surface for the first time on wax.
When it comes to jackin’ Chicago style acid house revivalism, few can hold a candle to Paranoid London. As this long-awaited second album proves, the duo is the undisputed masters of sweaty, TB-303 driven jack-tracks and – as recent single ”(Vi-Vi) Vicious Games” and LP opener ”Starting Fights” prove – classic-sounding vocal cuts that recall the glory years of Fingers, Inc in the mid-to-late 1980s. Interestingly, ”PL” boasts far more collaborations than we’ve seen from Paranoid London before, including a string of ragged club cuts blessed with evocative spoken word vocals, a thrusting acid throb-job with lead vocals by Simon Topping and a suitably twisted, machine-driven hook up with Arthur Baker and Alan Vega (the raw and weighty ”Angel Of Hell”).
This is what legends are made of: Acid House, Chicago 1988, Mickey Oliver and his Hot Mix 5 Records, Larry Heard aka Fingers, Pierre, Phortune & Armando. Released in 1988, ACID LP was the first and only full length on Hot Mix 5 Records. It is much more than a classic album, it’s a staple for any self respecting DJ. This is probably one of the best Acid House compilation to make it out of Chicago. Still Music is proud to start its Hot Mix 5 Records reissue series with such a monument to House. Every track on here is a classic in its own right, with Pierre’s “Dreamgirl”, Armando’s “151”, the two incredible Fingers tunes ”The Juice” and “Ecstasy” and so much more. For the first time, this reissue features all the songs that were on the original release but remastered and on a red vinyl DLP. Don’t sleep on the ACID.
Bohm (030303 Records) and Marcus Paulson (aka Kid Machine) deliver four classic cuts of quality house. Inspired by Manchester and Utrecht commutes, the EP sets the tone for future things to come on their Purewaxx label. Paulson and Bohm share a side each, both using the 707/101/303/106 to good use, layering pads, square basslines and deep moody pads and strings.