History of House Music

I was a fan of parties before I was a fan of house, but I soon realized it was the spirit of and behind the music that facilitated the culture, love and respect for the people around it that really inspired me to dive deeper into dance music itself.

Many people, more now than ever should understand the history and depth of the sound and where it came from as the music still changes form and wavers in and out of the underground. There are many stories, histories and theories. Most have elements of truth and here are a few.

Here’s one lengthy but interesting history lesson for the development of both House music and the dance culture around it, written by Phil Cheeseman for DJ magazine.

The gist of what I tell people and what the basis of house was birthed in Chicago by djs playing new music to a dance heavy scene whom were looking to do something different from the dying disco sound and wanted to focus more on the purity of the rhythm and dance aspects of the music rather than the glam of the scene and the people that surrounded it. The development of new synthetic and electronic rhythms and drums as well as the introduction of samplers facilitated the growth and developments of the first house tracks.

The term “House Music” started from the type of music played at a late 70’s early 80’s Chicago club called The Warehouse; which over time was shortened to just The House. Frankie Knuckles (“The Godfather of House”’s Myspace page), a New York DJ transplant in Chicago, was the first pioneer playing a combination of new sounds from disco, funk, breakbeats, techno and house which all was generalized into a single style of music being played at the Warehouse as just “House music”.

From then on House took on new forms, sounds and genre’s developing from talents like: Kraftwerk, Afrika Bambatta, Jesse Saunders, Chip E., Steve ‘Silk’ Hurley, Farley Keith, Ron Hardy, Juan Atkins, Derrick May, Kevin Saunderson, Mateo & Matos, Blaze, Adonis, Todd Terry, Frankie Bones, Larry Levan, Tony Humphries, Ian B, Eddie Richards, and many many more…

Not everyone understands House music; it’s a spiritual thing; a body thing; a soul thing.
Eddie Amador’s “House Music” (1999)

Talib Kweli get’s in the trenches with pyrates

hiphopmusic.com got a post Talib Kweli vs. ImRickJamesBitch

Recently someone who goes by the name of “ImRickJamesBitch” posted links to a demo version of Talib Kweli’s unfinished album. After a warning from ?uestlove that Kweli had heard about this and was fuming, Kweli himself appeared with a message for all those he immortalized on Kanye’s album as “Okayplayer Haters”:

You know what, I’m a fan of hip-hop too. If I had a chance to get a hold of one of my favorite artists CD’s early, I would jump at it. So if some asshole from a recording studio leaks my unfinished, unmixed and uneven album, consider it a personal triumph. Play it for your friends, and if you like it, buy the version I want you to have. If you are a fan of my music, allow me to live off it so I can continue to bring it to you. But once you put it on a website and encourage people to download it, you become the bigger asshole. You are not respecting my artistic process and worse, you are taking food out of my children’s mouth. The shit is depressing really because I work so hard and I deserve the right to determine how I want my music presented. If you are truly a fan of my music, please do not support people who do this, no matter what the temptation might be. This music is what I have to live on. You also disrespect the other artists by spreading rough vocals and rough mixes. You really don’t give a f**k about nobody but yourself. It’s sad.

ImRickJamesBitch, are you that much of a loser that you gotta live off another man’s work? Put your own f**kin’ album on your website. Get you some pro tools, pay producers and studio time, get guest artists to come be on your shit. Then maybe you won’t be tempted to just disrespect somebody’s craft. Kanye shipped 800,000 records. How many records do you think I will ship? But yet you couldn’t resist to expose MY album? That shit is not fly. I will find out who you are and you will be dealt with accordingly. This is no threat. To everyone else, I am blessed that there is so much anticipation for what I hope will be a great album. I have never gone gold or platinum. If you think I should be by now please don’t support or do shit like ImRickJamesBitch; that shit does not help. I have a mixtape coming next week. Download that. Please help my cause, don’t hurt it, and I will always be the best artist I can be.

Talib Kweli

ImRickJamesBitch quickly reappeared with this reply:

I appreciate your announcement and definitely see some of your points. But I think your anger should be directed toward the nigga who stole your shit out the studio.

And everything was cool up until the “I will find out who you are and you will be dealt with accordingly” shit. Be a man about yours and don’t speak in ambiguous phrases. Will YOU deal with me accordingly? If that is the case, you don’t have to find out who I am. I can send you my info and you can come see me “accordingly”. I’m not trying to be a tough guy, but you don’t really pose a physical threat to me. So you might just want to abandon that option.

I’ll be staying tuned to okayplayer to catch the next chapter of this drama… Hopefully Charlie Murphy will be involved somehow. Kweli got into something similar a couple of years ago on the site, going ballistic on a kid named DJ 3rd Rail, for reasons that escape me now.

Smokin’ Grooves Tour 2002

2002 kicked off the start of the Smokin Grooves tour in Nor Cal. The show was one of this years biggest hip hop tours, starting out a lil rocky with this first show at Shoreline in Mountain View, CA. The show was bangin’ all the way through to the explosive finale. J5 had quality control on the stage and showed the crowd who’s really golden, The Roots proved there were no clones out there that can funk a joint like they can and then came Outkast, elevating the show and bringing out all the classics including one of my favorite’s “Southernplayalisticadillacmuzik”. The three mentioned rocked the show for me, but also shared the stage with Truth Hurts, Cee-Lo, and Lauryn Hill.

This year’s line up started with Cee-Lo, who’d been touring earlier with Musiq and now found himself flowing to 17,000+ fans. We missed his set coming in late during the next crew – Truth Hurts. The only track I know of their’s is Addictive but with out Rakim sharing the stage on this track I found no point to check them out. I went to the bar instead and got prepared for Jurrasic 5, a crew I’ve wanted to check out since 97 when I walked away from some house party with one of their teaser CDs. J5 is true to the form as they “take 4 EMCEES and make them sound like one”. Those being: Marc 7even, Chali 2na, Zaakir and Akil but don’t forget the two DJs: Cut Chemist (also a part of Ozomatli and working with the likes of DJ Shadow and spinning vs. sets with Shortkut at SF’s Future Primitive Sound Session) and DJ Nu-Mark who also saddles up at the FPS sessions. J5 rolled out the classics but I still see them as a crew that would perform better headlining at a smaller venue. Check out “Power In Numbers” to be released on October 8th.

Next Lauryn Hill took the stage with little more than a stool and an acoustic guitar as she played her newer “unplugged” material, which is much more political and personal than the funky fun of The Miseduction of Lauryn Hill. I napped on the lawn for this one and waited for Roots to take up the energy again. The Roots took the stage with little more than a back drop of their new album cover Phrenology but brought the energy up for Outkast. Outkast took the show with a huge stage presence. When the tour first started out, Cypress Hill and Lauryn were headlining and Outkast was the warm up act. Now in over half a decade the tables have swapped as Big Boi and crew take the final props in a hail storm of confetti.

Pics: #1-Jurrasic5 , #2-Roots, #3-Outkast, #4-Finalle, J5 Clip… Until the next….