House music

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For the Steven James Adams album, see House Music (album).
Not to be confused with House band.

House music

 Disco[1]
Stylistic origins
 Hi-NRG[2][3][4][5]

 boogie[6][7]

 electro[8]

 Latin soul[1]

 jazz[1]

Cultural origins Early 1980s, Chicago, Illinois, United States[9]

Derivative forms  Alternative dance

 Balearic trance

 Baltimore club

 chillwave

 electroclash

 electropop

 Eurobeat

 Eurodance

 future bass

 hyperpop

 techno

 trance

 UK bass

 UK garage

Subgenres

 Acid house

 ambient house

 Balearic beat

 big room house

 Chicago house
  deep house

 diva house

 electro house

 French house

 funky house

 future house

 garage house

 ghetto house

 ghettotech

 Italo house

 Latin house
 microhouse

 outsider house

 progressive house

 tech house

 tribal house

 tropical house

 UK hard house

(complete list)

Fusion genres

 Dream trance

 electro swing
 hard NRG

 hip house

 Jersey club

 moombahton

 nu-disco

Regional scenes

 Angola

 Cancún

 Chicago

 France

 Ibiza
  Italy

 New Jersey

 New York

 Russia

 South Africa

 Uganda

 Venezuela

 Western Asia

Other topics

 List of house artists

House is a genre of electronic dance music characterized by a repetitive four-on-the-

floor beat and a typical tempo of 115 to 130 beats per minute.[10] It was created
by DJs and music producers from Chicago's underground club culture in the 1980s, as
DJs from the subculture began altering disco songs to give them a more mechanical
beat and deeper basslines.[1]
The genre was pioneered by DJs and producers in Chicago such as Frankie
Knuckles, Ron Hardy, Jesse Saunders, Chip E., Steve "Silk" Hurley, Farley
"Jackmaster" Funk, Marshall Jefferson, Phuture and others. From its beginnings in the
Chicago club and local radio scene, house music expanded internationally to London,
then to other American cities such as New York City and Detroit and became a
worldwide phenomenon.[11]
House has had a large impact on the pop music scene, especially dance music. It was
incorporated by major international pop artists including Janet Jackson ("Together
Again"), Kylie Minogue and Madonna ("Vogue"), but also produced some mainstream
hits on its own, such as "French Kiss" by Lil Louis, "Show Me Love" by Robin S. or
"Push the Feeling On" by the Nightcrawlers. Many house DJ's also did and continue to
do remixes for pop artists. House music has remained popular on radio and in clubs
while retaining a foothold on the underground scenes across the globe.

Contents

 1Characteristics
 2Origins of the term "house"
 3House dance
 4Social and political aspects
 5History
o 5.1Influences and precursors
o 5.21980s: Chicago house, acid house and deep house
 5.2.1Detroit and techno
 5.2.2UK: Acid house, rave culture and the Second Summer of Love
  5.2.3Chicago's second wave: Hip house and ghetto house
 5.2.4New York and New Jersey: Garage house and the "Jersey
sound"
 5.2.5Ibiza
 5.2.6Other regional scenes
o 5.31990s
o 5.42000s
o 5.52010s
 6See also
 7References
 8Further reading
 9External links

Characteristics[edit]
House Music Demo (6:23)

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A full house music track.

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help.

In its most typical form, the genre is characterized by

repetitive 4/4 rhythms including bass drums, off-beat hi-hats, snare drums, claps,
and/or snaps at a tempo between 115 and 130 beats per minute
(bpm), synthesizer riffs, deep basslines, and often, but not necessarily, sung, spoken
or sampled vocals. In house, the bass drum is usually sounded on beats one, two,
three, and four, and the snare drum, claps, or other higher-pitched percussion on beats
two and four. The drum beats in house music are almost always provided by an
electronic drum machine, often a Roland TR-808, TR-909,[12] or a TR-707. Claps,
shakers, snare drum, or hi-hat sounds are used to add syncopation.[13] One of the
signature rhythm riffs, especially in early (Chicago) house, is built on the clave pattern.
[14]
 Congas and bongos may be added for an African sound, or metallic percussion for a
Latin feel.[13]
The TR-909 drum machine (top) and TB-303 synthesizer, instruments often used in house music

Sometimes, the drum sounds are "saturated" by boosting the gain to create a more
aggressive edge.[13] One classic subgenre, acid house, is defined through the squelchy
sounds created by the Roland TB-303 bass synthesizer. House music could be
produced on "cheap and consumer-friendly electronic equipment" and used sound gear,
which made it easier for independent labels and DJs to create tracks. [15] The electronic
drum machines and other gear used by house DJs and producers were formerly
considered "too cheap-sounding" by "proper" musicians. [16] House music producers
typically use sampled instruments, rather than bringing in session musicians into a
recording studio.[17] Even though a key element of house production is layering sounds,
such as drum machine beats, samples, synth basslines, and so on, the overall
"texture...is relatively sparse".[18] Unlike pop songs, which emphasize higher-pitched
sounds, such as melody, in house music, the lower-pitched bass register is most
important.[18]
House tracks typically involve an intro, a chorus, various verse sections, a midsection
and a brief outro. Some tracks do not have a verse, taking a vocal part from the chorus
and repeating the same cycle. House music tracks are often based on eight-bar
sections which are repeated.[18] They are often built around bass-
heavy loops or basslines produced by a synthesizer and/or
around samples of disco, soul,[19] jazz-funk[8] or funk[19] songs. DJs and producers creating
a house track to be played in clubs edit a "seven or eight-minute 12-inch mix"; if the
track is intended to be played on radio, a "three-and-a-half-minute" radio edit is used.
[20]
 Unlike trance music, which is designed to keep building in intensity, house music
tracks are "more consistent" and rather based on "playing with the constituent parts and
bringing them in and out" in a subtle way.[20] House tracks build up slowly, by adding
layers of sound and texture, and by increasing the volume. [18]
House tracks may have vocals like a pop song, but some are "completely
minimal instrumental music".[18] If a house track does have vocals, the vocal lines may
also be simple "words or phrases" that are repeated. [18]

Origins of the term "house"[edit]

House music pioneers Alan King, Robert Williams and Derrick Carter.

One 2009 book states the name house music originated from a Chicago club called
the Warehouse, which existed from 1977 to 1983.[21] Clubbers to the Warehouse were
primarily black,[22] who came to dance to music played by the club's resident DJ Frankie
Knuckles, who fans refer to as the "godfather of house". Frankie began the trend of
splicing together different records when he found that the records he had weren't long
enough to satisfy his audience of dancers.[23] After the Warehouse closed in 1983, the
crowds went to Knuckles' new club, The Power Plant,[21] while the club was renamed
into Music Box with Ron Hardy being resident DJ.[24]
In the Channel 4 documentary Pump Up The Volume, Knuckles remarks that the first
time he heard the term "house music" was upon seeing "we play house music" on a
sign in the window of a bar on Chicago's South Side. One of the people in the car with
him joked, "you know that's the kind of music you play down at the Warehouse!".
[25]
 South-Side Chicago DJ Leonard "Remix" Rroy, in self-published statements, claims
he put such a sign in a tavern window because it was where he played music that one
might find in one's home; in his case, it referred to his mother's soul and disco records,
which he worked into his sets.[26] The documentary also explored how house music was
something that anyone could do. Mostly the documentary looks at some of the DJs from
that genre, and how they stumbled into the music. [24]
Farley "Jackmaster" Funk was quoted as saying "In 1982, I was DJing at a club called
The Playground and there was this kid named Leonard 'Remix' Rroy who was a DJ at a
rival club called The Rink. He came over to my club one night, and into the DJ booth
and said to me, 'I've got the gimmick that's gonna take all the people out of your club
and into mine – it's called House music.' Now, where he got that name from or what
made him think of it I don't know, so the answer lies with him." [27]
Chip E.'s 1985 recording "It's House" may also have helped to define this new form of
electronic music.[28] However, Chip E. himself lends credence to the Knuckles
association, claiming the name came from methods of labeling records at the Importes
Etc. record store, where he worked in the early 1980s: bins of music that DJ Knuckles
played at the Warehouse nightclub were labelled in the store "As Heard At The
Warehouse", which was shortened to simply "House". Patrons later asked for new
music for the bins, which Chip E. implies was a demand the shop tried to meet by
stocking newer local club hits.[29]
In a 1986 interview, when Rocky Jones, the club DJ who ran the D.J. International
record label, was asked about the "house" moniker, he did not mention Importes Etc.,
Frankie Knuckles, or the Warehouse by name. However, he agreed that "house" was a
regional catch-all term for dance music, and that it was once synonymous with
older disco music, before it became a way to refer to "new" dance music. [30]
Larry Heard, a.k.a. "Mr. Fingers", claims that the term "house" came from DJs creating
music in home studios using affordable synthesizers and drum machines, such as
the Roland TB-303,[31] Roland TR-808, and TR-909.[32] These synthesizers were used to
create the acid house subgenre.[33] Juan Atkins, an originator of Detroit techno, claims
the term "house" reflected the association of particular tracks with particular clubs and
DJs, considered their "house" records.[34]

House dance[edit]
Main article: House dance
At least three styles of dancing are associated with house music: Jacking, Footwork,
and Lofting.[35] These styles include a variety of techniques and sub-styles, including
skating, stomping, Vosho, Pouting Cat and shuffle steps (also see Melbourne Shuffle).[36]
[citation needed]
 House music dancing styles can include movements from many other forms of
dance, such as waacking, voguing, African, Latin (including Capoeira), jazz
dance, Lindy Hop, tap dance, and even modern dance.[37][citation needed] House dancing is
concerned with the sensuality of the body and setting oneself free in ecstasy — without
the worry of outside barriers.[38]
One of the primary elements in house dancing is "the jack" or "jacking" — a style
created in the early days of Chicago house that left its trace in numerous record titles
such as "Time to Jack" by Chip E. from the "Jack Trax" EP (1985), "Jack’n the House"
(1985) by Farley "Jackmaster" Funk (1985) or "Jack Your Body" by Steve "Silk"
Hurley (1986). It involves moving the torso forward and backward in a rippling motion
matching the beat of the music, as if a wave were passing through it. [38]

Social and political aspects[edit]

Early house lyrics contained positive, uplifting messages for all people, from every
different walk of life but spoke especially to those who were considered to be outsiders,
especially African-Americans, Latinos, and the gay subculture. The house music dance
scene was one of the most integrated and progressive spaces in the 1980s; the black
and gay populations, as well as other minority groups, were able to dance together in a
positive environment.[39]
House music DJs aimed to create a "dream world of emotions" with "stories, keywords
and sounds", which helped to "glue" communities together. [15] Many house tracks
encourage the audience to "release yourself" or "let yourself go", which is further
encouraged by the continuous dancing, "incessant beat", and use of club drugs, which
can create a trance-like effect on dancers.[15] Frankie Knuckles once said that the
Warehouse club in Chicago was like "church for people who have fallen from grace".
House record producer Marshall Jefferson compared it to "old-time religion in the way
that people just get happy and screamin'".[38] The role of a house DJ has been compared
to a "secular type of priest".[15]
Some house lyrics contained messages calling for equality, unity and freedom of
expression beyond racial or sexual differences (e.g. "Can You Feel It" by Fingers Inc.,
1987, or "Follow Me" by Aly-Us, 1992). Later on in the 1990s, but autonomous from the
Chicago scene, the idea of Peace, Love, Unity & Respect (PLUR) became a
widespread set of principles for the rave culture.[citation needed]

History[edit]
Influences and precursors[edit]
One of the main influences of house was disco; house music having been defined as a
genre which "...picked up where disco left off in the late 1970's." [40][41] Like disco DJs,
house DJs used a "slow mix" to "lin[k] records together" into a mix. [15] In the post-
disco club culture during the early 1980s, DJs from the gay scene made their tracks
"less pop-oriented", with a more mechanical, repetitive beat and deeper basslines, and
many tracks were made without vocals, or with wordless melodies. [42] Disco became so
popular by the late 1970s that record companies pushed even non-disco artists (R&B
bands, for example) to produce disco songs. When the backlash against disco started,
known as "Disco Demolition Night", dance music went from being produced by major
label studios to being created by DJs in the underground club scene. [15]
While disco was associated with lush orchestration, with string orchestra, flutes
and horn sections, various disco songs incorporated sounds produced with synthesizers
and electronic drum machines, and some compositions were entirely electronic;
examples include Italian composer Giorgio Moroder's late 1970s productions such
as Donna Summer's hit single "I Feel Love" from 1977, Cerrone's "Supernature" (1977),
[43]
 Yellow Magic Orchestra's synth-disco-pop productions from Yellow Magic
Orchestra (1978) or Solid State Survivor (1979),[44][45] and several early 1980s productions
by hi-NRG groups like Lime, Trans-X and Bobby O.

Frankie Knuckles (pictured in 2012) played an important role in developing house music in Chicago during the
1980s.

Also important for the development of house were audio mixing and editing techniques
earlier explored by disco, garage music and post-disco DJs, record producers, and
audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, M &
M, and others.
While most post-disco disc jockeys primarily stuck to playing their conventional
ensemble and playlist of dance records, Frankie Knuckles and Ron Hardy, two
influential DJs of house music, were known for their unusual and non-mainstream
playlists and mixing. Knuckles was influenced by and worked with New York City
club Paradise Garage resident Larry Levan. Knuckles, often credited as "the Godfather
of House" and resident DJ at the Warehouse from 1977 to 1982, worked primarily with
early disco music with a hint of new and different music (whether it was post-punk or
post-disco).[46] Knuckles started out as a disco DJ, but when he moved from New York
City to Chicago, he changed from the typical disco mixing style of playing records one
after another; instead, he mixed different songs together, including Philadelphia soul,
New York club tracks, and Euro disco.[18] He also explored adding a drum machine and
a reel-to-reel tape player so he could create new tracks, often with a boosted deep
register and faster tempos. Knuckles said: "Kraftwerk were main components in the
creation of house music in Chicago. Back in the early 80s, I mixed our 80s Philly sound
with the electro beats of Kraftwerk and the Electronic body music bands of Europe."[18][47]
Ron Hardy produced unconventional DIY mixtapes which he later played straight-on in
the successor of the Warehouse, the Music Box (reopened and renamed in 1983 after
Knuckles left). Like Frankie Knuckles, Hardy "combined certain sounds, remixing tracks
with added synths and drum machines", all "refracted through the futurist lens of
European music."[16] Marshall Jefferson, who would later appear with the 1986 house
classic "Move Your Body (The House Music Anthem)" (originally released on Trax
Records), describes how he got involved in house music after hearing Ron Hardy's
music in the Music Box:
"I wasn't even into dance music before I went to the Music Box [...]. I was into rock and
roll. We would get drunk and listen to rock and roll. We didn't give a fuck, we were like
'Disco Sucks!' and all that. I hated dance music 'cos I couldn't dance. I thought dance
music was kind of wimpy, until I heard it at like Music Box volume."

— Marshall Jefferson[48]
A precursor to house music is the Colonel Abrams hit song "Trapped", produced
by Richard James Burgess in 1984,[49] referred to as a proto-house track and a precursor
to garage house.[50]
Rachel Cain, better known as Screamin Rachael, co-founder of the highly influential
house label Trax Records, was previously involved in the burgeoning punk scene. Cain
cites industrial music (another genre pioneered in Chicago) and post-punk record
store Wax Trax! Records (later a record label) as an important connection between the
ever-changing underground sounds of Chicago.
The electronic instrumentation and minimal arrangement of Charanjit
Singh's Synthesizing: Ten Ragas to a Disco Beat (1982), an album of
Indian ragas performed in a disco style, anticipated the sounds of acid house music, but
it is not known to have had any influence on the genre prior to the album's rediscovery
in the 21st century.[51][52][53] According to Hillegonda C. Rietveld, "elements of hip hop and
rap can be found in contemporary house tracks", with hip hop acting as an "accent or
inflection" that is inserted into the house sound. [15]
The constant bass drum in house music may have arisen from DJs experimenting with
adding drum machines to their live mixes at clubs, underneath the records they were
playing.[54]
1980s: Chicago house, acid house and deep house[edit]
Main articles: Chicago house, acid house, and deep house

An honorary street name sign in Chicago for house music and the seminal DJ Frankie Knuckles.

In the early 1980s, Chicago radio jocks Hot Mix 5 from WBMX radio station (among
them Farley "Jackmaster" Funk), and club DJs Ron Hardy and Frankie Knuckles played
a range of styles of dance music, including older disco records (mostly Philly
disco and Salsoul[55] tracks), electro funk tracks by artists such as Afrika Bambaataa,
[8]
 newer Italo disco, Arthur Baker, and John Robie, and electronic pop.[1] Some DJs
made and played their own edits of their favorite songs on reel-to-reel tape, and
sometimes mixed in electronic effects, drum machines, synthesizers and other rhythmic
electronic instrumentation.
The hypnotic electronic dance song "On and On", produced in 1984 by Chicago
DJ Jesse Saunders and co-written by Vince Lawrence, had typical elements of the early
house sound, such as the Roland TB-303 bass synthesizer and minimal vocals as well
as a Roland TR-808 drum machine and a Korg Poly-61 synthesizer. It also utilized the
bassline from Player One's disco record "Space Invaders" (1979).[56] "On and On" is
sometimes cited as the 'first house record',[57][58] even though it was a remake of a Disco
Bootleg "On and On" by Florida producer Mach. Other examples from around that time,
such as J.M. Silk's "Music is the Key" (1985), have also been cited to be the first house
tracks.[59][60]
Starting in 1985 and 1986, more and more Chicago DJs began producing and releasing
original compositions. These compositions used newly affordable electronic instruments
and enhanced styles of disco and other dance music they already favored. These
homegrown productions were played on Chicago radio stations and in local clubs
catering mainly to Black, Mexican Americans, and gay audiences.[61][62][63][64][65][66] By 1985,
house music encompassed these locally produced recordings. Subgenres of house,
including deep house and acid house, quickly emerged and gained traction. [24]

Phuture – "Acid Tracks"

(1987) (0:30)

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Phuture's "Acid Tracks" is
often regarded as the
 first acid house record. It
was released in 1987 on Trax
Records, but is said to have
been already played out in
1985 by DJ Ron Hardy at the
Music Box nightclub.[67]

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help.

Deep house's origins can be traced to Chicago producer Mr Fingers's

relatively jazzy, soulful recordings "Mystery of Love" (1985) and "Can You Feel It?"
(1986).[68] According to author Richie Unterberger, it moved house music away from its
"posthuman tendencies back towards the lush" soulful sound of early disco music.[69]
Acid house, a rougher and more abstract subgenre, arose from Chicago artists'
experiments with the squelchy sounds of the Roland TB-303 bass synthesizer that
define the genre. Its origin on vinyl is generally cited as Phuture's "Acid Tracks" (Trax
Records, 1987). Phuture, a group founded by Nathan "DJ Pierre" Jones, Earl "Spanky"
Smith Jr., and Herbert "Herb J" Jackson, is credited with having been the first to use the
TB-303 in the house music context.[70] The group's 12-minute "Acid Tracks" was
recorded to tape and played by DJ Ron Hardy at the Music Box,[71] supposedly already in
1985.[72] Hardy once played it four times over the course of an evening until the crowd
responded favorably.[73]
Club play of house tracks by pioneering Chicago DJs such as Ron Hardy and Lil Louis,
local dance music record shops such as Importes Etc., State Street Records, Loop
Records, Gramaphone Records and the popular Hot Mix 5 shows on radio
station WBMX-FM helped popularize house music in Chicago. Later, visiting DJs and
producers from Detroit fell into the genre. Trax Records and DJ International Records,
Chicago labels with wider distribution, helped popularize house music inside and
outside of Chicago.
The first major success of house music outside the U.S. is considered to be Farley
"Jackmaster" Funk's "Love Can't Turn Around" (feat. Jesse Saunders and performed
by Darryl Pandy), which peaked at #10 in the UK singles chart in 1986. Around that
time, UK record labels started releasing house music by Chicago acts, but as the genre
grew popular, the UK itself became one of the new hot spots for house, acid house
and techno music, experiencing the so-called second summer of love between 1988
and 1989.[24]
Detroit and techno[edit]
Main articles: Detroit techno and techno
In Detroit during the early and mid-1980s, a new kind of electronic dance music began
to emerge around Juan Atkins, Derrick May and Kevin Saunderson, known as the
Belleville Three. The artists fused eclectic, futuristic sounds into a signature Detroit
dance sound that was a main influence for the later techno genre. Their music included
strong influences from Chicago house, although the term "house" played a less
important role in Detroit than in Chicago, and the term "techno" was established instead.
[74]
 One of their most successful hits was a vocal house track named "Big Fun" by Inner
City, a group produced by Kevin Saunderson, in 1988.
Another important and even earlier influence on the Detroit artists was electronic music
in the tradition of Germany's Kraftwerk.[75] Atkins had released electro music in that style
with his group Cybotron as early as 1981. Cybotron's best known songs are "Cosmic
Cars" (1982) and "Clear" (1983); a 1984 release was titled "Techno City". In 1988,
Atkins produced the track "Techno Music" that was featured on an influential
compilation initially planned to be named "The House Sound of Detroit", but renamed
into "Techno! The New Dance Sound of Detroit" after Atkins' song.[76]
The 1987 song "Strings of Life" by Derrick May (under the name Rhythm Is Rhythm)
represented a darker, more intellectual strain of early Detroit electronic dance music. It
is considered a classic in both the house and techno genre and shows the
connection[77] as well as the "boundary between house and techno." [78] It made way to
what was later known as "techno" in the internationally known sense of the word,
referring to a harder, faster, colder, more machine-driven and minimal sound than
house, as played by Detroit's Underground Resistance and Jeff Mills.
UK: Acid house, rave culture and the Second Summer of Love[edit]
See also: Second Summer of Love and Rave

A badge bearing a smiley, a symbol of the 1980s acid house scene in the UK[79]

With house music already important in the 1980s dance club scene, eventually house
penetrated the UK singles chart. London DJ "Evil" Eddie Richards spun at dance parties
as resident at the Clink Street club. Richards' approach to house focuses on the
deep basslines. Nicknamed the UK's "Godfather of House", he and Clink co-residents
Kid Batchelor and Mr. C played a key role in early UK house. House first charted in the
UK in Wolverhampton following the success of the Northern Soul scene. The record
generally credited as the first house hit in the UK was Farley "Jackmaster" Funk's "Love
Can't Turn Around", which reached #10 in the UK singles chart in September 1986. [80]
In January 1987, Chicago DJ/artist Steve "Silk" Hurley's "Jack Your Body" reached
number one in the UK, showing it was possible for house music to achieve crossover
success in the main singles chart. The same month also saw Raze enter the top 20 with
"Jack the Groove", and several further house hits reached the top ten that year. Stock
Aitken Waterman (SAW) expensively-produced productions for Mel and Kim, including
the number-one hit "Respectable", added elements of house to their
previous Europop sound. SAW session group Mirage scored top-ten hits with "Jack Mix
II" and "Jack Mix IV", medleys of previous electro and Europop hits rearranged in a
house music style. Key labels in the rise of house music in the UK included: [citation needed]

 Jack Trax, which specialized in licensing US club hits for the British market
(and released an influential series of compilation albums)
 Rhythm King, which was set up as a hip hop label but also issued house
records
 Jive Records' Club Records imprint
In March 1987, the UK tour of influential US DJs such as Knuckles, Jefferson, Fingers
Inc. (Heard) and Adonis, on the DJ International Tour boosted house's popularity in the
UK. Following the number-one success of MARRS' "Pump Up The Volume" in October,
in 1987 to 1989, UK acts such as The Beatmasters, Krush, Coldcut, Yazz, Bomb The
Bass, S-Express, and Italy's Black Box opened the doors to house music success on
the UK charts. Early British house music quickly set itself apart from the original
Chicago house sound. Many of the early hits were based on sample montage, and
unlike the US soulful vocals, in UK house, rap was often used for vocals (far more than
in the US), and humor and wit was an important element.[citation needed]
The second best-selling British single of 1988 was an acid house record, the Coldcut-
produced "The Only Way Is Up" by Yazz.[81][82] One of the early club anthems, "Promised
Land" by Joe Smooth, was covered and charted within a week by UK band The Style
Council. Europeans embraced house, and began booking important American house
DJs to play at the big clubs, such as Ministry of Sound, whose resident, Justin
Berkmann brought in US pioneer Larry Levan.[83]
The house music club scene in cities such
as Birmingham, Leeds, Sheffield, Wolverhampton and London were provided with
dance tracks by many underground Pirate Radio stations. Club DJs also brought in new
house styles, which helped bolster this music genre. The earliest UK house and techno
record labels such as Warp Records and Network Records (otherwise known as Kool
Kat records) helped introduce American and later Italian dance music to Britain. These
labels also promoted UK dance music acts. By the end of the 1980s, UK DJs Jenö,
Thomas, Markie and Garth moved to San Francisco, and called their group the Wicked
Crew. The Wicked Crew's dance sound transmitted UK styles to the US, which helped
to trigger the birth of the US west coast's rave scene.[84]
The manager of Manchester's Factory nightclub and co-owner of The Haçienda, Tony
Wilson, also promoted acid house culture on his weekly TV show. The UK midlands
also embraced the late 1980s house scene with illegal parties and raves and more legal
dance clubs such as The Hummingbird.[85]
Chicago's second wave: Hip house and ghetto house[edit]
Main articles: Hip house and ghetto house
While the acid house hype spawned to the UK and Europe, in Chicago itself it reached
its peak around 1988 and then declined in popularity. [citation needed] Instead, a crossover of
house and hip-hop music, known as hip house, became popular. Tyree Cooper's single
"Turn Up the Bass" featuring Kool Rock Steady from 1988 was an influential
breakthrough for this subgenre, although the British trio the Beatmasters claimed having
invented the genre with their 1986 release "Rok da House".[86] Another notable figure in
the hip house scene was Fast Eddie with "Hip House" and "Yo Yo Get Funky!" (both
1988). Even Farley "Jackmaster" Funk engaged himself in the genre, releasing "Free at
Last", a song to free James Brown from jail, featuring The Hip House Syndicate, in
1989, and producing a Real Hip House compilation on his label House Records in 1990.
[87]

The early 1990s saw new Chicago house artists emerge, such as Armando Gallop, who
had released seminal acid house records since 1987, but became even more influential
by co-founding the new Warehouse nightclub in Chicago (on 738 W. Randolph Street [88])
in which he also was resident DJ from 1992 until 1994, and founding Warehouse
Records in 1988.[89]
Another important figure during the early to mid-1990s (until the 2000s) was DJ and
producer Paul Johnson, who released the Warehouse-anthem "Welcome to the
Warehouse" on Armando's label in 1994 in collaboration with Armando himself. [90] He
also had part in the development of an entirely new kind of Chicago house sound,
"ghetto house", which was prominently released and popularized through the Dance
Mania record label. It was originally founded by Jesse Saunders in 1985 but passed on
to Raymond Barney in 1988. It featured notable ghetto house artists like DJ Funk, DJ
Deeon, DJ Milton, Paul Johnson and others. The label is regarded as hugely influential
in the history of Chicago house music, and has been described as "ghetto
house's Motown".[91]
One of the prototypes for Dance Mania's new ghetto house sound was the single "(It's
Time for the) Percolator" by Cajmere, also known as Green Velvet, from 1992.
[92]
 Cajmere started the labels Cajual Records and Relief Records, the latter combining
the sound of Chicago, acid and ghetto house with the harder sound of techno. By the
early 1990s, artists of note on those two labels included Dajae, DJ Sneak, Derrick
Carter, DJ Rush, Paul Johnson, Joe Lewis, and Glenn Underground.
New York and New Jersey: Garage house and the "Jersey sound" [edit]
Main articles: Garage house and New Jersey house

Building in New York City where the Paradise Garage nightclub was located

While house conquered UK and continental Europe, the scene in the U.S. had still not
progressed beyond a small number of clubs in Chicago, Detroit, New York City,
and Newark. In New York and Newark, the terms "garage house", "garage music", or
simply "garage", and "Jersey sound", or "New Jersey house", were coined for a deeper,
more soulful, R&B-derived subgenre of house that was developed in the Paradise
Garage nightclub in New York City and Club Zanzibar in Newark, New Jersey, during
the early-to-mid 1980s. It is argued that garage house predates the development
of Chicago house, as it is relatively closer to disco than other dance styles.[93] As
Chicago house gained international popularity, New York's and New Jersey's music
scene was distinguished from the "house" umbrella. [93][94]
In comparison to other forms of house music, garage house and Jersey sound include
more gospel-influenced piano riffs and female vocals. [95] The genre was popular in the
1980s in the United States and the 1990s in the United Kingdom. [95] DJs playing it
include Tony Humphries at Club Zanzibar, Larry Levan, who was resident DJ at the
Paradise Garage from 1977 to 1987, Todd Terry, Kerri Chandler, Masters at
Work, Junior Vasquez and others.[96]
In the late 1980s, Nu Groove Records launched and nurtured the careers of Rheji
Burrell and Rhano Burrell, collectively known as Burrell (after a brief stay on Virgin
America via Timmy Regisford and Frank Mendez). Nu Groove also had a stable of other
NYC underground scene DJs. The Burrell's created the "New York Underground" sound
of house, and they did more than 30 releases on this label featuring this sound.
The emergence of New York's DJ and producer Todd Terry in 1988 demonstrated the
continuum from the underground disco approach to a new and commercially successful
house sound. Terry's cover of Class Action's "Weekend" (mixed by Larry Levan) shows
how Terry drew on newer hip-hop influences, such as the quicker sampling and the
more rugged basslines.[97][citation needed]
Ibiza[edit]
See also: Balearic beat
House was also being developed by DJs and record producers in the booming dance
club scene in Ibiza notably when DJ Alfredo, the father of Balearic house, began his
residency at Amnesia in 1983.[when?] While no house artists or labels came from this tiny
island at the time, mixing experiments and innovations done by Ibiza DJs helped to
influence the house style. By the mid-1980s a distinct Balearic mix of house was
discernible. Several influential clubs in Ibiza, such as Amnesia, with DJ Alfredo at the
decks, were playing a mix of rock, pop, disco and house. These clubs, fuelled by their
distinctive sound and copious consumption of the club drug Ecstasy (MDMA), began to
influence the British scene. By late 1987, DJs such as Trevor Fung, Paul
Oakenfold and Danny Rampling were bringing the Ibiza sound to key UK clubs such
as the Haçienda in Manchester. Ibiza influences also spread to DJs working London
clubs such as Shoom in Southwark, Heaven, Future and Spectrum.[98]
Other regional scenes[edit]
By the late 1980s, house DJing and production had moved to the US's west coast,
particularly to San Francisco, Oakland, Los Angeles, Fresno, San Diego and Seattle.
Los Angeles saw an explosion of underground raves, where DJs mixed dance tracks.
L.A. DJs Marques Wyatt and Billy Long spun at Jewel's Catch One. In 1989, the L.A.-
based, former EBN-OZN singer/rapper Robert Ozn started indie house label One Voice
Records. Ozn released the Mike "Hitman" Wilson remix of Dada Nada's "Haunted
House", which garnered club and mix show radio play in Chicago, Detroit and New York
as well as in the UK and France. The record went up to number five on
the Billboard Club Chart, marking it as the first house record by a white (Caucasian)
artist to chart in the U.S. Dada Nada, the moniker for Ozn's solo act, did his first
releases in 1990, using a jazz-based deep house style. The Frankie
Knuckles and David Morales remix of Dada Nada's "Deep Love" (One Voice Records in
the US, Polydor in the UK), featuring Ozn's lush, crooning vocals and jazzy
improvisational solos by muted trumpet, underscored deep house's progression into a
genre that integrated jazz and pop songwriting and song forms (unlike acid
house and techno).[citation needed] The Twilight Zone (1980–89) located on Richmond Street in
Toronto's entertainment district was the first after hours club to regularly feature New
York and Chicago DJs that first spun house music in Canada. [99] The venue would prove
to be the first international gig destination for both Frankie Knuckles and David Morales.
One of the club's owners, Tony Assoon, would make regular trips to New York in order
to purchase funk, underground disco and house records to dish out on his regular
Saturday night slot.[100]
1990s[edit]
See also: Eurodance, French House, Ambient house, and Tech house
In Britain, further experiments in the genre boosted its appeal. House and rave clubs
such as Lakota and Cream emerged across Britain, hosting house and dance scene
events. The 'chilling out' concept developed in Britain with ambient house albums such
as The KLF's Chill Out and Analogue Bubblebath by Aphex Twin.
The Godskitchen superclub brand also began in the midst of the early 1990s rave
scene. After initially hosting small nights in Cambridge and Northampton, the associated
events scaled up at the Sanctuary Music Arena in Milton Keynes, in Birmingham and
in Leeds. A new indie dance scene also emerged in the 1990s. In New York, bands
such as Deee-Lite furthered house's international influence. Two distinctive tracks from
this era were the Orb's "Little Fluffy Clouds" (with a distinctive vocal sample from Rickie
Lee Jones) and the Happy Mondays' "Wrote for Luck" ("WFL") which was transformed
into a dance hit by Vince Clarke.[citation needed]
In England, one of the few licensed venues was the Eclipse, which attracted people
from up and down the country as it was open until the early hours. Due to the lack of
licensed, legal dance event venues, house music promoters began organising illegal
events in unused warehouses, aeroplane hangars and in the countryside. The Criminal
Justice and Public Order Act 1994 was a government attempt to ban large rave dance
events featuring music with "repetitive beats", due to law enforcement allegations that
these events were associated with illegal club drugs. There were a number of "Kill the
Bill" demonstrations by rave and electronic dance music fans. The Spiral Tribe dance
event at Castle Morten was the last of these illegal raves, as the bill, which became law,
in November 1994, made unauthorised house music dance events illegal in the UK.
Despite the new law, the music continued to grow and change, as typified
by Leftfield with "Release the Pressure", which introduced dub and reggae into the
house sound. Leftfield's prior releases, such as "Not Forgotten" released in 1990 on
Sheffield's Outer Rhythm records, used a more typical sound. [citation needed]
A new generation of clubs such as Liverpool's Cream and the Ministry of Sound were
opened to provide a venue for more commercial house sounds. Major record
companies began to open "superclubs" promoting their own groups and acts. These
superclubs entered into sponsorship deals initially with fast food, soft drink, and clothing
companies. Flyers in clubs in Ibiza often sported many corporate logos from sponsors.
A new subgenre, Chicago hard house, was developed by DJs such as Bad Boy Bill, DJ
Lynnwood, and DJ Irene, Richard "Humpty" Vission, mixing elements of Chicago
house, funky house and hard house. Additionally, producers such as George Centeno,
Darren Ramirez, and Martin O. Cairo developed the Los Angeles Hard House sound.
Similar to gabber or hardcore techno from the Netherlands, this was associated with the
"rebel", underground club subculture of the time. These three producers introduced new
production approaches and sounds in late 20th century became more prominent and
widely used during first decade of the 21st century. [citation needed]
Towards the end of the 1990s and into the 2000s, French DJ/producers such as Daft
Punk, Bob Sinclar, Stardust, Cassius, St. Germain and DJ Falcon began producing a
new sound in Paris' club scene. Together, they laid the groundwork for what would be
known as the French house movement. They combined the harder-edged-yet-soulful
philosophy of Chicago house with the melodies of obscure funk records. By using state-
of-the-art digital production techniques blended with the retro sound of old-school
analog synthesizers, they created a new sound and style which influenced house music
around the world.[101]
2000s[edit]
See also: Electroclash and Electro house
Chicago Mayor Richard M. Daley proclaimed 10 August 2005 to be "House Unity Day"
in Chicago, in celebration of the "21st anniversary of house music" (actually the 21st
anniversary of the founding of Trax Records, an independent Chicago-based house
label). The proclamation recognized Chicago as the original home of house music and
that the music's original creators "were inspired by the love of their city, with the dream
that someday their music would spread a message of peace and unity throughout the
world". DJs such as Frankie Knuckles, Marshall Jefferson, Paul Johnson and Mickey
Oliver celebrated the proclamation at the Summer Dance Series, an event organized by
Chicago's Department of Cultural Affairs.[102]
It was during this decade that vocal house became firmly established, both in the
underground and as part of the pop market, and labels such as Defected
Records, Roulé and Om were at the forefront of championing the emerging sound. In
the mid-2000s, fusion genres such as electro house and fidget house emerged.[citation
needed]
 This fusion is apparent in the crossover of musical styles by artists such as Dennis
Ferrer and Booka Shade, with the former's production style having evolved from the
New York soulful house scene and the latter's roots in techno. Numerous live
performance events dedicated to house music were founded during the course of the
decade, including Shambhala Music Festival and major industry sponsored events like
Miami's Winter Music Conference. The genre even gained popularity through events
like Creamfields. In the late 2000s, house style witnessed renewed chart success
thanks to acts such as Daft Punk, Deadmau5, Fedde Le Grand, David Guetta,
and Calvin Harris.[citation needed]