DJ 2rip

Episode #10: Freedom 2 Dance [1991-1994]

2rip — Mon, 29 Sep 2008 04:03:45 GMT

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 It Angel Moraes - I Like It feat. Octavia Lamber Suburban Soul - Do My Thing Balance - The Dance (Off Da Beat Dub) Funky Green Dogs - Reach For Me (De Dum Dub) Mark Walker & Joe Issa - Better Place Enrico Mantini - Kill & Go Enrico Mantini - Everday & Night Bass is Base - The Spirit feat. Syndicate Last Americas - Look Listen Love (Robotman Mix) Nick Jones & Acei Carter - Shake It K.E.L.S.E.Y. - This Way (Deep Mix) Joey Negro - Feel It

Episode #9: Rise Up

2rip — Mon, 08 Sep 2008 00:12:12 GMT

There was several parts of the house music history that were integral to the development of the culture but not yet discussed in this series. This episode is geared towards covering some early Chicago house records as well as some early Chicago acid house. The final portion of this episode features many Balearic-style beats that were popular in Ibiza around the time of Paul Oakenfold & Nicky Holloway's famous trip to Amnesia. 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)

Episode #8: The House That Jack Built

2rip — Sun, 07 Sep 2008 05:46:03 GMT

"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 girl over on the dancefloor and grinding on her 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. In 1984 Keith Farley aka Farley "Jackmaster" Funk recorded an influential Chicago house track titled "Funkin With The Drums." Other similar records became prevalent after this. All of these records were produced with drums only and 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

Episode #7: Precursor [1976 - 1987]

2rip — Sat, 06 Sep 2008 22:48:35 GMT

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 "Acid Tracks" by Phuture on a club system. "Acid Tracks" was produced in 1987 and was the first record to use the squelching acid sound made by a Roland TR-303. 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

Episode #6: The New Sound Of Hardcore

2rip — Sun, 24 Aug 2008 22:13:39 GMT

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)

[1991-1993] Deep Bass - Jungle Mix

2rip — Sun, 25 May 2008 01:48:54 GMT

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

[1991-1994] Pure X - Rave Enhancer

2rip — Tue, 24 Jun 2008 00:44:42 GMT

By 1990, 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. DJ's in Holland were taking techno tracks that were meant to be played on 33 RPM and pumping them up to 45 RPM instead, creating beats that often exceeded 200 beats per minute. As early as 1989, DJ duo Fabio & Grooverider were experimenting in a similar way. They 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. UK Hardcore was then influenced by Prodigy's 1991 anthem "Charly" and Acen's 1992 "Trip To The Moon." This new style served as the introductory rave sound in many North American cities. In cities like Chicago & New York the influential sound was house music but in suburban areas and rural towns, hardcore was the first "techno" heard by most people. And raves soon began cropping up all around the United States, including cities like Pittsburgh, Dallas, and Milwaukee. By the end of 1993 hardcore fizzled out in most of those towns as their local flavors emerged. In Canada, Toronto took on an "all hardcore" personality. Ravers and party promoters essentially copied everything that was going on in England and between 1991 & 1993, England raves were huge on the new hardcore sound. Don Burns (aka Dr. Trance) had a notion to take raving in a commercial direction with an idea that rave music was for "mass enjoyment." He wanted to spread culture and did this through the use of Toronto's airwaves. Burns was a figureman in a seven partner company called Nitrous - the same company that hosted events in the CN Tower and the Ontario Science Museum. In 1993 there was a concensus that hardcore was becoming too mainstream as the music was brushing airwaves throughout the US, Canada & Britain. Some producers began to develop what was at the time known as darkcore by stripping the elements of hardcore and making it "darker" with less pitched up vocals. All of the euphoric and happy elements were taken from it. This was the beginning of jungle. In response to this movement a different group of producers took the "happy" elements from oldskool hardcore to create happy hardcore. 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. 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 Good Codene - Hilton Park Vol 2 - Turbo Sound Ramos & Supreme - Crowd Control Prodigy - Out Of Space Subdoh - Seduction Yolk - Bish Bosh Unknown - Mayday Anthem Tyrrany - Off Me Head Unity - Unity (FSOL remix)

[1993] Rave Krispies

2rip — Sun, 25 May 2008 02:53:37 GMT

A lot happened in 1993 from the first Essential Mixes being released on BBC's Radio 1 to the split of oldskool hardcore into two seperate genres: darkcore & happy hardcore. This was also around the time that the San Francisco rave scene was reborn. San Francisco never jumped onto house music until several years after New York & Chicago. At the turn of the 1990's several English dj's and promoters moved to San Francisco to host events, including a crew called Wicked that hosted the SF Bay Area's "Full Moon" parties. The British invasion lasted until 1993. It was at this point that the Hardkiss Brothers who began hosting events and developing the sound for San Francisco ravers. In 1993 Scott Hardkiss produced "Raincry" under the moniker of God Within. That same year 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 also established 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 - Unknown Jam & Spoon - Age of Love (Watch Out For Stella Club Mix)

[1990-1993] Techno Rave Candies

2rip — Thu, 07 Feb 2008 08:29:40 GMT

The early 1990's can be seen as a season of extreme change for dance music beginning with the "death" of European acid-house and rise of hardcore. In the United States, Detroit techno and Chicago/NYC house maintained their roots. However, European hardcore techno quickly made it's way onto US soil and stomping, German techno came along as well. DJ's Frankie Bones, Adam X, and Heather Heart paved the way for North American rave, hosting illegal parties known as "Storm Rave." These parties took place in obscure locations such as construction sites, brickyards, and derelict stables. Rave-baron, Lord Michael, brought rave music into the nightclub scene with the help of Peter Gatien. Scotto & DB joined to form NASA which promoted the nighclub events at Limelight and Palladium. This created conflict between the underground Brooklyn Storm Raves and the NYC rave clubs. During the same time 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. In 1990 the first trance track was released titled "Age Of Love." From there acts like Art of Trance, Paul Van Dyk, and Union Jack defined the sounds of trance. Similarly, hardcore became popularized by records such as "Charly" by The Prodigy and Sesame's Treat, which was a rip of the Sesame Street Theme. This podcast shows the upward swing from acid house and techno to some early trance tunes which were, at the time, considered to be techno tracks by their producers. This was still a period where people weren't yet completely set on genres but there were different scenes created by the history of traditional house music and "rave music." Through the early 1990's the notion of segregated genres starts to become more and more prevalent with the emergence of newer styles. Outlander - The Vamp Joey Beltram - Energy Flash Joey Beltram - Jazz 303 Orbital - Chime Tasti Box - Rush Cybex Factor - Die Schopfung Trilithon - Choice Orbital - Omen

[1988-1991] EVERYTHING BEGINS WITH E!

2rip — Wed, 16 Jan 2008 02:13:38 GMT

House music which had previously derived from disco grew famous in the gay club circuit in cities like Chicago & New York, mainly pioneered by Frankie Knuckles (Chicago) & Larry Levan (NYC). The music had come a long way from the late 70's and dj's who performed live remixes had started focusing on producing "house music." At the same time a sound known as "acid" was created by DJ Pierre of Phuture. The acid sound was made by tweaking a Roland TB-303 Bassline Machine, a device made to provide basslines for practicing guitarists. In 1987 American house music began reaching European music charts. "Acid house" was also a term being used in England to encompass any form of house music that sounded "crazy." People also thought the drug reference sounded cool. Incidentally the drug of the acid house movement was not LSD, but MDMA (Ecstacy). During this same year a group of three dj's who were scraping by spent the summer in Ibiza. During their time on the island they they had taken their first Ecstacy trips and experienced the open-air disco known as Amnesia. These three dj's were Danny Rampling, Paul Oakenfold, and Nicky Holloway. In 1988 each of these three dj's had opened their own club nights in London. One of the most notable was Paul Oakenfold's Monday night Spectrum party which pulled crowds of over two thousand people. At Nicky Holloway's "The Trip" had crowds of rivaled football players, whose violence was at an all-time high, dancing together in an Ecstacy induced euphoria. Clubbers during this time were living as if they had been transplanted back to the sixties, talking about peace and changing the world. In 1988 the word "raving" was also finally coined and the acid-house culture had reached it's peak. The media began documenting the events while police worked in full-force to prevent raves from happening. In 1989 the first fully licensed event took place on the London/Essex border hosted by a crew called Raindance. The yellow smiley face seen on Have A Nice Day signs became the logo for Danny Rampling's clubnight "Shoom" and simultaneously became the trademark for the acid-house revolution. By 1990, while the music was continuing to be produced, acid-house was deemed as being "dead." The media had stopped their coverage and promoters began to set up an urban house scene in clubs like London's luxurious Ministry of Sound, bringing a second wave of ravers to the arena. While I was not remotely close to DJ'ing during this time I've always had a passion for the songs that I chose to compile into this mini-mix, which was created a shortwhile before graduating college. This year marks the timeline for the 10 years that I have been dj'ing so I will be taking a step back and posting mixes each week of pure oldskool techno & house music. 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

DJ 2rip presents Ultra Violent

2rip — Wed, 06 Aug 2008 04:10:15 GMT

This was an unplanned, one-take session. I mixed this with all of my current favorite acid breaks tunes, both old & new. This is the follow-up of my yearly breaks mixes stemming from "Make 'Em Bleed" in 2006 and "My Destructo" in 2007. Free at Last - DJ Sandy Bad Boyz - Bad Boyz (Cris Remix) Tokyo Loading - Strider (2rip's Cut The Crap Edit) Submit - Introspective (Bitrok Remix) TFM - Lee Coombs Summer Rolls - Robosapiens Freestyle - JMekka & J.Bass (Robosapiens Remix) Low Contour - Freeflow 45 Blow Your Mind - Speakers Junkies (Prodigy Remix) High Noon On My Sundial - Tom Real

Last Call

2rip — Mon, 07 Jan 2008 18:28:47 GMT

This podcast is actually the second half of a studio recording. The first half has yet to be released but will be titled "Physical Friction." The tracks selected here are some of my favorite progressive house songs from 2007 and they were compiled to reflect the programming of a late night mix leading up to the end of a party, hence the name "Last Call." Ubu – Pixels PMFM – Frogs & Gekkos Romz – Rukker After Remo – Ivision Furry Nipples – Viggo (Martni H Remix) Yanouz – King Of My Castle (Sander Van Doorn Remix) Stereofreak – Gipfeltreffen Booka Shade – Numbers Gui Boratto – Beautiful (Sascha Funke Remix) 4om4 + Seal – Amazing (Thin White Duke Remix)

My Destructo

2rip — Fri, 20 Apr 2007 09:08:57 GMT

Although the name speaks for the original version, this mix was toned down to be more accessible to listeners all across the board. The final version is a representation of a variety of styles I contribute when playing a breakbeat set. Ranging from smooth, building basslines as you will hear in the beginning of the set to hard, driving, acid and tech breaks - all while managing to keep a high level funk. Sorry I didn't include any scratching on this cd, guys. I had a killer routine for the beginning but I decided to leave it out until I have it completely perfected. This is currently my official breakbeat demo of 2007. It has been over a full year since the release of my last breaks CD which was titled "Make 'Em Bleed," so you can certainly understand the anticipation of this compilation. Here is the tracklisting: 1.Flashpoint - Birth Of Smurf [Sinister Recordings] 2.Molomekaniske - Ghost In Stereo [Sinister Recordings] 3.Introspective - Fatal Attraction [Sinister Recordings] 4.Psure - Blue Light [Title Fight Records] 5.Def Inc - University of Dub [Bochit Breaks] 6.Ben & Lex - Like This [Ape Records] 7.Rob Reng - Makin Ya Bounce [Ruff Dog Recordings] 8.Mortlock - Evolutionary [Guerilla Tactics] 9.Deibeat - We Rock The Party (Peter Paul Remix [iBreaks] 10.Control Z - The Tunnel [Hardcore Breaks] 11.D-Ranged - Get Shift (Far Too Loud Rmx) [Bombtraxx Records] 12.Nothing - Analogue Rush (Dopamine Rmx) [Unstable Records] 13.Dopamine + Klaus Hill - Ah Baby [Title Fight Records] 14.Robosapiens - New World Order [Dead Famous Recordings] 15.Robosapiens - Acid Reign [Sinister Recordings] 16.IIs - Angels (Santos Remix) [Distinct'ive Records] 17.Sugiurumn - Hot Plate (Santos Remix) [Mantra Breaks]

Cloudbreak [Feb '07 - Downtempo]

2rip — Sat, 03 Mar 2007 01:38:22 GMT

In January of 2006 I made my first trip hop mix titled "No Cause For Concern" which fully blossomed my love for the entire genre of downtempo. For over a year I have promised everyone some new listening material of this type. It's finally here... Cloudbreak. This compilation was actually based around a central storyline, even moreso than previous mixes. I stumbled upon a series of records that spoke volumes to me and arranged them in a way that not only flows but also takes you through. This theme is an aural description of a persons death and the guidance through the tunnel towards the light and some suprises found on the other side. Use your imagination - the rest is open for interpretation. Tracklisting: Trentemoller - Miss You Coach - Dal Mare Lontano Don Carlos - Sun Is Shining Kevin Yost - Deep Inside My Soul Dave Warrin - Somewhere Fresh & Low - Feels So Good (Hanna Rmx) Coach - Long Blue Mood - What Does It Mean Blue Mood - Roses Zeb - The Water & The Sun Kevin Yost - Long Distance Goodbyes Richard Les Crees - Slow Ride Hanna - Dayspring Ohm Guru - Montedivenere Mystic Diversions - Interracial LTJ Experience - Moon Beat Trentemoller - Like Two Strangers