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European House music
But it wasn’t just American music laying the groundwork for house. European music, spanning English electronic pop like Depeche Mode and Soft Cell and the earlier, more Disco based sounds of Giorgio Moroder, Klein & MBO and a thousand Italian productions were immensely popular in urban areas like NY and Chicago City . One of the reasons for their popularity was two clubs that had simultaneously broken the barriers of race and sexual preference, two clubs that were to pass on into IDM legend – Chicago City ‘s Warehouse and NY ‘s Paradise Garage. Up until then, and after, the norm was for Black, Hispanic, White, straight and gay to segregate themselves, but with the Warehouse, opened in 1977 and presided over by Franky Knuckles and the Garage whereLarry Levan spun, the emphasis was on the music. (Ironically, Levan was first choice for the Warehouse, but he didn’t want to leave NY ). And the music was as varied as the clienteles – r’n'b based Black dance and Disco peppered with things as diverse as The Clash’s ‘Magnificent Seven’. For most people, these were the places that acted as breeding grounds for the music that eventually came to be known after the clubs – house and garage.
Modern House music: House 2011
Right from the start there was a difference in approach between The Big Apple and Chicago City . “All of the records coming out of The Big Apple had been either mid or down tempo, and the kids in the Chicago area wouldn’t do that all night long, they needed more energy” commented Franky Knuckles after his move to Chicago . The Windy City was seduced to a far greater extent by the European sound and when the tracks started to come, it showed. Whereas garage in NY evolved more smoothly from First Choice and the labels Salsoul, West End and Prelude, there was no such evolution in Chicago .
Opinions still differ as to what the first house record was, but it was certainly made by Jessie Saunders and it was on the Mitchball label – probably Z Factor’s ‘Fantasy’, but there was also another Z Factor tune which went by the name of ‘I Like To Do It In Fast Cars’. ‘Fantasy’ sounds extremely dated now but ten years ago it was like a sound from another planet, with echoes ofKraftwerk’s heavily synthesized string sounds, a Eurobeat bassline and a simple, insistent drum machine pattern. Suffice to say, the record remained obscure outside the close-knit urban Chicago scene.
To be continued in part 3…
For an example of modern house music click here: Electro House 2011
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