While Cybotron, the first major release from Juan Atkins in Detroit, may be considered the first techno record it is also arguably known as the first electro record. Across the United States, Afrika Bambaataa released "Planet Rock" in 1982 while Hashim released "Al-Naafiysh" in 1983. Electro was dominated by staccato, percussive rhythms with heavy use of effects such as reverbs and delays. Electro was a primary influence in the development of Miami Bass.

Miami Bass became popular at the start of the 90's. The genre was a type of rap music that was geared towards fast-paced dancing. 2 Live Crew is said to have a large influence and with their hit singles like "Me So Horny" the genre became more widely popularized. By 1993 the underground sound of Miami Bass was becoming extinct as groups like Tag Team released "Whoomp! There It is" and Quad City DJ's with "C'mon And Ride It (The Train)." These releases made it onto mainstream radio and many dance cd compilatons. With the commercialization of Miami bass, a few dedicated dj's in Detroit began similar productions of their own.

DJ Assault & Big Red were a hip hop group that dj'ed fast-paced dance music. While working at Buy-Rite Records their owner encouraged them to incorporate techno into their mixes. Right around the time that they signed with Buy-Rite Records, DJ Godfather was popping up on the Detroit scene. DJ Godfather and mentor DJ Dick had put together a couple of bass singles in 1993 and 1994 as Bass Association. In 1995 they founded Twighlight 76 along with DJ Nasty, moving their production in a more techno direction but still combining Miami Bass samples.

Leading up to this point the electro & techno community in Detroit was a primarily black scene. By the mid-nineties a white teen from Ann Arbor, Michigan had climbed into the DJ scene and started combining Detroit's new style after seeing Assault and Godfather at a rave. The style of this sound was often considered to be "fast stuff" or "mix show music" but Disco D quickly coined the phrase "ghetto house." This term rubbed the originators of this music in a very wrong way, however the name stuck. The term also has other monikers such as booty house and ghettotech.

Booty house took on it's shape around 1992 an features stripped down, 4 to the floor, drum-machine driven tracks layered with sexually explicit lyrics. It was also known as Juke House upon it's conception and was said to be founded in Chicago. Ghettotech is the cousin of Juke/Booty House and follows the groundwork described earlier regarding Detroit and the incorporation of techno, juke house and electro gave it a Miami Bass feel.

This mix was recorded in 2003 but the wax selections are from 1995-1997. This recording, like many of the previous, has never been distributed. This particular mix never had a name associated with it and I shortly gave up mixing this genre after the tape was dubbed.

DJ Slugo - Balls
DJ Slugo - Track Is For The Men
Unknown - Beat That Shit Up
DJ Godfather - Playa Haters In Dis House
Twighlight 76 - Roll It, Ride It, Shake It (12" A Side)
DJ Deeon - Where The Hoez (Uh Oh)
Dance Mania - T-N-E = Taris
Big Daddy Rick - Hoe Bend Over
DJ Godfather - Pump
Unknown - Giggle Dat
Big Daddy Rick - Beyond The Inferno
Big Daddy Rick - Balloons
Twilight 76 - Roll It, Ride It, Shake It (12" A Side)
DJ Nasty - Where Them Hoes At
DJ Slugo - Wouldn't You Like To Be A Hoe
Farley Jackmaster Funk - Beat That Bitch With A Bat

In 1995 a website named Erowid was founded by an organization called “Fire & Earth Erowid.” The site actually remained as a part-time project up until the end of the 90’s. The website specialized in the controversial niche of providing accurate, specific and responsible information about how psychoactives are used around the world. The site soon became a cross between a library and a journal.

During that same year a jewelry maker named John Dwight wrote a letter to the city to request a traffic tunnel to shoot for a “promotional video compilation.” The idea was initially used during the filming of Stephen King’s “The Stand” which took place in Pittsburgh. However, Dwight’s motive was not to simply shoot a video but to throw a party – Tunnelvision. The city approved and this event went down as one of the most legendary parties on the East Coast.

The Tunnelvision party hosted artists like DJ Sun, Speedy J and Dieselboy. The stage was set up with a wall of television sets next to the dj booth and 1500 ravers danced around in baggy clothes. Halfway into the night a large man stripped down naked in the middle of the party and began humping the speakers. He then attempted to charge the television sets next to the booth but was stopped by Joe Lesesne. The naked man was then loaded into a minivan and kept safe for the rest of the night but became an implanted memory for party attendees. Midway into the night, neighbors in the surrounding area began complaining over noise. This sparked media interest. The event hit the news by the next morning and marked as a turning point for the Pittsburgh scene.

In 1994 Fuel Productions, headed by Rick Worth aka Stickman, hosted Synovial Fluid. The event featured Deadly Buda, Ryde, and Dieselfboy. This was one of the largest Pittsburgh raves during that time period. A week after Tunnelvision, Rick Worth hosted a party at the Washington County Fairgrounds. They had forecasted that the party would pull at least 1000 people, however only 300 showed up. This marked Pittsburgh’s first slowdown.

Across the United States in the deserts, Full Moon Gatherings were growing in popularity. Around 1993 a group of individuals had felt that the rave scene was becoming too commercialized. Their inspiration came from the Wicked full moon parties in San Francisco. The first Full Moon Gathering was hosted o in the Lake Castaic region north of Los Angeles. sound system was soon brought into the desert, however the first few events were nothing record-breaking and attendance was low. Soon the crew was completed by DJ Daniel, John Kelley, DJ Brian, Dj Treavor, Petey, Mr. Annand and Tha Roman. In February of 1997 directions were given out over KCRW radio and an attendance of over 2000 showed up for that particular Full Moon Gathering. In the morning of that event, helicopters flew over the party and police in riot gear descended upon the crowd. Following this, Moontribe began making their events more difficult to access by limiting advertisement of events and finding land far away from civilization.

In 1995, however the scene was experiencing a boom coming out of Chicago. Carlos Sosa aka DJ Sneak developed a new sound that would revolutionize house music forever. The disco filtered grooves became Sneak’s signature sound. The new sound would inspire artists such as Daft Punk and Basement Jaxx.

In 1996 people all around the world were taking cues from Chicago house. Boris Dlugosch produced vocal house bomb “Keep Pushin.” At the same time Strictly Rhythm Records had become one of the first dance labels to recognize the value of actively licensingsingles to non-US territories and actively exploited the advantage. The label continued to push out songs regularly, along with Henry Street Music which license The Bucketheadz popular track “The Bomb.”

Armand Van Helden - Mecca Toast
Norty Cotto - Time To Rock A Party
DJ Sneak - Throw Your Hands Up
Da Mongoloids - Spark Da Meth (Bangin Like A Benzi Mix)
Aleem - Filtri Organi
Ruffneck - Everybody Be Somebody
Boris Dlugosch - Keep Pushin' (Pushin Mix)
Freestylers - Don't Stop (Deep Energy Mix)
ATFC - In & Out Of My Life (Lab Rats Dark NIght Vocal)
That Kid Chris - I Believe

Rewind to San Diego, 1986. Leading up to this year die-hard San Diego party kids make a 2 hour drive to downtown Los Angeles. Many of the popular Los Angeles parties in the mid-80s were hosted in hotel banquet rooms. One of the most famous was The Park Plaza Hotel. When Todd Zweig went on a trip to Ibiza, Spain that year he had a refreshing musical experience. The massive parties and Balearic dj style ignited his motivation to put an end to the two hour drive to LA and give people in San Diego an event that brings all types of people together under one roof. This was the birth of Playskool.

Playskool, which was eventually renamed Playscool after legal confrontations with the Hasbro Toy manufacturer, was held at Hotel San Diego at Broadway & State Street. During this time the acid house revolution in Europe had not even begun and dj's mostly played artists like The Cure, Aerosmith and Anita Ward. By 1988 Playscool had become so big that Zweig made his first arrangements to use the San Diego Sports Arena.

Zweig had hired George Kreiger who promoted and staged bungee jumping demonstrations for this first event at the Sports Arena. The bungee jumpers were to run across the rafters dressed as police officers and descend upon the crowd as a joke. During practice an operational error took place which led to both jumpers falling to the floor below. No casualties took place but the situation led to a lawsuit which had eventually become case law titled American Casualty vs. Kreiger. After this incident happened in 1987 the decision was made to make Playscool a yearly event.

In 1989, Mark E. Quark was asked to take over Greyboy's "World House" night at Soma on Market Street in San Diego. The event was a copy of Bart Blackstone's "One Nation Under A Groove" events. However the "World House" night came to an end within a couple of months only to re-open shortly afterward with Mark E. Quark as the resident dj, supplied this time with more promotional power. The second run was highly successful with turnouts of 600 - 1000 people per weekend. At this time Quark was mixing between artists like Front 242 and Nitzer Ebb as well as Lords of Acid, Phuture, Lil' Louis and even some disco & funk. However as time pushed on there was less industrial and more acid house being released. While it was new at the time, acid house was positively received in San Diego however it wasn't until he began playing Belgian & Detroit techno around 1990 when people would go completely apeshit for the music.

In 1991 Mark E. Quark was living in a warehouse space at 9th & G St with Brian Weinberg who owned and rented out sound systems for various parties. Brian along with Paul Smith, who was the Playscool arts director, came together as SkinTwo Productions and threw several parties at the warehouse, aptly naming them "Ware's The House." These were some of the first warehouse parties in the city.

Around the same time frame a DJ named Daemon showed up to an underground warehouse party hosted at a different location. He got into the party by carrying his records, posing as a dj. Once he got in he was greeted by Mike Lee who took him to the dj area. The previous dj had become too fucked up on drugs to continue holding the crowd and Daemon jumped into the dj booth to help create some movement on the dancefloor. At this point it was announced that Daemon would be the resident for the upcoming MicroRave events hosted by Mike Lee & Claudio Canive. These were considered to be the more underground events and others like them continued to spring up hosted by such crews as Double Dipped, Global Underworld and Outlaw.

Until this time period the police had actually, for the most part, accepted raves. They were glad there was no violence and drug use had not yet become rampant. Similarly, any drug use at the time was typically ecstacy which the police saw as a happy drug. On July 22, 1994 an incident would shake the foundations of the San Diego rave scene. At a Moonlight Massive party hosted under the 8 Freeway at the end of Juan Street there was a shooting that killed two 15 year old boys, reportedly over drug money. The murderer had been on acid himself and had reportedly killed the wrong people. Partykids were detained at the scene for several hours as police investigated the crime. The incident showed all over the news and had become a major down-turn for San Diego raves. Promoters became more cautious and sometimes feared throwing events while police and the media began to keep a close watch on parties and venues.

By the mid-nineties Global Underworld Network was hosting the famous Narnia events. These events would host such talents as Deelite, DJ Dmitri, and the Wicked Soundsystem. By 1996 Playscool reached their 10-year anniversary on October 4th. The lineup featured six rooms of music which included acts like Rabbit In The Moon as well as Sandra Collins and Planet Soul. In 1997 the American Casualty vs. Kreiger case had come to a close and Todd Zweig had decided to retire from hosting events.

This week features a blend of house music from the entire portion of the mid-nineties including some tribal tunes as well as classic house. The graphic for this mix was taken from a flyer for a San Diego based rave that featured Mark E. Quark, Daemon, Hipp-e and DJ Dan.

Mr Oizo - Kirk (Intro)
Francois K - Edge of Time
Peace Division - Faze K
Danny Tenaglia - Bottom Heavy
Loose Pigeons - The Logical Song (Henry St Remix)
LoSoul - Open Door
That Kid Chris - Black Jack (Radio Edit)
Cevin Fisher - Music Saved My Life (Hard Mix)
95 North - Who's Hoo (Dub Mix)
Seeds & Stems - Get U High
Static - Anthem (Let There Be House!)

In 1994 Paul Oakenfold broadcasted a set on BBC Radio 1's Essential Mix that was largely inspired by beach parties taking place in Goa, India. The two hour mix was seperated into two parts, one half being the Silver Mix and the other being the Gold Mix. This mix was a springboard for many producers such as Li Kwan, Salt Tank & Vanelis.

Around this time the popularity of trance was beginning to rise. During 1994 the trance scene was continuing to develop. Listeners grew increasingly interested in trance not because of the complexity in rhythm but from the complexity in melody & harmony. Many trance songs began to incorporate a method called "gating" which turns the volume up & down rapidly om a rhythm piece to create a stuttered or chopped sound.

Ecstacy had quickly become a primarily trance drug while LSD was also used very frequently in the trance community. The swooping synth patterns and the gated vocals in trance was a stimulating effect while using these drugs. Similarly dancers would take advantage of the breakdowns in trance music to break from dancing and take in long breaths of air. This rushing sensation would then build as the buildups in the music reached their peaking point.

By the mid-90's came the introduction of vocal trance which added vocals and a pop-like structure while producers like Robert Miles were pioneering dream trance. One of the most famous dream trance productions was "Children" by Robert Miles.

Other producers would move in a different direction. DJ Scot Project is often hailed as the founder of hard trance. Hard trance focused on pounding beats and more simplistic synth pads. It also incorporated more of an emphasis on acid sounds. This was taken to the next level with the acid trance genre which actually held more similarities to that of acid techno.

Near the end of the 1990's many of the producers that pioneered the sound of trance had abandoned the genre completely. Oliver Lieb who debuted in 1993 as LSG was one of these producers.

Li Kwan - Point Zero
Luxor - Superstitious (Nursery Mix)
Coloured Vision - Violet Rain
Albion - This Is For
DJ Jamo & Jack Knives - Strings Of Heaven
Skylab - Accident
Scot Project - U (I Got A Feeling)

Between the year 1995 and 1996 jungle began splitting further into other sub-styles. What was once known as jungle was now being recognized as drum & bass by newcoming fans. During 1995, P-Funk introduced "P-Funk Era" which would revolutionize the sound of drum & bass as many artists began to incorporate more rolling basslines into their production.

During this same year jungle became more commercialized. Though he was mostly intrigued by acid house and Detroit techno, Alex Reece rose to become a very influential name in the jazzy/intelligent drum & bass scene. Although remaining an underground genre, Goldie's "Timeless" sold 150,000 copies in the UK alone. Goldie also formed his label Metalheadz in this time period which signed Doc Scott, Dillinja, and Photek. Intelligent drum & bass was seeing a large popularity while the jungle sound of the early 90's had slowly begun to fade away.

In 1996 Grooverider coined the term "hardstep" for a new wave of drum & bass productions. Hardstep was a move dancefloor oriented style when compared to intelligent drum & bass and the language of the track composition incorporated the same rolling bassline that was becoming widely used in the previous year. From hardstep there immediately came techstep and darkstep.

P-Fun - P-Funk Era
Alex Reece - Pulp Fiction
DJ Pulse - Let You In (Wax Doctor Remix)
88.3 feat. Lisa May - Wishing On A Star
Aphrodite - Wanted It More & More
Richi & Jmj - Free La Funk (Pfm Remix)
Jon The Dentist - France (DJ Trace & Ed Rush Remix)
Roni Size - Secrets
Bigga World - My Perspective
Adam F - Metropolis
Aquasky - Images

Some Orlando, FL doctors estimate that there were approximately 60+ drug related deaths in the city between 1991 and 1997, many of which were linked to the Orlando rave scene. The city had risen quickly and fell quickly due to the widespread amount of excessive drug use. Heroine was very popular in Orlando during the mid-nineties and was actually so much of a problem throughout the city that the police worked to take control, creating "The Rave Review Board" which would impose a curfew on nightclubs which would end any afterhours activity. Since Orlando raves were always held in nightclubs their scene, knocking out the majority of rave promoters from the city as they began looking to the suburbs.

The beginning of the Orlando rave scene can be traced back to a club called Oz. The main promoter of Oz, Stace Bass, had two major residents: Kimball Collins and Dave Canalte. Dave Canalte eventually became musical director for Disney's Pleasure Island.

DJ Icey's roots date back to the same period but at a club called Sub-Zero where he was growing an appreciation for breakbeats. He soon moved on to play at a club called Edge which was supposed to have a Top 40 theme - but not under Icey's watch. With the club packed every weekend from 1991 to 1997, Orlando was growing on the rave map. But simultaneously the drug situation inside The Edge had gotten out of control. The crowd members were often considered to be "gangster ravers." A backlash to these happenings came from within the scene.

Firestone nightclub opened up in 1994, hosting primarily progressive house acts. Progressive house was considered to be a more mature sound and in clubs like Firestone a dresscode was enforced. A split in the scene had become evident with "Edge kids" on one side wearing JNCO jeans, doing ecstacy or heroine and listening to breaks. The other side were "Firestone clubbers" who were dressing up, doing cocaine and listening to progressive house.

Funky breaks in Florida caught on primarily because it was a fusion of styles. The area was already big on electro. There was also the booty shaking music of Miami bass. Funky breaks combined these two but with more of a rave essence. It was also widely accepted because it sounded like a hip hop version of techno/house. In the early to mid-ninetees you would see breakdancers popping and locking at events.

This podcast presents some popular breaks tracks that were released between 1993 and 1996. It illustrates some Florida breaks like Icee and also the sounds of UK Big Beat producers like The Crystal Method and Chemical Brothers.

2 Bad Mice - Bombscare
DJ Icee - Gotta Get Some
The Freestylers - Don't Stop
DJ Icee - Tricks Theme
Silicon Valley Def Stars - Phat Phuzz
Thursday Club - A Place Called Acid
Lionrock - Packet of Peace (Chemical Brothers Remix)
Anoesis - Trouble Down Groove
The Crystal Method - Keep Hope Alive
Chemical Brothers - Chemical Beats
The Woodshed - Reefaman Cometh

After the 1994 Criminal Justice Act nearly left the British free party scene in ruins many traveler artists moved away from Britain to Europe, United States, Goa (India) and even Australia’s East Coast. The free party ideology spread through Eastern Europe. This period marked the rise in French, German and Dutch sound systems and Teknivals.

A teknival is a free event where any artist who enters is encouraged to participate, often leading to several days worth of randomly placed sound systems, cafes, tents and vehicles. The most famous free party sound system was Spiral Tribe which originated in West London and hosted the Castlemorton Common Festival in 1992 which drew a crowd of 35,000. Some say that this event had a huge impact on the lawmakers to develop the Criminal Justice Act.

The musical background of techno truly resides in Detroit. The blueprint for the entire genre developed from the Belleville Three: Juan Atkins, Kevin Saunderson & Derrick May. Derrick May described techno at one point as “It’s like Detroit. A complete mistake. It’s like George Clinton and Kraftwerk are stuck in an elevator with only a sequencer to keep them company.”

The instruments utilized by the original techno producers in Detroit included drum machines like the Roland TR-808 and bassline generators like the Roland TR-303. The TR-808 was developed to assist artists in making demos of their music and the TR-303 was developed to assist practicing guitarists with bass accompaniment.

A second wave of techno producers soon came onboard. The Belleville crew was joined by artists including Carl Craig, Kenny Larkin and Stacey Pullen. Underground Resistance was also defining their own sound with artists like Jeff Mills, Mike Banks and Robert Hood. UR was a group of artists who viewed themselves as a paramilitary group fighting against commercial mainstream entertainment.

In 1990, Richie Hawtin and John Acquaviva started the Plus 8 record label which was based in Ontario. Many of the initial releases were industrial hardcore recordings. One of their last hardcore pressings was Cybersonik’s “Thrash.” They decided to depart from their hardcore concept when they played a club in Rotterdamn in 1992. The resident dj was playing “Thrash” when the crowd began to yell an anti-semitic football chant. They were prompted to change their musical direction by slowing down their tempos and engaging more funk and soul into their music. The label had eventually taken a sabbatical in 1997 when Acquaviva decided to concentrate on dj’ing and Hawtin began a new label called Minus.

This podcast captures the sounds of various regions that participated in developing the sound of techno as a whole, ranging from Paul Johnson in Chicago to Hardfloor in Germany and Funk D’Void in Barcelona. The timeframe for this music is dated to 1994-1995.

Nerk - Nok 1
Tok Tok - Snack 1
Hardfloor - Into The Nature
Floppy Sounds - Ultrasong
Slam - Positive Education
Robert Hood - Untitled
DJ ESP aka Woody Mcbride - Slow Mo
Christian Vogel - Time
Hardfloor - Beavis At Bat
Paul Johnson - Bouncing Bed Springs
Paul Jonson - Tenacious
Soup - Exposure
Funk D'Void - Jack Me Off

In 1994 Armand Van Helden released his first major track titled “Witch Doktor” which made it to the top 5 list on the Billboard Hot Dance chart. On the other hand Erick Morillo was continuing to pump out classic tracks. He had first gained speed with his productions under the pseudonyms Reel 2 Reel, RAW, and Lil’ Mo Ying Yang. In 1994 he produced “I Like To Move It” under the Reel 2 Reel name which hit #1 on the Billboard Club Play chart. He immediately began traveling the world to play gigs, eventually becoming a millionaire. The song was used in television as well as in the 2005 Dreamworks film “Madagascar.”

In the early nineties Danny Tenaglia first began remixing music. One of his earliest remixes was of Right Said Fred’s tune “I’m Too Sexy” which was released in 1991. In 1993 he released a remix of Jamiroquai’s “Scortching the Planet Earth.” In 1994 he remixed Madonna’s “Human Nature.” Tenaglia’s first epic tune was actually The Daou’s “Surrender Yourself” in 1993.

In 1994 Saved By The Bell hosted an episode titled “The Rave” where Zach and the gang host a rave to fund their trip to Cancun, Mexico. That same year Beverly Hills 90210 also featured an episode where the crew attend an underground Easter party. Growing awareness of underground events at this time led to a growing interest in the media to hype and exploit the rave culture using drugs as a main link behind each story. Part of this was also due in part to the Criminal Justice Act of 1994. The new spark in media attention broadcast the reality of raves to the ears and eyes of people everywhere, igniting yet another wave of ravers that channeled themselves into the circuit.

That same year Buzz in Washington DC ended their year-long run at The Eastside Club to re-open for short periods at both The Ritz (which is now an office building) and again at City Lights (now Love Nightclub) before they settled in at The Capital Ballroom in 1995. The first full-on "Supersting" event by Buzzlife was hosted in 1996 with a brilliant lineup featuring Carl Cox, LTJ Bukem and Laurent Garnier.

Armand Van Helden - Break The 80s
Brooklyn Queen Express - Musek (Roc Hard Mix)
Roxy - Love To Do It (Danny Tenaglia Remix)
Syncopation - All Washed Up
Cajmere - Brighter Days feat. Dajae
George Morel - Don't Give Up
Praxis - Turn Me Out
Angel Moraes - I Like It
Smooth Touch - Take A Trip (Erick Morillo Remix)
The Daou - Are You Satisfied?

In 1991 Chris & James Griffin started a small dance party in Cheltenham UK. This night eventually became known as Trance. Chris & James soon decided to part ways to hold their own individual parties. Chris formed Perception while James went on to organize Fantazia. New Years of 1992/1993 was the 6th Fantazia event and possibly their largest, with an attendance of 16,000.

In 1992 Jaydee aka DJ Robin Albers released the classic hit called 'Plastic Dreams' on R&S Records. The track hit #1 on the US Billboard's Hot Dance Music/Club Play chart.

With an idea originally conceived by Eddie Gordon, DJ Pete Tong began hosting the Essential Mix. The first broadcast hit the air on October 30, 1993. While The Essential Mix was usually pre-recorded and played via studio there were also live versions of the show that branched from venues in the UK to other areas such as Ibiza, North America, Germany, and South Africa.

While it was always accepted that Age of Love was the first trance tune ever pressed, Dance 2 Trance was considered to have released the second trance pressing ever titled "We Came In Peace." Progressive trance became a popular sub-genre which contains elements of house, techno and ambient music while trance focused more on anthemic qualities and melodies, moving away from arpeggiated analog synth patterns. Compared to the classic definition of trance, the progressive subgenre was deeper and more abstract, however continued to maintain the three typical structure elements of build-up, climax & breakdown. Meanwhile uplifting and epic trance took their buildups and breakdowns to an exagerrated point.

The genre immediately began to rise in popularity, finding it's niche in being 'edgier' than house, more soothing than drum & bass, and more melodic than techno.

This podcast demonstrates again the rise of trance in a compilation of very popular songs from 1993. Next week we will look again at "progressive" dance music as we begin to move into 1994, prior to returning to the house and techno sounds of the mid 1990s.

Jaydee - Plastic Dreams
With It Guys - Let The Music Take Control
Strategy - High Energy
Sourmash - Pilgrimage To Paradise (Barrel Beat Mix)
Nico - Darkstar
Jagga - Finito
Golden Girls - Kinetic (Frank De Wulf Remix)
Humate - Love Stimulation

As stated in Wikipedia the term "electronica" encompasses a wide range of contemporary electronic music. The music is designed for a wide range of uses which can include foreground listening, some forms of dancing, and also background music.

Electronica soon became a catch-all phrase for ambient, chill-out, downtempo, downbeat, and any abstract forms of electronic music. The focus on songs, a fusion of styles, and combination of traditional along with electronic instruments often sets electronica apart from straight ahead styles like house, techno and trance.

In 1991 Autechre released their first single titled "Cavity Job" but did not release a full album until 1993. In 1989 Moby signed a contract with Instinct Records and releaed "Go" which reached the UK Top 10 in 1991. In 1992 Aphex Twin released his first album "Selected Ambient Works 85-92" which came out on R&S Records, the same label that released Beltram's Energy Flash.

In the rave scene the earliest mentioned chillout room was at Konspiracy in Manchester, UK. In chill rooms people would often find couches accompanied with dim lighting and projectors with trippy images displayed. This culture carried over into the United States as well as raves and nightclubs around the world. Every chill room had it's own personality, some better than others. The Higher Intelligence Agency helped lift chillout music from the side stage to the main stage with their Oscillate parties in Birmingham.

In 1994 Sonic Soul Productions hosted their first chill-out event in Baltimore, MD. This event led to the series of "Cloudwatch" parties. In 1997 a compilation was released under the Sonic Soul label featuring artists such as Steve Roach, DJ Spooky, and DJ Who.

Eric Idle & Richard Wilson - One Foot In The Grave (Wireless Mix)
Mark Van Hoen - Battery Ending
Control X - Ambient 4
LFO - El Ef Oh
Aphex Twin - Shiny Metal Rods
Moby - Bad Days
Beaumont Hannant - Utuba
Autechre - Chatter
F.U.S.E. - Slac
Control X - Babylon
Plastikman - Plastique

The Cleveland rave culture was inspired by a college radio dj from station WRUW named Stevie T. In 1992, he along with DJs Lars Fischer, Mike Filly, and Rob Bertrand attempted their first rave together. Unfortunately it was busted by the police before it even started. Soon after this, Mike Filly teamed up with DJ Rob Sherwood to form Tone Deaf and Color Blind Productions. In June of 1992 the crew hosted TIDAL RAVE featuring a live performance by 2 Unlimited. Their second event, KOOLAID in July of 1992 featured F.U.S.E. as well as Joey Beltram & Richie Hawtin. KOOLAID took place in a warehouse near East 4th St & Prospect. In June of 1992 a promoter named Jimmie Allen hosted A MIDSUMMER'S NIGHT with headliner Sleepy C in Akron, OH.

In 1993 Joe Lesesne began the PB-CLE (Pittsburgh-Cleveland) mailing list. This list grew exponentially and moved to what is now hyperreal.org in the fall of 1995.

Rewind a few years back and you have what may very well be the start of the Washington, DC rave scene. Giovanni Baez can be accredited to being one of the first East Coast rave promoters, throwing parties known as Catastrophic. In 1990 Scott Henry, Tony Japzon & Charles Fields produced a party called Orbit. The first Fever event was hosted at the Paradox in 1992.

Far away from the East Coast, in Salt Lake City UT, a man named Pete Ashdown along with partner John Webster had begun importing acid house to Utah. The first party was set to go off when the venue owner cancelled the arrangement. Several months and several venue issues & cancellations later Ashdown & Webster hosted "Rave 1 - Utah's First Rave." The party pulled roughly 120 people and was a mix of ravers and non-ravers. Ashdown dj'ed the whole night while his partner ran the door. He and Webster hosted two more follow-up parties in Salt Lake City while the next wave of events were hosted by a DJ named Chris Sick along with support from his girlfriend Jodi Nielsen. In 2006 Pete Ashdown ran for the Utah Senate election against incumbent Orrin Hatch.

In 1992, Speedy J a Dutch techno producer broke through with a release on Richie Hawtin's & John Acquaviva's Plus 8 record label known as Pullover. Kenny Larkin who also released an influential track on Plus 8 has been described as "massively influential" on producers all over the globe.

This podcast encompasses various shades of techno from both the United States in Detroit to European techno and widely know and resampled tracks such as Moby's "Go."

Speedy J - Flashback
Psyance - Motion
FUSE - Technotropic
Moby - Go
Kenny Larkin - We Shall Overcome
Fellows - Last Laugh
Moby - Drug Fits The Face
Biosphere - Fairy Tale
Hardfloor - AM Trip
Sven Vath - Barbarella
Da Sampla - With A Piece of Ice
Acid Jesus - Move My Body
Underground Resistance - Nocturbulous
Robert Armani - Circus Bells

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

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)

"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

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

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)

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

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)