ReMan 2021 Mix Deep House Slap House [WORK]
House has a large effect on pop music, especially dance music. It was incorporated into works by major international artists including Whitney Houston, Janet Jackson, Madonna, Pet Shop Boys, and Kylie Minogue, and also produced many mainstream hits such as "Pump Up the Jam" by Technotronic, "French Kiss" by Lil Louis, "Show Me Love" by Robin S., and "Push the Feeling On" by the Nightcrawlers. Many house DJs also did and continue to do remixes for pop artists. House music has remained popular on radio and in clubs while retaining a foothold on the underground scenes across the globe.
ReMan 2021 Mix Deep House Slap House
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In its most typical form, the genre is characterized by repetitive 4/4 rhythms including bass drums, off-beat hi-hats, snare drums, claps, and/or snaps at a tempo of between 115 and 125 beats per minute (bpm); synthesizer riffs; deep basslines; and often, but not necessarily, sung, spoken or sampled vocals. In house, the bass drum is usually sounded on beats one, two, three, and four, and the snare drum, claps, or other higher-pitched percussion on beats two and four. The drum beats in house music are almost always provided by an electronic drum machine, often a Roland TR-808, TR-909,[12] or a TR-707. Claps, shakers, snare drum, or hi-hat sounds are used to add syncopation.[13] One of the signature rhythm riffs, especially in early Chicago house, is built on the clave pattern.[14] Congas and bongos may be added for an African sound, or metallic percussion for a Latin feel.[13]
Sometimes, the drum sounds are "saturated" by boosting the gain to create a more aggressive edge.[13] One classic subgenre, acid house, is defined through the squelchy sounds created by the Roland TB-303 bass synthesizer. House music could be produced on "cheap and consumer-friendly electronic equipment" and used sound gear, which made it easier for independent labels and DJs to create tracks.[15] The electronic drum machines and other gear used by house DJs and producers were formerly considered "too cheap-sounding" by "proper" musicians.[16] House music producers typically use sampled instruments, rather than bringing session musicians into a recording studio.[17] Even though a key element of house production is layering sounds, such as drum machine beats, samples, synth basslines, and so on, the overall "texture...is relatively sparse".[18] Unlike pop songs, which emphasize higher-pitched sounds like melody, in house music, the lower-pitched bass register is most important.[18]
House tracks typically involve an intro, a chorus, various verse sections, a midsection, and a brief outro. Some tracks do not have a verse, taking a vocal part from the chorus and repeating the same cycle. House music tracks are often based on eight-bar sections which are repeated.[18] They are often built around bass-heavy loops or basslines produced by a synthesizer and/or around samples of disco, soul,[19] jazz-funk,[8] or funk[19] songs. DJs and producers creating a house track to be played in clubs may make a "seven or eight-minute 12-inch mix"; if the track is intended to be played on the radio, a "three-and-a-half-minute" radio edit is used.[20] House tracks build up slowly, by adding layers of sound and texture, and by increasing the volume.[18]
House tracks may have vocals like a pop song, but some are "completely minimal instrumental music".[18] If a house track does have vocals, the vocal lines may also be simple "words or phrases" that are repeated.[18]
One book from 2009 states the name "house music" originated from a Chicago club called the Warehouse that was open from 1977 to 1982.[21] Clubbers to the Warehouse were primarily black, gay men,[22] who came to dance to music played by the club's resident DJ, Frankie Knuckles, who fans refer to as the "godfather of house". Frankie began the trend of splicing together different records when he found that the records he had were not long enough to satisfy his audience of dancers.[23] After the Warehouse closed in 1983, eventually the crowds went to Knuckles' new club, The Power House, later to be called The Power Plant,[21] and the club was renamed, yet again, into Music Box with Ron Hardy as the resident DJ.[24] The 1983 documentary, "House Music in Chicago", by filmmaker, Phil Ranstrom, captured opening night at The Power House, and stands as the only film or video to capture a young Frankie Knuckles in this early era, right after his departure from The Warehouse. [25][26][27][28]
In the Channel 4 documentary Pump Up the Volume, Knuckles remarks that the first time he heard the term "house music" was upon seeing "we play house music" on a sign in the window of a bar on Chicago's South Side. One of the people in the car joked, "you know that's the kind of music you play down at the Warehouse!"[29] In self-published statements, South-Side Chicago DJ Leonard "Remix" Rroy claimed he put such a sign in a tavern window because it was where he played music that one might find in one's home; in his case, it referred to his mother's soul and disco records, which he worked into his sets.[30]
Chicago artist Chip E.'s 1985 song "It's House" may also have helped to define this new form of electronic music.[32] However, Chip E. himself lends credence to the Knuckles association, claiming the name came from methods of labeling records at the Importes Etc. record store, where he worked in the early 1980s. Bins of music that DJ Knuckles played at the Warehouse nightclub were labelled "As Heard at the Warehouse" in the store, which was shortened to simply "House". Patrons later asked for new music for the bins, which Chip E. implies was a demand the shop tried to meet by stocking newer local club hits.[33]
In a 1986 interview, when Rocky Jones, the club DJ who ran Chicago-based DJ International Records, was asked about the "house" moniker, he did not mention Importes Etc., Frankie Knuckles, or the Warehouse by name. However, he agreed that "house" was a regional catch-all term for dance music, and that it was once synonymous with older disco music before it became a way to refer to "new" dance music.[34]
Larry Heard, a.k.a. "Mr. Fingers", claims that the term "house" came from DJs creating music in their house or at home using synthesizers and drum machines, such as the Roland TB-303,[35] Roland TR-808, and TR-909.[36] These synthesizers were used to create the acid house subgenre.[37] Juan Atkins, a pioneer of Detroit techno, claims the term "house" reflected the association of particular tracks with particular clubs and DJs, considered their "house" records.[38]
At least three styles of dancing are associated with early house music: jacking, footwork and lofting.[39] These styles include a variety of techniques and sub-styles, including skating, stomping, vosho, pouting cat, and shuffle steps (also see Melbourne shuffle).[40][41] House music dancing styles can include movements from many other forms of dance, such as waacking, voguing, capoeira, jazz dance, Lindy Hop, tap dance, and even modern dance.[42][41] House dancing is associated with a complete freedom of expression.[43]
Early house lyrics contained generally positive, uplifting messages, but spoke especially to those who were considered to be outsiders, especially African-Americans, Latinos, and the gay subculture. The house music dance scene was one of the most integrated and progressive spaces in the 1980s; the black and gay populations, as well as other minority groups, were able to dance together in a positive environment.[44]
House music DJs aimed to create a "dream world of emotions" with "stories, keywords and sounds", which helped to "glue" communities together.[15] Many house tracks encourage the audience to "release yourself" or "let yourself go", which is further encouraged by the continuous dancing, "incessant beat", and use of club drugs, which can create a trance-like effect on dancers.[15] Frankie Knuckles once said that the Warehouse club in Chicago was like "church for people who have fallen from grace". House record producer Marshall Jefferson compared it to "old-time religion in the way that people just get happy and screamin'".[43] The role of a house DJ has been compared to a "secular type of priest".[15]
Some house lyrics contained messages calling for equality, unity, and freedom of expression beyond racial or sexual differences (e.g. "Can You Feel It" by Fingers Inc., 1987, or "Follow Me" by Aly-Us, 1992). Later on in the 1990s, independently from the Chicago scene, the idea of Peace, Love, Unity & Respect (PLUR) became a widespread set of principles for the rave culture.[citation needed]
One of the main influences of house was disco, house music having been defined as a genre which "...picked up where disco left off in the late 1970's."[45][46] Like disco DJs, house DJs used a "slow mix" to "lin[k] records together" into a mix.[15] In the post-disco club culture during the early 1980s, DJs from the gay scene made their tracks "less pop-oriented", with a more mechanical, repetitive beat and deeper basslines, and many tracks were made without vocals, or with wordless melodies.[47] Disco became so popular by the late 1970s that record companies pushed even non-disco artists (R&B bands, for example) to produce disco songs. When the backlash against disco started, known as "Disco Demolition Night", dance music went from being produced by major label studios to being created by DJs in the underground club scene.[15]
Also important for the development of house were audio mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, record producers, and audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, M & M, and others.
While most post-disco disc jockeys primarily stuck to playing their conventional ensemble and playlist of dance records, Frankie Knuckles and Ron Hardy, two influential DJs of house music, were known for their unusual and non-mainstream playlists and mixing. Knuckles was influenced by and worked with New York City club Paradise Garage resident Larry Levan. Knuckles, often credited as "the Godfather of House" and resident DJ at the Warehouse from 1977 to 1982, worked primarily with early disco music with a hint of new and different post-punk or post-disco music.[52] Knuckles started out as a disco DJ, but when he moved from New York City to Chicago, he changed from the typical disco mixing style of playing records one after another; instead, he mixed different songs together, including Philadelphia soul, New York club tracks, and Euro disco.[18] He also explored adding a drum machine and a reel-to-reel tape player so he could create new tracks, often with a boosted deep register and faster tempos. Knuckles said: "Kraftwerk were main components in the creation of house music in Chicago. Back in the early 80s, I mixed our 80s Philly sound with the electro beats of Kraftwerk and the Electronic body music bands of Europe."[18][53] 041b061a72