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|bgcolor=silver
|bgcolor=silver
|color=black
|color=black
|stylistic_origins=[[Chicago house]]
|stylistic_origins=[[House music]]<br>[[Chicago house]]
|cultural_origins=Mid-1980s, [[United States]] ([[Chicago]])
|cultural_origins=Mid-1980s, <br> [[United States]] ([[Chicago]])
|instruments=[[Synthesizer]]<br>[[Drum machine]]<br>[[Music sequencer|Sequencer]]<br>[[Keyboard instrument|Keyboard]]<br>[[Roland TB-303]]<br>[[Roland TR-808]] / [[Roland TR-707|707]] / [[Roland TR-909|909]] / [[Roland TR-606|606]]<br>[[Roland Jupiter-8]]<br>[[Korg M1]]
|instruments=[[Synthesizer]]<br>[[Drum machine]]<br>[[Music sequencer|Sequencer]]<br>[[Keyboard instrument|Keyboard]]<br>[[Roland TB-303]]<br>[[Roland TR-808]] / [[Roland TR-707|707]] / [[Roland TR-909|909]] / [[Roland TR-606|606]]<br>[[Korg M1]] / [[Roland Jupiter-8]]
|popularity= late 1980s and early 1990s United States, United Kingdom
|popularity= late 1980s and early 1990s United States, United Kingdom
|derivatives=[[Acid techno]], [[Acid trance]], [[Rave music]]
|derivatives=[[Acid techno]], [[Acid trance]], [[Goa trance]], [[Psychedelic trance]], [[Rave music|Rave]], [[Trance music|Trance]], [[Trip-hop]]
|subgenrelist=Styles of house music
|subgenrelist=Styles of house music
|subgenres=
|subgenres=
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'''Acid house''' is a sub-genre of [[house music]] that emphasizes a repetitive, hypnotic and [[trance music|trance]]-like style, often with samples or spoken lines instead of lyrics. Acid house's core electronic "squelch" sounds were developed around the mid-1980s, particularly by [[DJ]]s from [[Chicago]] who experimented with the [[Roland TB-303]] electronic synthesizer-sequencer. Acid house spread to the [[United Kingdom]] and continental [[Europe]], where it was played by DJs in the acid house and later [[rave]] scenes. By the late 1980s, copycat tracks and acid house [[remix]]es brought the style into the mainstream, where it had some influence on pop and dance styles.
'''Acid house''' is a sub-genre of [[house music]] that emphasizes a repetitive, hypnotic and [[trance music|trance]]-like style, often with samples or spoken lines instead of lyrics. Acid house's core electronic "squelch" sounds were developed around the mid-1980s, particularly by [[DJ]]s from [[Chicago]] who experimented with the [[Roland TB-303]] electronic synthesizer-sequencer. Acid house spread to the [[United Kingdom]] and continental [[Europe]], where it was played by DJs in the acid house and later [[rave]] scenes. By the late 1980s, copycat tracks and acid house [[remix]]es brought the style into the mainstream, where it had some influence on pop and dance styles.


Nicknamed "the sound of acid",<ref>{{cite book |last=Shapiro |first =Peter |title =Modulations: A History of Electronic Music |publisher =Caipirinha Productions Inc. |year=2000 |page =70 |isbn= 0-8195-6498-2}}</ref> the influence of acid house can be heard in subsequent styles of music that include [[Trance music|trance]], [[Goa trance]], [[psychedelic trance]], [[breakbeat]], [[big beat]], [[techno]] and [[trip-hop]].
Nicknamed "the sound of acid",<ref>{{cite book |last=Shapiro |first =Peter |title =Modulations: A History of Electronic Music |publisher =Caipirinha Productions Inc. |year=2000 |page =70 |isbn= 0-8195-6498-2}}</ref> the influence of acid house can be heard in subsequent styles of music that include [[Trance music|trance]],<ref>{{cite web|title=Trance|url=http://www.allmusic.com/subgenre/trance-ma0000002903|publisher=[[Allmusic]]|accessdate=9 July 2012}}</ref> [[Goa trance]], [[psychedelic trance]], [[breakbeat]], [[big beat]], [[techno]] and [[trip-hop]].


==Characteristics==
==Characteristics==
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[[Image:TB-303.jpg|thumb|right|200px|The [[Roland TB-303]] bass synthesizer provided the electronic squelch sounds often heard in acid house tracks.]]
[[Image:TB-303.jpg|thumb|right|200px|The [[Roland TB-303]] bass synthesizer provided the electronic squelch sounds often heard in acid house tracks.]]


===Origins===
===Origins (mid-1980s)===
The earliest recorded examples of acid house are a matter of debate. At least one historian considers the Phuture's "Acid Trax" to be the genre's earliest example;<ref name=reitveld/> DJ Pierre says it may have been composed as early as 1985,<ref name=Cheeseman/> but it was not released until 1987. Another points out Sleezy D's "I've Lost Control" (1986) was the first to be released on vinyl, and it's impossible to know which track was created first.<ref name=Cheeseman>Cheeseman 1992. ''"I've Lost Control" was made by Adonis and Marshall Jefferson and was certainly the first acid track to make it to vinyl, though which was created first will possibly never be known for sure.''</ref>
The earliest recorded examples of acid house are a matter of debate. At least one historian considers the Phuture's "Acid Trax" to be the genre's earliest example;<ref name=reitveld/> DJ Pierre says it may have been composed as early as 1985,<ref name=Cheeseman/> but it was not released until 1987. Another points out Sleezy D's "I've Lost Control" (1986) was the first to be released on vinyl, and it's impossible to know which track was created first.<ref name=Cheeseman>Cheeseman 1992. ''"I've Lost Control" was made by Adonis and Marshall Jefferson and was certainly the first acid track to make it to vinyl, though which was created first will possibly never be known for sure.''</ref>


===Chicago movement===
===Chicago movement (mid-1980s&ndash;late 1980s)===
{{main|Chicago house}}
{{Listen
{{Listen
| filename = Phuture - Acid Tracks.ogg
| filename = Phuture - Acid Tracks.ogg
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The first acid house records were produced in [[Chicago]], [[Illinois]]. [[Phuture]], a group founded by Nathan "[[DJ Pierre]]" Jones, Earl "Spanky" Smith Jr., and Herbert "Herb J" Jackson, is credited with having been the first to use the TB-303 in the house music context (the instrument appeared as early as 1983 in disco via [[Alexander Robotnick]]).<ref>{{cite book |last=Shapiro |first =Peter |title =Modulations: A History of Electronic Music |publisher =Caipirinha Productions Inc. |year=2000 |page =32 | isbn= 0-8195-6498-2 }}</ref> The group's 12-minute "[[Acid Tracks]]" was recorded to tape and was played by DJ [[Ron Hardy]] at the Music Box, where Hardy was resident DJ. Hardy once played it four times over the course of an evening until the crowd responded favorably.<ref name=cheeseman/> Chicago's house music scene suffered a crackdown on parties and events by the police. Sales of house records dwindled and, by 1988, the genre was selling less than a tenth as many records as at the height of the style's popularity.<ref>{{cite book | last =Shapiro | first =Peter | title =Modulations: A History of Electronic Music | publisher =Caipirinha Productions Inc.| year=2000 | page = 34 | isbn= 0-8195-6498-2}}</ref> However, house and especially acid house was beginning to experience a surge in popularity in Britain.<ref> Finnegan, Rory. Rave New World - Commercialisation Of Rave. Fantazia. Retrieved 2011-10-23 from http://www.fantazia.org.uk/Scene/ravenewworld.htm.</ref>
The first acid house records were produced in [[Chicago]], [[Illinois]]. [[Phuture]], a group founded by Nathan "[[DJ Pierre]]" Jones, Earl "Spanky" Smith Jr., and Herbert "Herb J" Jackson, is credited with having been the first to use the TB-303 in the house music context (the instrument appeared as early as 1983 in disco via [[Alexander Robotnick]]).<ref>{{cite book |last=Shapiro |first =Peter |title =Modulations: A History of Electronic Music |publisher =Caipirinha Productions Inc. |year=2000 |page =32 | isbn= 0-8195-6498-2 }}</ref> The group's 12-minute "[[Acid Tracks]]" was recorded to tape and was played by DJ [[Ron Hardy]] at the Music Box, where Hardy was resident DJ. Hardy once played it four times over the course of an evening until the crowd responded favorably.<ref name=cheeseman/> Chicago's house music scene suffered a crackdown on parties and events by the police. Sales of house records dwindled and, by 1988, the genre was selling less than a tenth as many records as at the height of the style's popularity.<ref>{{cite book | last =Shapiro | first =Peter | title =Modulations: A History of Electronic Music | publisher =Caipirinha Productions Inc.| year=2000 | page = 34 | isbn= 0-8195-6498-2}}</ref> However, house and especially acid house was beginning to experience a surge in popularity in Britain.<ref> Finnegan, Rory. Rave New World - Commercialisation Of Rave. Fantazia. Retrieved 2011-10-23 from http://www.fantazia.org.uk/Scene/ravenewworld.htm.</ref>


===London house scene===
===London house scene (late 1980s&ndash;1990s)===
{{see also|Second Summer of Love|Rave}}
⚫
London's club Shoom opened in November 1987<ref>Reynolds, Simon. ''Generation Ecstasy''. pg. 59</ref> and was one of the first clubs to introduce acid house to the clubbing public of the UK. It was opened by [[Danny Rampling]] and his wife, Jenny. The club was extremely exclusive and featured thick fog, a dreamy atmosphere and acid house.<ref>{{cite book| last =Shapiro | first =Peter | title =Modulations: A History of Electronic Music| publisher =Caipirinha Productions Inc. | year=2000 | page =60 | isbn= 0-8195-6498-2 }}</ref> This period began what some call the [[Second Summer of Love]], a movement credited with a reduction in [[football hooliganism]]: instead of fights, football fans were listening to music, taking [[Methylenedioxymethamphetamine|ecstasy]], and joining the other club attendees in a peaceful movement that has been compared to the [[Summer of Love]] in San Francisco in 1967.<ref>{{cite book | last =Shapiro | first =Peter | title =Modulations: A History of Electronic Music | publisher =Caipirinha Productions Inc. | year=2000 | page=64| isbn= 0-8195-6498-2 }}</ref>

⚫
[[London]]'s club Shoom opened in November 1987<ref>Reynolds, Simon. ''Generation Ecstasy''. pg. 59</ref> and was one of the first clubs to introduce acid house to the clubbing public of the UK. It was opened by [[Danny Rampling]] and his wife, Jenny. The club was extremely exclusive and featured thick fog, a dreamy atmosphere and acid house.<ref>{{cite book| last =Shapiro | first =Peter | title =Modulations: A History of Electronic Music| publisher =Caipirinha Productions Inc. | year=2000 | page =60 | isbn= 0-8195-6498-2 }}</ref> This period began what some call the [[Second Summer of Love]], a movement credited with a reduction in [[football hooliganism]]: instead of fights, football fans were listening to music, taking [[Methylenedioxymethamphetamine|ecstasy]], and joining the other club attendees in a peaceful movement that has been compared to the [[Summer of Love]] in San Francisco in 1967.<ref>{{cite book | last =Shapiro | first =Peter | title =Modulations: A History of Electronic Music | publisher =Caipirinha Productions Inc. | year=2000 | page=64| isbn= 0-8195-6498-2 }}</ref>


Another club called Trip was opened in June 1988 by Nick Holloway at the Astoria in London's West End.<ref>Reynolds, Simon. ''Generation Ecstasy''. p. 61.</ref> Trip was geared directly towards the acid house music scene. It was known for its intensity and stayed open until 3 AM. The patrons would spill into the streets chanting and drew the police on regular occasions. The reputation that occurrences like this created along with the UK's strong anti-club laws started to make it increasingly difficult to offer events in the conventional club atmosphere. Considered illegal in London during the late 80s, after-hour clubbing was against the law. However, this did not stop the club-goers from continuing after-hours dancing. Police would raid the after-hour parties, so the groups began to assemble inside warehouses and other inconspicuous venues in secret, hence also marking the first developments of the [[rave]].<ref name="Shapiro 2000 62">{{cite book | last =Shapiro | first =Peter | title =Modulations: A History of Electronic Music | publisher =Caipirinha Productions Inc. | year=2000 | page =62| isbn= 0-8195-6498-2}}</ref> Raves were well attended at this time and consisted of single events or moving series of parties thrown by production companies or unlicensed clubs. Two well-known groups at this point were Sunrise, who held particularly massive outdoor events, and Revolution in Progress (RIP), known for the dark atmosphere and hard music at events which were usually thrown in warehouses<ref name="Shapiro 2000 62"/> or at Clink Street, a South East London nightclub housed in a former jail.<ref>Reynolds, Simon. ''Generation Ecstasy''. p. 63.</ref>
Another club called Trip was opened in June 1988 by Nick Holloway at the Astoria in London's West End.<ref>Reynolds, Simon. ''Generation Ecstasy''. p. 61.</ref> Trip was geared directly towards the acid house music scene. It was known for its intensity and stayed open until 3 AM. The patrons would spill into the streets chanting and drew the police on regular occasions. The reputation that occurrences like this created along with the UK's strong anti-club laws started to make it increasingly difficult to offer events in the conventional club atmosphere. Considered illegal in London during the late 80s, after-hour clubbing was against the law. However, this did not stop the club-goers from continuing after-hours dancing. Police would raid the after-hour parties, so the groups began to assemble inside warehouses and other inconspicuous venues in secret, hence also marking the first developments of the [[rave]].<ref name="Shapiro 2000 62">{{cite book | last =Shapiro | first =Peter | title =Modulations: A History of Electronic Music | publisher =Caipirinha Productions Inc. | year=2000 | page =62| isbn= 0-8195-6498-2}}</ref> Raves were well attended at this time and consisted of single events or moving series of parties thrown by production companies or unlicensed clubs. Two well-known groups at this point were Sunrise, who held particularly massive outdoor events, and Revolution in Progress (RIP), known for the dark atmosphere and hard music at events which were usually thrown in warehouses<ref name="Shapiro 2000 62"/> or at Clink Street, a South East London nightclub housed in a former jail.<ref>Reynolds, Simon. ''Generation Ecstasy''. p. 63.</ref>
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Once the term ''acid house'' became more widely used, participants at acid house-themed events in the UK and Ibiza made the psychedelic drug connotations a reality by using [[club drug]]s such as ecstasy and LSD.<ref>DeRogatis, Jim (December 1, 2003). ''[http://print.google.com/print?id=Ldj_CdopCpUC&lpg=436 Turn on Your Mind: Four Decades of Great Psychedelic Rock]'', 436. Google Print. ISBN 0-634-05548-8 (accessed June 9, 2005). Also available in print from Hal Leonard.</ref><ref>Donnally, Trish. (October 17, 1988). Article published in the ''San Francisco Chronicle'' and distributed via the ''Los Angeles Times'' Syndicate to other newspapers and published under various headlines.</ref><ref>Reynolds, Simon. ''Generation Ecstasy''. p. 63.</ref> The association of acid house, MDMA, and smiley faces was observed in New York City by late 1988.<ref>{{Cite news |title=At some Manhattan nightclubs, 'X' marks the 'inner circle's' perfect drug |date=1988-12-18 |page=A–45 |newspaper=San Diego Union |last=Foderaro |first=Lisa}} This article was distributed by the New York Times News Service and published under various headlines in several U.S. newspapers.</ref> This coincided with an increasing level of scrutiny and sensationalism in the mainstream press,<ref>Takiff, Jonathan. (December 14, 1988). ''Philadelphia Daily News''—BBC banned all records that mentioned acid</ref> although conflicting accounts about the degree of connection between acid house music and drugs continued to surface.<ref>Leary, Mike. (November 24, 1988). ''Philadelphia Inquirer''.</ref>
Once the term ''acid house'' became more widely used, participants at acid house-themed events in the UK and Ibiza made the psychedelic drug connotations a reality by using [[club drug]]s such as ecstasy and LSD.<ref>DeRogatis, Jim (December 1, 2003). ''[http://print.google.com/print?id=Ldj_CdopCpUC&lpg=436 Turn on Your Mind: Four Decades of Great Psychedelic Rock]'', 436. Google Print. ISBN 0-634-05548-8 (accessed June 9, 2005). Also available in print from Hal Leonard.</ref><ref>Donnally, Trish. (October 17, 1988). Article published in the ''San Francisco Chronicle'' and distributed via the ''Los Angeles Times'' Syndicate to other newspapers and published under various headlines.</ref><ref>Reynolds, Simon. ''Generation Ecstasy''. p. 63.</ref> The association of acid house, MDMA, and smiley faces was observed in New York City by late 1988.<ref>{{Cite news |title=At some Manhattan nightclubs, 'X' marks the 'inner circle's' perfect drug |date=1988-12-18 |page=A–45 |newspaper=San Diego Union |last=Foderaro |first=Lisa}} This article was distributed by the New York Times News Service and published under various headlines in several U.S. newspapers.</ref> This coincided with an increasing level of scrutiny and sensationalism in the mainstream press,<ref>Takiff, Jonathan. (December 14, 1988). ''Philadelphia Daily News''—BBC banned all records that mentioned acid</ref> although conflicting accounts about the degree of connection between acid house music and drugs continued to surface.<ref>Leary, Mike. (November 24, 1988). ''Philadelphia Inquirer''.</ref>


===Media attention===
===Media attention (late 1980s&ndash;1990s)===
[[Image:BTBbeatdis.jpg|right|thumb|200px|''Beat Dis'' by Bomb the Bass (1988) features the "bloodied" version of the popular smiley icon.]]
[[Image:BTBbeatdis.jpg|right|thumb|200px|''Beat Dis'' by Bomb the Bass (1988) features the "bloodied" version of the popular smiley icon.]]
In the late 1980s and early 1990s, news media and tabloids devoted an increasing amount of coverage to the hedonistic acid house/rave scene, focusing on its association with psychedelic drugs and [[club drug]]s. The sensationalist nature of the coverage may have contributed to the banning of acid house during its heyday from radio, television, and retail outlets in the United Kingdom. The moral panic of the press began in 1988, when the UK tabloid [[The Sun (newspaper)|The Sun]], which only weeks earlier had promoted Acid House as "cool and groovy" while running an offer on Acid Smiley Face T-Shirts, abruptly turned on the scene. On October 19, the tabloid ran with the headline "Evils of Ecstasy," linking the Acid House scene with the newly popular and relatively unknown drug. The resultant panic incited by the tabloids eventually led to a crackdown on clubs and venues that played Acid House and had a profound negative impact on the scene.<ref>{{cite web |url=http://www.fantazia.org.uk/Scene/press/magazines.htm |title=Rave's relationship to the Media |accessdate=2007-10-23 |work=Fantazia Rave Archive | archiveurl= http://web.archive.org/web/20071024083400/http://www.fantazia.org.uk/Scene/press/magazines.htm| archivedate= 24 October 2007 <!--DASHBot-->| deadurl= no}}</ref>
In the late 1980s and early 1990s, news media and tabloids devoted an increasing amount of coverage to the hedonistic acid house/rave scene, focusing on its association with psychedelic drugs and [[club drug]]s. The sensationalist nature of the coverage may have contributed to the banning of acid house during its heyday from radio, television, and retail outlets in the United Kingdom. The moral panic of the press began in 1988, when the UK tabloid [[The Sun (newspaper)|The Sun]], which only weeks earlier had promoted Acid House as "cool and groovy" while running an offer on Acid Smiley Face T-Shirts, abruptly turned on the scene. On October 19, the tabloid ran with the headline "Evils of Ecstasy," linking the Acid House scene with the newly popular and relatively unknown drug. The resultant panic incited by the tabloids eventually led to a crackdown on clubs and venues that played Acid House and had a profound negative impact on the scene.<ref>{{cite web |url=http://www.fantazia.org.uk/Scene/press/magazines.htm |title=Rave's relationship to the Media |accessdate=2007-10-23 |work=Fantazia Rave Archive | archiveurl= http://web.archive.org/web/20071024083400/http://www.fantazia.org.uk/Scene/press/magazines.htm| archivedate= 24 October 2007 <!--DASHBot-->| deadurl= no}}</ref>
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Within just a few years, acid house had gained a considerable fan base, and the influence of the music reached beyond the club and warehouse environment. It also influenced UK pop music during these formative years, emerging in a somewhat sanitized version in songs like [[Bananarama]]'s "[[Tripping on Your Love]]" (1991) and [[Samantha Fox]]'s "[[Love House]]" (1989). Acid house influences also appear in the 1988 hit by [[S'Express]], "[[Theme from S'Express]]" and in remixes of pop songs on [[12" single]]s by various mainstream acts. Musically, acid house started to move away from its almost total reliance on the TB-303, but continued to use repeated sound sequences that were shifted and warped by electronic modulation.{{cn|date=June 2012}}
Within just a few years, acid house had gained a considerable fan base, and the influence of the music reached beyond the club and warehouse environment. It also influenced UK pop music during these formative years, emerging in a somewhat sanitized version in songs like [[Bananarama]]'s "[[Tripping on Your Love]]" (1991) and [[Samantha Fox]]'s "[[Love House]]" (1989). Acid house influences also appear in the 1988 hit by [[S'Express]], "[[Theme from S'Express]]" and in remixes of pop songs on [[12" single]]s by various mainstream acts. Musically, acid house started to move away from its almost total reliance on the TB-303, but continued to use repeated sound sequences that were shifted and warped by electronic modulation.{{cn|date=June 2012}}


⚫
===Proto-acid house (early 1980s)===

{{main|Charanjit Singh (musician)}}
⚫
==="Proto-acid"===
{{Listen
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}}
}}


In recent years, reports surfaced about a 1982 album that sounds similar to what would later be called acid house. The album, ''[[Charanjit Singh (musician)#Synthesizing: Ten Ragas to a Disco Beat|Synthesizing: Ten Ragas to a Disco Beat]]'', is by [[Charanjit Singh (musician)|Charanjit Singh]], a [[Bollywood]] [[Music of Bollywood|session musician]]from [[Mumbai]], and features [[Indian classical music|Indian]] [[raga]]s fused with [[disco]].<ref name="guardian_2010">{{cite web|url=http://www.guardian.co.uk/music/2010/apr/10/charanjit-singh-acid-house|title=Charanjit Singh, acid house pioneer|date=10 April 2010|work=[[The Guardian]]|last=Pattison|first=Louis}}</ref><ref name="guardian_2011">{{cite web|url=http://www.guardian.co.uk/music/2011/may/10/charanjit-singh-acid-house-ten-ragas|title=Charanjit Singh on how he invented acid house ... by mistake|work=[[The Guardian]]|first=Stuart|last=Aitken|date=10 May 2011}}</ref> The album was recorded using the same basic [[Roland Corporation|Roland]] equipment often used for later acid house music: the [[Roland TR-808|TR-808]] and particularly the [[Roland TB-303|TB-303]], which Singh was one of the first musicians to utilize.<ref name="guardian_2011"/> The record was initially a commercial failure in India and eventually forgotten, but its re-discovery in 2002 and eventual re-release in early 2010 has prompted many comparisons to acid house music, with some even considering it to be the first example of an acid house record.<ref name="guardian_2010"/><ref name="guardian_2011"/><ref name="ra_raga">{{cite web|title=Charanjit Singh - Synthesizing: Ten Ragas to a Disco Beat|publisher=[[Resident Advisor]]|author=William Rauscher|date=12 May 2010|url=http://www.residentadvisor.net/review-view.aspx?id=7445|accessdate=2011-06-03}}</ref>
In recent years, reports surfaced about a 1982 album that sounds similar to what would later be called acid house. The album, ''[[Charanjit Singh (musician)#Synthesizing: Ten Ragas to a Disco Beat|Synthesizing: Ten Ragas to a Disco Beat]]'', is by [[Charanjit Singh (musician)|Charanjit Singh]], a [[Bollywood]] [[Music of Bollywood|session musician]]from [[Mumbai]], and features [[Indian classical music|Indian]] [[raga]]s fused with [[disco]].<ref name="guardian_2010">{{cite web|url=http://www.guardian.co.uk/music/2010/apr/10/charanjit-singh-acid-house|title=Charanjit Singh, acid house pioneer|date=10 April 2010|work=[[The Guardian]]|last=Pattison|first=Louis}}</ref><ref name="guardian_2011">{{cite web|url=http://www.guardian.co.uk/music/2011/may/10/charanjit-singh-acid-house-ten-ragas|title=Charanjit Singh on how he invented acid house ... by mistake|work=[[The Guardian]]|first=Stuart|last=Aitken|date=10 May 2011}}</ref> The album was recorded using the same basic [[Roland Corporation|Roland]] equipment often used for later acid house music: the [[Roland TR-808|TR-808]] and particularly the [[Roland TB-303|TB-303]], which Singh was one of the first musicians to utilize.<ref name="guardian_2011"/> The record was initially a commercial failure in [[India]] and eventually forgotten, but its re-discovery in 2002 and eventual re-release in early 2010 has prompted many comparisons to acid house music, with some even considering it to be the first example of an acid house record.<ref name="guardian_2010"/><ref name="guardian_2011"/><ref name="ra_raga">{{cite web|title=Charanjit Singh - Synthesizing: Ten Ragas to a Disco Beat|publisher=[[Resident Advisor]]|author=William Rauscher|date=12 May 2010|url=http://www.residentadvisor.net/review-view.aspx?id=7445|accessdate=2011-06-03}}</ref>


==Significance==
==Significance==

Revision as of 06:59, 25 July 2012

For the 1994 novel by Irvine Welsh, see The Acid House.
Acid house
Stylistic originsHouse music
Chicago house
Cultural originsMid-1980s,
United States (Chicago)
Typical instrumentsSynthesizer
Drum machine
Sequencer
Keyboard
Roland TB-303
Roland TR-808 / 707 / 909 / 606
Korg M1 / Roland Jupiter-8
Derivative formsAcid techno, Acid trance, Goa trance, Psychedelic trance, Rave, Trance, Trip-hop

(complete list)
Regional scenes
New Beat (Belgium)
Other topics
Styles of house music

Acid house is a sub-genre of house music that emphasizes a repetitive, hypnotic and trance-like style, often with samples or spoken lines instead of lyrics. Acid house's core electronic "squelch" sounds were developed around the mid-1980s, particularly by DJs from Chicago who experimented with the Roland TB-303 electronic synthesizer-sequencer. Acid house spread to the United Kingdom and continental Europe, where it was played by DJs in the acid house and later rave scenes. By the late 1980s, copycat tracks and acid house remixes brought the style into the mainstream, where it had some influence on pop and dance styles.

Nicknamed "the sound of acid",[1] the influence of acid house can be heard in subsequent styles of music that include trance,[2] Goa trance, psychedelic trance, breakbeat, big beat, techno and trip-hop.

Characteristics

Acid house emphasizes a repetitive, hypnotic and trance-like style, often with samples or spoken lines instead of lyrics. Acid house's core electronic "squelch" sounds were developed around the mid-1980s, particularly by DJs from Chicago who experimented with the Roland TB-303 electronic synthesizer-sequencer. [3]

Etymology

Two simple TB-303 patterns
Two simple patterns on the Roland TB-303 bass synthesizer. The second pattern has had the filter EG attack level altered.
Overdriven TB-303 patterns varying resonance
Two simple overdriven patterns on the TB-303. The second pattern has varying resonance to give a harsh screeching sound. Both patterns have gradual cutoff frequency.
Problems playing these files? See media help.

There are conflicting accounts about how the term acid came to be used to describe this style of house music. One ties it to Phuture's "Acid Trax". Before the song was given a title for commercial release, it was played by DJ Ron Hardy at a nightclub[4] where psychedelic drugs were reportedly used.[5] The club's patrons called the song "Ron Hardy's Acid Track" (or "Ron Hardy's Acid Trax").[4] The song was released with the title "Acid Trax" on Larry Sherman's label Trax Records in 1987. Sources differ on whether it was Phuture or Sherman who chose the title; Phuture's DJ Pierre says the group did because the song was already known by that title,[4] but Sherman says he chose the title because the song reminded him of acid rock.[6] Regardless, after the release of Phuture's song, the term acid house came into common parlance.[4] The reference to "acid" may be a celebratory reference to psychedelic drugs in general, such as LSD, as well as a popular mid-1980s club drug Ecstasy (MDMA).[7] According to Rietveld, it was the house sensibility of Chicago in a club like Hardy's The Music Box, that afforded it its initial meaning. In her view "acid connotes the fragmentation of experience and dislocation of meaning due to the unstructuring effects on thought patterns which the psycho-active drug LSD or 'Acid' can bring about.[8] In the context of the creation of Acid Tracks it indicated a concept rather than the use of psycho-active drugs in itself.[9]

Other accounts are not based on the LSD or psychedelic connotations. The theory that acid was a derogatory reference towards the use of samples in acid house music was repeated in the press and in the British House of Commons.[10] In this theory, the term acid came from the slang term "acid burning", which the Oxford Dictionary of New Words calls "a term for stealing."[7] Since acid house makes substantial use of sampling, this can be deemed "stealing from other tracks."[11] In 1991, UK Libertarian advocate Paul Staines claimed that he had coined this theory to discourage the government from adopting anti-rave party legislation.[12][13]

Some of the account claim that P-Orridge coined the term. Some of these state that he combined the terms "acid" and "house" after seeing them separately on the covers of albums he in a Chicago record store.[14] Other accounts, including one from P-Orridge himself, say he merely bought records from a bin marked "acid".[15] A variation of the story states that the bin's label was a reference to a corrosive liquid, but P-Orridge mistook it as a reference to LSD.[15] One account goes on to say he bought the whole bin and played the records at his regular DJ gig at Ibiza, where he introduced the Chicago sound to the MDMA-using, Osho-following "orange people" there, who discovered the music and drugs complemented each other.[15] P-Orridge's role is disputed by music journalist Simon Reynolds, who calls it a "self-serving myth",[16] and by Fred Giannelli, another member of Psychic TV.[17]

History

The Roland TB-303 bass synthesizer provided the electronic squelch sounds often heard in acid house tracks.

Origins (mid-1980s)

The earliest recorded examples of acid house are a matter of debate. At least one historian considers the Phuture's "Acid Trax" to be the genre's earliest example;[6] DJ Pierre says it may have been composed as early as 1985,[18] but it was not released until 1987. Another points out Sleezy D's "I've Lost Control" (1986) was the first to be released on vinyl, and it's impossible to know which track was created first.[18]

Chicago movement (mid-1980s–late 1980s)

Main article: Chicago house
Phuture - "Acid Tracks" (1987)
Phuture's "Acid Tracks" (1987) is often regarded as the 'first' acid house record.
Problems playing this file? See media help.

The first acid house records were produced in Chicago, Illinois. Phuture, a group founded by Nathan "DJ Pierre" Jones, Earl "Spanky" Smith Jr., and Herbert "Herb J" Jackson, is credited with having been the first to use the TB-303 in the house music context (the instrument appeared as early as 1983 in disco via Alexander Robotnick).[19] The group's 12-minute "Acid Tracks" was recorded to tape and was played by DJ Ron Hardy at the Music Box, where Hardy was resident DJ. Hardy once played it four times over the course of an evening until the crowd responded favorably.[4] Chicago's house music scene suffered a crackdown on parties and events by the police. Sales of house records dwindled and, by 1988, the genre was selling less than a tenth as many records as at the height of the style's popularity.[20] However, house and especially acid house was beginning to experience a surge in popularity in Britain.[21]

London house scene (late 1980s–1990s)

See also: Second Summer of Love and Rave

London's club Shoom opened in November 1987[22] and was one of the first clubs to introduce acid house to the clubbing public of the UK. It was opened by Danny Rampling and his wife, Jenny. The club was extremely exclusive and featured thick fog, a dreamy atmosphere and acid house.[23] This period began what some call the Second Summer of Love, a movement credited with a reduction in football hooliganism: instead of fights, football fans were listening to music, taking ecstasy, and joining the other club attendees in a peaceful movement that has been compared to the Summer of Love in San Francisco in 1967.[24]

Another club called Trip was opened in June 1988 by Nick Holloway at the Astoria in London's West End.[25] Trip was geared directly towards the acid house music scene. It was known for its intensity and stayed open until 3 AM. The patrons would spill into the streets chanting and drew the police on regular occasions. The reputation that occurrences like this created along with the UK's strong anti-club laws started to make it increasingly difficult to offer events in the conventional club atmosphere. Considered illegal in London during the late 80s, after-hour clubbing was against the law. However, this did not stop the club-goers from continuing after-hours dancing. Police would raid the after-hour parties, so the groups began to assemble inside warehouses and other inconspicuous venues in secret, hence also marking the first developments of the rave.[26] Raves were well attended at this time and consisted of single events or moving series of parties thrown by production companies or unlicensed clubs. Two well-known groups at this point were Sunrise, who held particularly massive outdoor events, and Revolution in Progress (RIP), known for the dark atmosphere and hard music at events which were usually thrown in warehouses[26] or at Clink Street, a South East London nightclub housed in a former jail.[27]

The Sunrise group threw several large acid house raves in Britain which gathered serious press attention. In 1988 they threw "Burn It Up," 1989 brought "Early Summer Madness," "Midsummer Night's Dream," and "Back to the Future." They advertised huge sound systems, fairground rides, foreign DJs, and other attractions. Many articles were written sensationalizing these parties and the results of them, focusing especially on the drug use and out-of-control nature that the media perceived.[28]

Once the term acid house became more widely used, participants at acid house-themed events in the UK and Ibiza made the psychedelic drug connotations a reality by using club drugs such as ecstasy and LSD.[29][30][31] The association of acid house, MDMA, and smiley faces was observed in New York City by late 1988.[32] This coincided with an increasing level of scrutiny and sensationalism in the mainstream press,[33] although conflicting accounts about the degree of connection between acid house music and drugs continued to surface.[34]

Media attention (late 1980s–1990s)

File:BTBbeatdis.jpg
Beat Dis by Bomb the Bass (1988) features the "bloodied" version of the popular smiley icon.

In the late 1980s and early 1990s, news media and tabloids devoted an increasing amount of coverage to the hedonistic acid house/rave scene, focusing on its association with psychedelic drugs and club drugs. The sensationalist nature of the coverage may have contributed to the banning of acid house during its heyday from radio, television, and retail outlets in the United Kingdom. The moral panic of the press began in 1988, when the UK tabloid The Sun, which only weeks earlier had promoted Acid House as "cool and groovy" while running an offer on Acid Smiley Face T-Shirts, abruptly turned on the scene. On October 19, the tabloid ran with the headline "Evils of Ecstasy," linking the Acid House scene with the newly popular and relatively unknown drug. The resultant panic incited by the tabloids eventually led to a crackdown on clubs and venues that played Acid House and had a profound negative impact on the scene.[35]

UK acid house and rave fans used the yellow smiley face symbol simply as an emblem of the music and scene, a "vapid, anonymous smile" that portrayed the "simplest and gentlest of the Eighties’ youth manifestations" that was non-aggressive, "except in terms of decibels" at the high-volume DJ parties.[36] Some acid house fans used a smiley face with a blood streak on it, which Watchmen comics creator Alan Moore asserts was based on Dave Gibbons' artwork for the series.[37]

Within just a few years, acid house had gained a considerable fan base, and the influence of the music reached beyond the club and warehouse environment. It also influenced UK pop music during these formative years, emerging in a somewhat sanitized version in songs like Bananarama's "Tripping on Your Love" (1991) and Samantha Fox's "Love House" (1989). Acid house influences also appear in the 1988 hit by S'Express, "Theme from S'Express" and in remixes of pop songs on 12" singles by various mainstream acts. Musically, acid house started to move away from its almost total reliance on the TB-303, but continued to use repeated sound sequences that were shifted and warped by electronic modulation.[citation needed]

Proto-acid house (early 1980s)

Main article: Charanjit Singh (musician)

In recent years, reports surfaced about a 1982 album that sounds similar to what would later be called acid house. The album, Synthesizing: Ten Ragas to a Disco Beat, is by Charanjit Singh, a Bollywood session musicianfrom Mumbai, and features Indian ragas fused with disco.[38][39] The album was recorded using the same basic Roland equipment often used for later acid house music: the TR-808 and particularly the TB-303, which Singh was one of the first musicians to utilize.[39] The record was initially a commercial failure in India and eventually forgotten, but its re-discovery in 2002 and eventual re-release in early 2010 has prompted many comparisons to acid house music, with some even considering it to be the first example of an acid house record.[38][39][40]

Significance

Acid house was the sub-genre to bring house music to a worldwide audience.[3] The influence of acid house can be heard on later styles of dance music including trance, Goa trance, psychedelic trance, breakbeat, big beat, techno and trip-hop.[41]

Notable artists

  • 808 State - A group of house/techno musicians from Manchester formed in 1988. The group's first album, Newbuild, was acid house, and occasional acid house influences appear in later tracks
  • A Guy Called Gerald - 808 State cofounder, for the single "Voodoo Ray"
  • Adonis - Another Chicago house musician, for "We're Rockin Down The House"
  • Armando - Chicago acid house musician, for "Land of Confusion" and many other seminal tracks
  • Baby Ford - English producer Peter Frank Adshead. 1988 release "Oochy Koochy" and first album, "Fordtrax", influenced by acid house
  • Bam Bam - Another Chicago house musician, for "Where Is Your Child" and "Give It To Me"
  • DJ Pierre - A member of Phuture, released various solo acid house tracks and remixes
  • D Mob - Best known for 1988 UK #3 hit "We Call It Acieed"
  • Fast Eddie - Another Chicago house musician, for "Acid Thunder"
  • The KLF - For "What Time Is Love?" and their self-described "stadium house" sound, which mixes acid house with hip-hop, pop, and stadium rock/chant influences
  • Lil Louis - Another Chicago house musician, for "Frequency"
  • Mr. Lee - Another Chicago house musician who released several acid house tracks in 1988
  • Maurice - Chicago house musician best known for the 1988–1989 hit "This Is Acid"
  • Phuture - Chicago-based group of acid-house pioneers, formed in 1985 and best known for its classic 1987 single "Acid Tracks," which is considered to be the 12-inch single that gave birth to the acid house movement
  • Psychic TV - Released early albums of acid house music in 1988 as fake compilations
  • Kevin Saunderson - Detroit house musician known as Reese & Santonio with his hit "Rock To the Beat", covered by 101
  • S'Express - Brought acid house to number one in the United Kingdom
  • The Shamen - Psychedelic techno act formed as a rock band in Aberdeen, Scotland in 1986. One of the first groups to bring acid house and techno into the pop mainstream

See also

References

  1. ^ Shapiro, Peter (2000). Modulations: A History of Electronic Music. Caipirinha Productions Inc. p. 70. ISBN 0-8195-6498-2.
  2. ^ "Trance". Allmusic. Retrieved 9 July 2012.
  3. ^ a b Vladimir Bogdanov (ed.), All Music Guide to Electronica: The Definitive Guide to Electronic Music (4 ed.), Milwaukee, WI: Backbeat Books, pp. vii, ISBN 0879306289.
  4. ^ a b c d e Cheeseman, Phil. "The History Of House".
  5. ^ Bidder, Sean (2001) Pump Up the Volume, Channel Four - see also the first episode of the accompanying television series
  6. ^ a b Hillegonda C Rietveld (1998) This Is Our House: House Music, Cultural Spaces and Technologies Aldershot: Ashgate. ISBN 978-1-85742-242-9
  7. ^ a b The Oxford Dictionary of New Words (Knowles, Elizabeth [ed], Elliott, Elizabeth [ed]). Second Edition, Oxford University Press, 1997. ISBN 0-19-863152-9.
  8. ^ Rietveld, H. C., This is Our House: House Music, Cultural Spaces and Technologies, Ashgate Publishing, Aldershot, 1998 (ISBN 978-1857422429).
  9. ^ Rietveld, H.C., This is Our House: House Music, Cultural Spaces and Technologies, Ashgate Publishing, Aldershot, 1998 (ISBN 978-1857422429), p. 143.
  10. ^ Quoted in the British House of Commons Hansard, 9 March 1990, column 1111.
  11. ^ Rushkoff, Douglas (1994, 2nd ed. 2002). Cyberia: Life in the Trenches of Cyberspace. ISBN 1-903083-24-9.
  12. ^ Staines, Paul (1991). "Acid House Parties Against the Lifestyle Police and the Safety Nazis" article in Political Notes (ISSN 0267-7059), issue 55 (ISBN 1-85637-039-9). Also quoted in Saunders, Nicholas with Doblin, Rick (July 1, 1996). Ecstasy: Dance, Trance & Transformation, Quick American Publishing Company. ISBN 0-932551-20-3.
  13. ^ Garratt, Sheryl (May 6, 1999). Adventures in Wonderland: Decade of Club Culture. Headline Book Publishing Ltd. (UK). ISBN 0-7472-5846-5.
  14. ^ Galetski, Kirill (2006-10-06). "Music Without Limits: The experimental musicians of Psychic TV put on a release party for their new CD, "Live in Russia," at Ikra". The Moscow Times. Retrieved 2009-01-27.
  15. ^ a b c Holthouse, David (1995-12-21). "Rave Review". Phoenix New Times.
  16. ^ Reynolds, Simon (2000-05-23). "Living for Oblivion". The Village Voice.
  17. ^ Giannelli, Fred (June 2000). ""There are a lot of fools in the world" (interview of Fred Gianelli for the Family Ov Psychick Individuals (FOPI) [[Psychic TV]] fan club)". Archived from the original on July 2007. {{cite web}}: Check date values in: |archivedate= (help); URL–wikilink conflict (help).
  18. ^ a b Cheeseman 1992. "I've Lost Control" was made by Adonis and Marshall Jefferson and was certainly the first acid track to make it to vinyl, though which was created first will possibly never be known for sure.
  19. ^ Shapiro, Peter (2000). Modulations: A History of Electronic Music. Caipirinha Productions Inc. p. 32. ISBN 0-8195-6498-2.
  20. ^ Shapiro, Peter (2000). Modulations: A History of Electronic Music. Caipirinha Productions Inc. p. 34. ISBN 0-8195-6498-2.
  21. ^ Finnegan, Rory. Rave New World - Commercialisation Of Rave. Fantazia. Retrieved 2011-10-23 from http://www.fantazia.org.uk/Scene/ravenewworld.htm.
  22. ^ Reynolds, Simon. Generation Ecstasy. pg. 59
  23. ^ Shapiro, Peter (2000). Modulations: A History of Electronic Music. Caipirinha Productions Inc. p. 60. ISBN 0-8195-6498-2.
  24. ^ Shapiro, Peter (2000). Modulations: A History of Electronic Music. Caipirinha Productions Inc. p. 64. ISBN 0-8195-6498-2.
  25. ^ Reynolds, Simon. Generation Ecstasy. p. 61.
  26. ^ a b Shapiro, Peter (2000). Modulations: A History of Electronic Music. Caipirinha Productions Inc. p. 62. ISBN 0-8195-6498-2.
  27. ^ Reynolds, Simon. Generation Ecstasy. p. 63.
  28. ^ Unknown. "Sunrise Profile". [1]. Archived from the original on 2007-12-02. Retrieved 2008-01-15. Youngsters were so high on Ecstacy and cannabis they ripped the birds' heads off; {{cite web}}: External link in |publisher= (help)
  29. ^ DeRogatis, Jim (December 1, 2003). Turn on Your Mind: Four Decades of Great Psychedelic Rock, 436. Google Print. ISBN 0-634-05548-8 (accessed June 9, 2005). Also available in print from Hal Leonard.
  30. ^ Donnally, Trish. (October 17, 1988). Article published in the San Francisco Chronicle and distributed via the Los Angeles Times Syndicate to other newspapers and published under various headlines.
  31. ^ Reynolds, Simon. Generation Ecstasy. p. 63.
  32. ^ Foderaro, Lisa (1988-12-18). "At some Manhattan nightclubs, 'X' marks the 'inner circle's' perfect drug". San Diego Union. p. A–45. This article was distributed by the New York Times News Service and published under various headlines in several U.S. newspapers.
  33. ^ Takiff, Jonathan. (December 14, 1988). Philadelphia Daily News—BBC banned all records that mentioned acid
  34. ^ Leary, Mike. (November 24, 1988). Philadelphia Inquirer.
  35. ^ "Rave's relationship to the Media". Fantazia Rave Archive. Archived from the original on 24 October 2007. Retrieved 2007-10-23. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  36. ^ The Independent, March 3, 1990: “Acid House, whose emblem is a vapid, anonymous smile, is the simplest and gentlest of the Eighties’ youth manifestations … non-aggressive (except in terms of decibels).”
  37. ^ Dave Walsh (2003). "The Alan Moore interview". Blather. Archived from the original on 21 June 2007. Retrieved 2007-07-09. There were big coincidences happening around the work [sic] and then all of a sudden the central image of it has been nicked on all these acid house t-shirts everywhere. {{cite web}}: External link in |publisher= (help); Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  38. ^ a b Pattison, Louis (10 April 2010). "Charanjit Singh, acid house pioneer". The Guardian.
  39. ^ a b c Aitken, Stuart (10 May 2011). "Charanjit Singh on how he invented acid house ... by mistake". The Guardian.
  40. ^ William Rauscher (12 May 2010). "Charanjit Singh - Synthesizing: Ten Ragas to a Disco Beat". Resident Advisor. Retrieved 2011-06-03.
  41. ^ Shapiro, Peter (2000). Modulations: A History of Electronic Music. Caipirinha Productions Inc. pp. 76–77. ISBN 0-8195-6498-2.

Further reading

  • Bussmann, Jane. (1998) Once in a Lifetime: The Crazy Days of Acid House and Afterwards. London: Virgin. ISBN 0-7535-0260-7.
  • Collin, Matthew; Godfrey, John. (1st edition, April 1997; 2nd edition, November 15, 1998). Altered State: The Story of Ecstasy Culture and Acid House. Serpent's Tail. ISBN 1-85242-377-3 (1st edition); ISBN 1-85242-604-7 (2nd edition).
  • Shapiro, Peter (ed.), et al. (October 15, 2000). Modulations: A History of Electronic Music: Throbbing Words on Sound. Charles Rivers Publishing Co. ISBN 1-891024-06-X.
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