A mix of Chicago and NYC club styles, producing a distinctive, accessible house sound. 1987 Closely following the developments in Chicago, the UK scene sets the example for the next six years, mirroring US trends, but reinterpreting them for the UK market. Acid, garage, ambient and techno all get the UK treatment. * "House Arrest" by Krush typifies UK pop house. Artists like T-Coy ("I Like To Listen") and clubs like the Hacienda faithfully promote the true house sound. 1988 Acid house takes over as forgettable records are mass produced to capitalize on the trend. * Worldwide megahits "Theme From S'Express" by S'Express and M/A/R/R/S' "Pump Up The Volume" are the quintessential early UK pop house records. 1989 Garage counterstrikes as the acid fad passes. Dave Lee, aka Joey Negro, makes Republic Records the choice UK house outlet with songs like Joey Negro's "Do What You Feel". * No Smoke's "Koro Koro" and Bang The Party's "Bang Bang You're Mine" make dancefloors move on both sides of the Atlantic and represent the beginnings of a true UK sound. 1990 Ambient house strikes. [see Ambient House] * Larry Heard becomes a newfound hero in the UK music media. 1991 By this time, the UK scene has fully developed its own sound and inspiration, with artists ranging from Alison Limerick to N-Joi, and is no longer simply reacting to American trends. 1992 Artis Joey Negro, label Azuli and club Ministry Of Sound illustrate the healthy state of house music in the UK, as the NY garage sound dominates (hardcore aside). * CJ Mackintosh and Farley & Heller represent the new wave of UK producers, proving that they are definitely on par with the best of the US megaproducer/remixers. * The dance music community awaits the new wave of PROGRESSIVE HOUSE, although no-one is too sure exactly what the term means... 1993 Typical US tracks give way to a variety of well-produced British house/progressive tracks from labels the likes of Junior Boy's Own, Partners Inc., Tomato, Cowboy, Guerilla, Soultana, Razor, Azuli and Hooj Choons, not to mention white labels featuring artists like High Society and Lance Ellington (and these are just a sampling of some of the newer labels producing brilliant innovative records--cheers!). Those crafty Brits have managed to bring together the best elements of vocal (US) house with an energetic harder edge for a distinctive British sound. * A significant talent drain from NYC to the UK is in eveidence as top names continue to DJ and remix for the wily Brits. Monster House Extravaganzas routinely feature DJ's like Roger S, Tony Humphries, Masters At Work, DJ Disciple and others. Roger S is even a headphone model for the trendy Face magazine - not too shabby. 1994 Impressions of the UK as the financial and creative Babylon of the international house scene are a little exaggerated. Sophisticated, well-produced, remixed and packaged - the UK knows how to market artists. How's this for name dropping; M-People, Judy Cheeks, Juliet Roberts, K-Klass, D:Ream, Alison Limerick.* What a difference a year can make. fnac, who looked like they were on top of the progressive house world, shut down shop as their retail parent pulled the plug on the label business, leaving DJ/producer Laurent Garnier to go it alone. * Commercial house becomes even more chart-oriented, spawning the term "handbag" and a string of horrendous novelty hits by acts like Doop and Two Cowboys. Other crossover artists include Toni Di Bart, Brothers In Rhythm and Secret Life. Meanwhile, more underground music of all styles begins to enjoy a fair degree of success with the likes of Fire Island and Underworld, and labels like Cleveland City, Loaded, Olympic and Stress. * The producers with the juice: Boomtang Boys, Bothers In Rhythm, Boys Own, Chris Lowe, Fluke, Gat Decor, Justin Robertson, Paul Oakenfold, Rocky & Diesel, Rollo, Sabres Of Paradise, Sasha, Slam, Slip & Slide, The Grid, Wildchild. * On a more underground level, the UK scene matures. Quality music comes from labels like Junior Boy's Own and Deconstruction, while top DJ Sasha is propelled to pop star status. |