History
Acid house is a subgenre of house music that emerged in the United States and the United Kingdom in the mid-to-late 1980s. It is characterized by its signature "squelching" synthetic bassline, which is produced by the use of the Roland TB-303 synthesizer. Acid house is credited with revolutionizing electronic dance music and bringing it into the mainstream.
The origins of acid house can be traced back to the mid-1980s, when DJ Pierre of Chicago's Jack Trax Records began experimenting with the TB-303. He discovered that by slowing down and tweaking the machine's knobs, he could produce a distorted, squelching sound that had a hypnotic effect on dance floors. Pierre's early experiments were recorded on tracks such as "Phuture's Acid Tracks," which is widely considered to be the first acid house record.
As word of the new sound spread, a number of other Chicago DJs and producers began experimenting with the TB-303. Among them were DJ Spank Spank, Fresh, and Spanky, who formed the group Phuture and recorded several more tracks in the acid house style. Another important figure in the early days of acid house was Frankie Knuckles, who played a key role in shaping the Chicago house scene.
Acid house soon spread to the UK, where it became a defining sound of the late 1980s. The scene was centered around warehouse parties and raves, which drew huge crowds of young people who were attracted by the music and the atmosphere of hedonism and escapism. Early UK acid house hits included "Jack Your Body" by Steve "Silk" Hurley and "Voodoo Ray" by A Guy Called Gerald.
The UK acid house scene reached its peak in 1988, with the huge success of the Second Summer of Love. This was a period of intense creativity and experimentation, as producers and DJs pushed the boundaries of the genre and incorporated elements of hip-hop, techno, and other styles. Key figures of this period included The Prodigy, 808 State, and Adamski.
By the early 1990s, acid house had become a more mainstream genre, with chart hits by acts such as Moby and The Shamen. However, it also faced a backlash from conservative elements of society who viewed it as a threat to public order and morality. The Criminal Justice and Public Order Act of 1994, which introduced new powers to crack down on raves and other outdoor parties, effectively ended the UK acid house scene.
Notable artists
Phuture - One of the pioneers of acid house, Phuture (DJ Pierre, Spanky and Herb J) created their signature sound with the iconic track "Acid Tracks" in 1987.
Mr. Fingers - Larry Heard, also known as Mr. Fingers, has been credited for popularizing acid house through his tracks such as "Can You Feel It".
Armando - Known for his raw and gritty approach to acid house, Armando's tracks like "Land Of Confusion" and "100% Of Disin' You" became instant club classics.
DJ Pierre - A member of Phuture, DJ Pierre's solo works such as "Box Energy" and "Generate Power" showcased his unique approach to acid house production.
Adonis - Another pioneer of acid house, Adonis' early tracks like "No Way Back" and "We're Rockin Down The House" helped define the genre.
Hardfloor - A German duo known for their experimental approach to acid house, Hardfloor's intricate and immersive tracks like "Acperience" and "Acperience 1" have stood the test of time.
Josh Wink - A prominent figure in the acid house scene of the 90s, Josh Wink's tracks such as "Higher State Of Consciousness" were a staple in many DJ sets.
Roy Davis Jr. - Known for his fusion of acid house with soulful vocals, Roy Davis Jr.'s tracks like "Gabriel" and "Rock Shock" remain timeless classics.
Phuture 303 - Originally a side project of Phuture, Phuture 303 (Earl Smith Jr.) went on to create his own unique sound within the acid house realm with tracks like "Alpha & Omega" and "Stoned Immaculate".
The Future Sound of London - While primarily known for their ambient works, The Future Sound of London also experimented with acid house through tracks such as "Papua New Guinea (Dumb Child of Q Mix)" and "Slideshow".
Broader context
One of the leading books on Acid House is "Energy Flash: A Journey Through Rave Music and Dance Culture" by Simon Reynolds. The book is a definitive guide to the rise of Acid House and rave culture in the UK and the US. In the book, Reynolds explores the roots and the progression of the genre, from its origins in Chicago to its influence on the UK rave scene. He also examines the cultural and social impact of Acid House, including the way it changed the clubbing scene, youth culture, and fashion.
In a review of the book, Stuart Maconie of The Guardian said, "Energy Flash is the most comprehensive and intelligent account of rave music yet written. Simon Reynolds has an encyclopedic knowledge of the genre, and his writing is sharp, funny and indignant by turns."
Another notable book on Acid House is "Last Night a DJ Saved My Life: The History of the Disc Jockey" by Bill Brewster and Frank Broughton. While not entirely focused on Acid House, the book provides a fascinating account of the evolution of dance music, including the impact of Acid House. The book covers the burgeoning disco scene, the birth of hip hop, and the rise of Acid House in the UK.
In an interview with The Guardian, Brewster talks about the influence of Acid House on the rave culture. He said, "Acid House was like punk in that it wasn't about technical proficiency. Anyone could make Acid House - it was about the energy of the music and the feeling it created."
Dance music historian Tim Lawrence's book, "Love Saves The Day: A History of American Dance Music Culture," provides an in-depth account of the disco, punk, and post-punk era that led to the emergence of Acid House. Lawrence looks at the impact and influence of Acid House in shaping the rave culture.
In an interview with Red Bull Music Academy, Lawrence discussed the impact of Acid House and how it helped shape the rave culture: "What stands out with Acid House is its psychedelic hedonism... it was something that was about losing yourself and living in the moment, something that was radically utopian and yet still grounded."
"I was surprised by how Acid House resonated with so many different types of people," said music producer and DJ Marshall Jefferson in an interview with The Guardian. "It's not just a dance genre but a sound that has influenced music across the board, from hip-hop to rock."
Initially, Acid House emerged from the underground music communities of London, Manchester, Birmingham, and other major UK cities, where clubbers were looking for a new sound. Many were disillusioned with the mainstream music scene and sought somewhere to express their individuality and sense of rebellion. Acid House provided a unique platform for these desires to be met. The genre came to be associated with free parties in abandoned warehouses and outdoor raves and managed to break out into the mainstream by the late 1980s, with its electrifying and euphoric sound leaving a lasting impact on UK music.
For many people, the social context in which Acid House emerged was critical to its development. The 1980s were a turbulent decade, with political and social upheaval, and Acid House reflects this through the hedonistic, carefree, and rebellious nature of the music and rave culture. Furthermore, the widespread availability of ecstasy had a massive influence on Acid House and its wider cultural significance. Ravers saw ecstasy and the Acid House music scene as a form of escapism that was both freeing and liberating. The spirit of unity and togetherness exhibited at raves became the backdrop to the emergence of new youth movements and cultures. Acid House, in particular, came to be associated with the ideology of the “second summer of love,” which represented a revival in countercultural attitudes and a newfound sense of youthful optimism.
The technological context of the 1980s was also influential in the development of Acid House. This was a time when electronic music was undergoing a significant transformation, with the introduction of electronic instruments and the capacity to manipulate sound in new and innovative ways. Acid House was defined by the use of the Roland TB-303 bass synthesizer, which created a sound that was frenetic, chaotic, and hypnotic. The use of drum machines and other electronic equipment permitted DJs and producers to experiment with new sounds and create complex, layered tracks that were unlike anything that had existed before.
Notable record labels and figures in the Acid House scene also played a crucial role in the genre's development. Labels such as Warp Records, R&S Records, and Network Records were key players in promoting the genre, as were the DJs and producers like Richie Hawtin, Altern-8, Aceeeeed, and many others. Journalists such as Simon Reynolds, who coined the term “Acid House,” were also influential in shaping the discourse surrounding the music and making sense of its significance. Although Acid House was initially viewed with suspicion and alarm by much of the wider British public, the genre's influence has been profound, with many contemporary dance music styles and sub-genres building on the foundations laid by the 1980s Acid House movement.