Ghetto house

To help celebrate the return of famed label Dance Mania following its 15-year hiatus, San Francisco DJ/producer Vin Sol has just unveiled a mix which pays tribute to the "dark side" of an imprint known for its prolifertion of ghetto house. read more

If you aren't from Chicago, chances are slim you'd ever heard of footwork before Planet Mu introduced it to the world with its Bangs & Works compilations . The hyperspeed strain of ghetto house has a long history, though, dating back to the late 1990s. RP Boo, sometimes Arpebu, is credited as the creator of the first footwork track. Despite the indispensible role he played in the genre's emergence, Boo has never had a commercial release. That's about to change, though - with an LP due out on Planet Mu later this month , Boo is Read MoreBlog: The Passion of the WeissRelated: Question in the Form of An Answer (Part II): DaVinci & Al Jieh Talks The Modern Climate & History of San Francisco RapQuestion in the Form of An Answer (Part II): DaVinci & Al Jieh Talks The Modern Climate & History of San Francisco RapQuestion in the Form of an Answer: Kool Keith by Alex KoenigQuestion in the Form of an Answer: Atmosphere by Matt SheaQuestion in the Form of an Answer: Nacho Picasso interviewed by Julie J

If you aren’t from Chicago, chances are slim you’d ever heard of footwork before Planet Mu introduced it to the world with its Bangs & Works compilations. The hyperspeed strain of ghetto house has a long history, though, dating back to the late 1990s. RP Boo, sometimes Arpebu, is credited as the creator of the first footwork track. Despite the indispensible role he played in the genre’s emergence, Boo has never had a commercial release. That’s about to change, though – with an LP due out on Planet Mu later this month, Boo is finally going to get his share of the limelight. I spoke to him about the origins of footwork, his process, playing parties, and where he plans to take his sound. –Adam Wray Adam Wray: Let’s start by talking about the new record, Legacy. This is your first official, commercial release. What does that mean to you? RP BOO: It was an honour to finally do an album of my own. Doing so much other stuff in between, I’ve just been so far into the love of the music that I thought, “Wait a minute, this is my first album.” And I was really honoured for somebody to give me the chance to do an album. And I’m very proud of it. AW: Why did you call it Legacy? RP: It was due to a lot of individuals in the world liking the sound. As the years went I was labeled the Godfather of Footwork, and it was in high demand. I came to the conclusion that if footwork is steady growing in the world, I want them to remember something that’ll live on forever after I’m gone, or if I decide to retire. So, I say a legacy is giving back. A legacy will outlive the person who set the seed to grow. The fans that’s out here, they drive me to do more. I’m gonna leave this for them and just call it Legacy. AW: If someone thirty, forty years down the road is writing a book about this period of dance music, what would you want them to say about you? How do you want to be remembered? RP: I want to be remembered as an individual that tried to make a difference and it actually worked. And for someone to talk about that thirty or forty years later, it’ll prove the reason I called it legacy. It’s like Mozart, we still talk about Mozart. We still talk about Michael Jackson. Those are people that set legacies, but they didn’t understand at that moment that a legacy – not too many people can actually live the legacy and understand it. When you understand that you can leave a legacy you become more humble, and that’s what got me a lot of respect. A lot of people still look to me and talk to me and I try to encourage them as much as possible. AW: Let’s talk about sampling. How do you know when you’ve found a good sample? RP: You know what, I make it a good sample. It could be something that’s simple. If it fits into how I feel, it never comes out the way I took it, it comes out better. I used to have doubts about my music – now I don’t. I don’t have no doubts. For some reason, whatever expectations I have [about my music], the fans enjoy it more. And as they enjoy it more, they still come back and they analyze it with me and tell me how they feel – “it was a great sample,” “I like how you chopped this up,” or “your music is so authentic,” and that’s what keeps me going. AW: How do you want people to feel when they listen to your music? RP: I want them to feel free. Free and open. You don’t have to footwork. If it can get into your heart and your soul, if you can feel the groove within your body, if it makes you nod your head and say, “Man, that’s incredible,” I got you. My job has been done. It’s to touch what’s in the inner side, and so far, it’s steady working. It still works. AW: Sometimes you base your tracks on a sample, and sometimes you use your own voice. How do you know when it’s time to use your own voice rather than a

Toronto friends Rynecologist & Meech drops their new collaboration freebie for the Fool’s Gold Clubhouse Series, “Mudafucker” is a ghetto house tune with a dirty vocal sample that we suspect when dropped on the dancefloor things will become dutty.

(Via Resident Advisor) Few independent dance music labels have anywhere near the longevity and output of Dance Mania. It went through numerous transitions in its time, from the early house sound made popular by Lil’ Louis, Farley Keith Williams and Marshall Jefferson; to the hard, fast sounds of Robert Armani and DJ Rush; to the repetitive, risqué ghetto house, which is currently undergoing a resurgence. Read and comment. From residentadvisor.net.

Dance Mania, originally started in 1985, was a Chicago mainstay for most of its 15-year existence, being one of the earliest champions of the unpolished—some might even say vulgar—sound of what evolved into ghetto house. The label has been out of commission since 2000, but will soon re-emerge with a busy release schedule for 2013—beginning with an extended reissue of Paris Mitchell's iconic 1995 release, Project, and a new split 12" from Traxman. read more

Ridin' dirty with 30-odd panty-dropping slow jams to set the scene for Sex WeekApparently it's 'Sex Week' which means an onslaught of explicit content from 'How You Lost Your Virginity' blogs to shooting a collective of Webcam Boys on Dazed. Obvs it wouldn't be much of a takeover if we didn't have at least 30ish tracks of the filthiest filth: Cue a whole a lot of Jeremih, Usher, The Weeknd and Ciara, to dirty ass ghetto house from DJ Assault and DJ Funk, plus Lil Louis' notoriously orgasmic track. For a taster, some... read more »

“Put them tits in my face.” Alright, well, with lyrics like that, here’s a new summer anthem in the vein of “I Like Big Butts.” “Tits in my face” is the new free download single, a collaboration between Midnight Conspiracy and DJ Funk. It’s a fun free download trap-style track with some pretty sexy female…sounds. New school Chicago meets old school Chicago with this one. Midnight Conspiracy, known for their dark cinematic brand of heavy bass music, lighten things up with “Tits In My Face.” They team up with fellow Chicagoan Juke and Booty House legends DJ Funk and Fast Eddie for this genre bending summer party jam. Midnight Conspiracy, at the forefront of Chicago’s new emerging electronic scene, represents the new school while DJ Funk and Fast Eddie bring in the Chicago old school with their 1980s style Ghetto House flavor. Trap meets Juke meets Dubstep meets Booty House. Show the love for Midnight Conspiracy: Facebook / Soundcloud /