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I usually fail to grasp what it is that distinguishes one from the next. It took months for me to understand that hardcore rave was different to techno because of the breakbeats. To me it all sounded like a unified thing that definitely wasn’t hip-hop or jazz, and I wasn’t really motivated to get a grip on the finer details. So much has been written about it. Acid: it’s the sound made by a Roland TB-303.
Zillions of articles and compilation sleevenotes have held forth on the history of the little silver box designed in Japan by Tadao Kikumoto which accidentally spawned a whole genre of music. I mean music characterised by a four-to-the-floor kick-drum beat, made to be played at Chicago’s Warehouse club, and music directly descended from that stuff. Reckless’, nor will I include Belgian New Beat tracks, which I see as coming from a slightly different lineage. In an important way, acid house was a UK scene. Even though nearly all the best records were made in Chicago, the music took off in a big way over here, it was massively popular, much imitated, loved by clubbers and ravers and misunderstood by the media. Lots of Chicago tracks were only released over here.
I wasn’t really aware of the distinction between UK and Chicago tunes or the geographic origins of the sound. Jack Your Body’, but it wasn’t until early 1992 that I got educated about original acid house on a trip to Brick Lane market in East London. In one box were copies of the Jack Trax compilation album Acid House and in the other, the Westside double LP We Call It Hallucinates. I snapped them up, took them home and got submerged in the sounds of Phuture, Armando, Liddell Townsell and the rest.