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{{Short description|Music subgenre}}
{{For|the 1994 short story collection by [[Irvine Welsh]]|The Acid House}}
{{Use
{{Infobox music genre
| name = Acid house
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| etymology =
| other_names =
| image = Smiley.svg
| alt =
| caption = The [[smiley face]] was widely adopted as a symbol of the genre in the 1980s and 1990s
| stylistic_origins = {{hlist|[[Chicago house]]<ref name="allmusicah"/>|[[hi-NRG]]<ref>"Electronic Musician." (1992). 7-12 ('''8'''), ''Polyphony Publishing Company/University of California'', p. 7, ISSN 0884-4720. Quote: "[House] derivations include deep house (an integration of Chicago house and New York R&B), acid house, a hybrid of hi-NRG and conventional dance music), and hip house (a mixture of house, hip hop, and rap)."</ref>|[[psychedelia]]|}}
| cultural_origins = 1985, [[Chicago]], U.S.
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'''Acid house''' (also simply known as just "'''acid'''") is a subgenre of [[house music]] developed around the mid-1980s by [[Disc jockey|DJ]]s from [[Chicago]]. The style is defined primarily by the squelching sounds and [[bassline]]s of the [[Roland TB-303]] electronic bass synthesizer-sequencer,<ref name="allmusicah">{{cite web|title=Acid House Entry|url=http://www.allmusic.com/style/acid-house-ma0000005001|website=[[AllMusic]]}}</ref> an innovation attributed to Chicago artists [[Phuture]] and [[Derrick Harris (musician)|Sleezy D]] circa 1986.
Acid house soon became popular in the [[United Kingdom]] and [[continental Europe]], where it was played by DJs in the acid house and later [[rave]] scenes. By the late 1980s, acid house had moved into the British mainstream, where it had some influence on [[pop music|pop]] and [[dance music|dance]] styles.
Acid house brought house music to a worldwide audience.<ref name=Bogdanov2000pvii/> The influence of acid house can be heard in later styles of dance music including [[Trance music|trance]], [[Hardcore (electronic dance music genre)|hardcore]], [[jungle music|jungle]], [[big beat]], [[techno]] and [[trip hop]].<ref>{{cite web|title=Trance|url=http://www.allmusic.com/subgenre/trance-ma0000002903|website=[[AllMusic]]|access-date=
==Characteristics==
[[Image:Roland_TB-303_Panel.jpg|thumb|right|250px|The [[Roland TB-303]] bass synthesizer provided the electronic squelch sounds often heard in acid house tracks.]]
Acid house's [[Minimalism|minimalist]] sound combined house music's ubiquitous programmed [[four-on-the-floor]] [[4/4 beat]] with the electronic squelch sound produced by the [[Roland TB-303]] electronic synthesizer-sequencer. The sound is commonly produced by raising the filter [[resonance (music)|resonance]] and lowering the [[cutoff frequency]] of the synthesizer, along with programming the 303's accent, slide, and octave parameters, to create variation in otherwise simple bass patterns. "Exploration of texture" is preferred over melody; "a refusal of the metaphysical priorities of western music discourse."<ref name="Gilbert">{{cite book|url=https://books.google.com/books?id=b9BZWIkrkBMC&pg=PA70|title=''Discographies: Dance Music Culture and the Politics of Sound''|last=Gilbert|first=Jeremy|date=September 19, 1999|work=Discographies: Dance Music Culture and the Politics of Sound|publisher=Routledge|page=175|isbn=9780203012062|access-date=August 7, 2020
==Etymology==
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There are conflicting accounts about the origin of the term ''acid''. One self claimed account by members of Phuture points to their own "[[Acid Tracks]]". Before the song was given a title for commercial release, it was played by DJ [[Ron Hardy]] at a nightclub<ref name="cheeseman">Cheeseman, Phil. "[http://music.hyperreal.org/library/history_of_house.html The History Of House]", Music.hyperreal.org</ref> where [[psychedelic drug]]s were reportedly used.<ref>Bidder, Sean (2001) ''Pump Up the Volume'', Channel Four – see also the first episode of the accompanying television series</ref> The club's patrons called the song "Ron Hardy's Acid Track" (or "Ron Hardy's Acid Trax").<ref name="cheeseman" /> The song was released with the title "Acid Tracks" 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,<ref name="cheeseman" /> but DJ Pierre says he chose the title because the song reminded him of [[acid rock]].<ref name="reitveld">Hillegonda C Rietveld (1998) ''This Is Our House: House Music, Cultural Spaces and Technologies'' Aldershot: Ashgate. {{ISBN|978-1-85742-242-9}}</ref> Regardless, after the release of Phuture's song, the term acid house came into common parlance.<ref name="cheeseman" />
Some accounts say the reference to "acid" may be a celebratory reference to psychedelic drugs in general, such as [[LSD]], as well as the popular [[club drug]] Ecstasy ([[MDMA]]).<ref name=oxford>''The Oxford Dictionary of New Words'' (Knowles, Elizabeth [ed], Elliott, Elizabeth [ed]). Second Edition, Oxford University Press, 1997. {{ISBN|0-19-863152-9}}.</ref> According to Professor Hillegonda Rietveld, a researcher specializing in [[electronic dance music]], 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 psychedelic drug LSD or 'Acid' can bring about.<ref>Rietveld, H. C., ''This is Our House: House Music, Cultural Spaces and Technologies'', Ashgate Publishing, Aldershot, 1998 ({{ISBN|978-1857422429}}).</ref> In the context of the creation of "Acid Tracks" it indicated a concept rather than the use of psychedelic drugs in itself.<ref>Rietveld, H.C., ''This is Our House: House Music, Cultural Spaces and Technologies'', Ashgate Publishing, Aldershot, 1998 ({{ISBN|978-1857422429}}), p. 143.</ref>
Some accounts disavow psychedelic connotations. One theory, holding 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]].<ref>[https://publications.parliament.uk/pa/cm198990/cmhansrd/1990-03-09/Debate-1.html#Debate-1_spnew6 Quoted in the British House of Commons ''Hansard''],
The name of [[acid jazz]] is derived from that of acid house, which served as one of the inspirations for the genre's development.<ref name="Priceetal2011pp479-82">{{cite book |editor1-last=Price |editor1-first=E.G. |editor2-last=Kernodle |editor2-first=T.L. |title=Encyclopedia of African American Music |date=2011 |publisher=ABC-CLIO |location=Santa Barbara, California |isbn=978-0-313-34199-1 |pages=479–482}}</ref>
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==History==
===Origins===
Before the term "acid house" was introduced, rawer early acid house was "[[hi-NRG]]",<ref name=AcidCulture>{{cite book |url=https://books.google.com/books?id=TejjAgAAQBAJ&pg=PT75 |title=The True Story of Acid House: Britain's Last Youth Culture Revolution |author=Luke Bainbridge |publisher=[[Music Sales Group]] |year=2014 |isbn=978-0857128638 |access-date=August 7, 2020
[[Derrick Harris (musician, Sleezy D)|Sleezy D]]'s "I've Lost Control" (1986) was the first to be released on vinyl, but it is 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>
In the 21st century, attention was drawn to [[Charanjit Singh (musician)|Charanjit Singh]]'s album ''[[Synthesizing: Ten Ragas to a Disco Beat]],'' featuring [[Indian classical music|Indian]] [[raga]]s fused with [[disco]].<ref name="guardian_2010">{{cite news|url=https://www.theguardian.com/music/2010/apr/10/charanjit-singh-acid-house|title=Charanjit Singh, acid house pioneer|date=
===Chicago movement (mid-1980s–late 1980s)===
{{main|Chicago house}}
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 house music (the instrument had been used earlier in disco records by the earlier mentioned [[Charanjit Singh (musician)|Charanjit Singh]] in 1982,<ref name="guardian_20102">{{cite news |last=Pattison |first=Louis |date=
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 | url =https://archive.org/details/modulationshisto00shap | url-access =registration | publisher =Caipirinha Productions Inc.| year=2000 | page = [https://archive.org/details/modulationshisto00shap/page/34 34] | isbn= 0-8195-6498-2}}</ref> However, house and especially acid house was beginning to experience a surge in popularity in Britain.<ref>{{Cite web|url=http://www.fantazia.org.uk/Scene/ravenewworld.htm|title=Rave New World - Dissertation on the Acid House & rave scene|date=
{{clear}}
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|url=http://www.fantazia.org.uk/scene/orgs/sunrise.htm
|author=Unknown
|access-date=
|quote=Youngsters were so high on {{sic|hide=y|Ecs|tacy}} and cannabis they ripped the birds’ heads off;
|archive-url=https://web.archive.org/web/20071202130938/http://www.fantazia.org.uk/scene/orgs/sunrise.htm
|archive-date=December 2, 2007
|url-status=dead
}}</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 (drug)|ecstasy]] and [[LSD]].<ref name="Reynolds, Simon p. 63"/><ref>DeRogatis, Jim (December 1, 2003). ''Turn on Your Mind: Four Decades of Great Psychedelic Rock'', 436. Hal Leonard. {{ISBN|0-634-05548-8}} (accessed June 9, 2005).</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> 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=
====Manchester and 'Madchester'====
[[Image:Madchester-logo.jpg|thumb|250px|The "Madchester" wordtype which appeared on the [[Happy Mondays]]' 1989 EP ''[[Madchester Rave On]]''. It was later used to represent the entire Madchester movement]]
Acid house was also popular in [[Manchester]]. The Thunderdome (which was generally advertised as a techno night) in Miles Platting was at the epicenter of the scene and gave rise to acts like [[A Guy Called Gerald]], [[808 State]], Jam MC's
The genre was extremely popular with the city's [[football hooligans]]. According to [[Manchester United]] football hooligan Colin Blaney in ''Hotshot: The Story of a Little Red Devil'', the acid house venues were the only place where rival hooligan gangs would mix, without coming to blows with one another.<ref>Colin Blaney, ''Hotshot: The Story of a Little Red Devil'', Milo Books, p. 157</ref>
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In the late 1980s and early 1990s, British news media and tabloids devoted an increasing amount of coverage to the hedonistic acid house/rave scene, focusing increasingly on its association with psychedelic drugs and [[club drug]]s. At first, promoters like [[Tony Colston-Hayter]]<ref>{{Cite news|url=http://www.theguardian.com/uk-news/2014/jan/15/tony-colston-hayter-acid-house-fraud-barclays|title=Tony Colston-Hayter: the acid house fraudster|date=January 15, 2014|newspaper=[[The Guardian]]}}</ref><ref name="auto">{{Cite web|url=https://www.bbc.co.uk/iplayer/episode/b07pr1b5/the-80s-with-dominic-sandbrook-3-world-in-motion|title=The 80s with Dominic Sandbrook - 3. World in Motion|website=Bbc.co.uk}}</ref> tried to monetize the scene by promoting his Apocalypse Now parties (organised with Roger Goodman)<ref>{{Cite web|url=https://silvermagazine.co.uk/second-summer-of-love-ecstasy-the-rave-explosion-and-underground-parties|title=Summer of Love Part II – Ecstasy, rave explosion, underground parties|website=Silvermagazine.co.uk|date=September 25, 2018}}</ref><ref>{{Cite web|url=http://borosix.co.uk/history/1988_d.html|title=borosix.co.uk → UK Rave Flyer Archive → Rave History|website=Borosix.co.uk}}</ref> on the ITV News (ITN) in the same way that a latter-day popstar such as [[Gary Barlow]] would promote his album on the news (generally in the "...And Finally" part of the programme).<ref>{{Cite web|url=https://www.itv.com/news/granada/2020-12-03/frodsham-gary-barlow-talks-lockdown-and-new-album-with-granada-reports|title=Frodsham's Gary Barlow talks lockdown and new album with ITV Granada Reports|date=December 3, 2020|website=ITV News}}</ref>
However, these reports soon changed from positive promotion to a negative viewpoint, with the sensationalist nature of the coverage contributing 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 late 1988, when a UK [[Tabloid journalism|'red-top']] tabloid called ''[[The Sun (United Kingdom)|The Sun]]'', which only days earlier on
Despite this, one tune broke through into the mainstream in November 1988. "[[Stakker Humanoid]]", produced by [[Brian Dougans]] (later of [[Future Sound of London]]), was a hit not just at influential clubs like [[The Haçienda]] in Manchester or Shoom in London, but was championed by mainstream stalwarts such as [[BBC Radio]] DJ [[Bruno Brookes]] and record producer, [[Pete Waterman]]. It went on to reach number 17 in the UK in November 1988, leading to Dougans' appearance on ''[[Top of the Pops]]'' on
==See also==
* [[:Category:Acid house musicians]]
* [[Acid house party]]
* [[Balearic beat]]
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