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| . . |
| |
| |
| Artist : VA |
| |
| Title : Ron's Edits #2 |
| |
| Label : White Label |
| |
| Cat-Nr : n/a |
| |
| Source : Vinyl |
| |
| Tracks : 02 |
| |
| Size : 26,9 MB |
| |
| Rel-Date : Oct-06-2005 |
| |
| Str-Date : 2004 |
| |
| Quality : VBRK/44.1K/Joint-Stereo |
| |
| Encoder : Lame 3.90.3 (VBR) |
| |
| Genre : House |
| |
| Sub-Genre: Disco |
| |
| |
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: .--l____/---l___/---l___/---l___/---l___/---l___/--------l___⌐dtA!__/
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| `-------> t.r.a.c.k.l.i.s.t <-) |
| |
| Play |
| No. Trackname time |
| |
| 01 First Choice - Let No Man Put Asunder 07:54 |
| (Ron Hardy Re-Edit) |
| 02 The Dells - No Way Back (Ron Hardy Re-Edit) 08:26 |
| ----- |
| 16:20 |
| |
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__) |___ _\__ )_ _\__ (_ _) __/_ _) | /_ _/)_ _\__ (_ _) ___/_\__ (_
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| ` l_ | l_ | l_ ` l_ | l_ | | l_ | | ` l_
|_____ /__| /__| /___ /__| /___l___| /__| l____ /
: .--l____/---l___/---l___/---l___/---l___/--------l___/------⌐dtA!___/
: | :
| `-------> t.r.a.c.k.i.n.f.o <-) |
| |
| Ron's Edits is musical archealogy dedicated to an early period of |
| modern club music. When the dawn of the disco movement became |
| obvious, certain DJs (most of them are unfortunately dead legends |
| by now) felt the need to take contemporary club music to a new |
| level. These early DJ gurus weren't satisfied with the music they |
| found and pushed things further by re-arranging available |
| material: re-edits, executed with razor and tape, to be played in |
| their club nights only. These musical pioneers didn't just do |
| extended versions of their favourites, they crafted a new sound |
| by taking short snippets from the originals, with a "track |
| concept" in mind that lead to the birth of house music. Ron's |
| Edits is a rare document from a blueprint-period of the |
| disco-house-continuum, with tracks that combine the emotions of |
| disco with hypnotizing power of early house music. This is |
| important, this is an essential MUST HAVE! |
| |
| http://www.discogs.com/release/255176 |
| |
| |
| |
| About Ron Hardy: |
| |
| ItÆs odd how, nearly nine years after his death in 1992, we are |
| more interested in Ron Hardy now than we ever have been. Perhaps |
| itÆs to do with the over-commercialisation of dance music and a |
| genuine desire to search for something more substantial, more |
| genuine than the ever-shifting ephemera that passes for DJ |
| culture. ThereÆs also the endless search for the roots of house |
| and those decades of club culture we missed out on because we |
| were too busy dancing to Frank Wilson in pants the size of a |
| haberdasherÆs warehouse. Maybe itÆs more simple than that, |
| though. Ron Hardy û like DetroitÆs Ken Collier û died before the |
| days of the jet-setting American jock and so no British clubber |
| has ever had the imagined sounds of HardyÆs take on black Chicago |
| sullied by the truth. HeÆs the greatest DJ we never saw. |
| |
| Even today, however, thanks to the joys of modern technology and |
| the obsessive nature of the average dance music aficionado, we |
| can still get to hear Ron Hardy playing, his ghostly presence |
| transmitted down the years and over the internet. WhatÆs amazing |
| about these recordings û rough and ready as they are û is just |
| how surprisingly good some of them still sound. More technically |
| adept than Larry Levan and with a style that incorporated new |
| wave, disco, proto-house and heavy, heavy, HEAVY on the Italian |
| disco. |
| Ron Hardy had been a DJ since way back when. He cut his teeth in |
| Chicago at Den One, before being lured out to California. In his |
| absence (roughly from 1977 to 1982), a young New York DJ called |
| Frankie Knuckles turned the Warehouse into the hottest space in |
| the midwest, in the process formulating a new music that kids in |
| Chi-town called Æhouse. Ron Hardy returned after being offered a |
| gig in FrankieÆs old space. "The Music Box is what the Warehouse |
| turned into after I left it," recalls Knuckles. "See there was no |
| competition. I had already been there. I had already worked that |
| room. It was a completely different crowd. It had changed |
| drastically. By the time I was leaving there they were trying to |
| get him to come over there and play. He came to me and asked me |
| how did I feel about it. I told him: æI really think you should |
| go ahead and do it. But go in there with your eyes open and your |
| mind sharp, and donÆt let them offer you things you can get |
| yourself. Go in there, make sure that when it comes to everything |
| it takes to make you comfortable in there they give you. DonÆt |
| work with a half-assed sound system. DonÆt have them offer you |
| drugs and this that and the other when you can just as easily go |
| out and buy your own. Tell them this is what you want and this is |
| how much money you want and this is what you need in order to do |
| your job here.Æ This was my advice to Ron, so they would never |
| have him in a position where they can have him over a barrel. I |
| saw that happen to too many friends of mine." |
| |
| "For somebody to follow Frankie Knuckles was quite a feat," |
| reflects Marshall Jefferson. "Because of course theyÆre gonna |
| have this rivalry |
| thing, right? You know like all of FrankieÆs people say, æOh |
| theyÆre opening a new club but they donÆt have Frankie.Æ They had |
| Ron Hardy. Man, for him to make the Music Box like it was, itÆs |
| quite a feat. ÆCos Frankie was ruling the roost. They were |
| calling it house music now, and that was because of Frankie. And |
| for Ron Hardy to come in there and steal like FrankieÆs thunder, |
| itÆs really something. People still liked Frankie, but see the |
| thing is it split off into two different crowds. The people that |
| really liked wild ass music. The people who liked really loud |
| music. And FrankieÆs crowd turned into the kids with a more |
| distinctive, like a higher class of musicalà taste." |
| |
| Veteran Chicago clubber Cedric Neal remembers his first encounter |
| with the underground dance scene. "The first time I ran across |
| dance parties was late Æ82 and that was when I stumbled across |
| the Music Box," he says. "We were just driving along and we were |
| wondering why all these people were standing outside. One oÆclock |
| in the morning, and they kept talking about this guy Ron Hardy. |
| So then we decided to stand in line with everybody else, and that |
| was the point which more or less - quote unquote - changed my |
| life. Because that was the first time I saw him spin. And it |
| was... it was amazing." |
| |
| Marshall Jefferson experienced a similarly Damascene conversion. |
| "I wasnÆt even into dance music before I went to the Music Box," |
| he laughs. "I was into rock and roll. We would get drunk and |
| listen to rock and roll. We didnÆt give a fuck, we were like |
| æDisco Sucks!Æ and all that. I hated dance music Æcos I couldnÆt |
| dance. I thought dance music was kind of wimpy, until I heard it |
| at like Music Box volume. Oh, the volume. The way Ron Hardy |
| played, man. I had never heard music at that volume since. It was |
| really amazing. And like 15 years I have not heard a single club |
| that even came close to that volume, and the reason being is, I |
| would suspect, is there would be loads of lawsuits from damaging |
| your hearing. Because the Music Box was so loud anywhere in the |
| club, not just on the dancefloor, anywhere in the club, the bass |
| would physically move you." |
| |
| DJ Pierre, another jock inspired by HardyÆs Music Box sessions, |
| recalls his baptism. "[My friend] Spanky was like, æYou just |
| gotta go to the Music Box, youÆll see, youÆll see the real deal.Æ |
| So he took me down there one night. Snuck me in the place and |
| basically it just really blew my mind. I heard all that old stuff |
| and I heard house music. There was tracks by Larry Heard. |
| Real house tracks, made with drum machines and stuff, and after |
| that I was like baptised or something. I got goosebumps. I was |
| like æOh man, this is crazyÆ. So after that I knew that was the |
| real deal. The way people were screaming Ron HardyÆs name, I had |
| never seen that before. And I had DJed a few parties, and I seen |
| famous DJs playing, but they never got that reaction Æcos they |
| never played that kind of music. I seen how soulful everybody |
| was." |
| |
| What characterised Ron HardyÆs style could be summed up in one |
| word: energy. It was like voltage flowing through the needles. |
| "He was energetic," chuckles Pierre. "Real energetic. He played |
| classics and tracks and vocals, all in one set, and everything |
| was real energetic. And when he took you down, it was real moody |
| soulful. Like you would feel love. People were literally doing |
| the nasty on the dancefloor. You know, it was dark. He didnÆt |
| have all these lights that clubs have. You know how lights have a |
| bunch of different lights? The only lights he had was strobe |
| lights." |
| |
| |
| |
| Marshall Jefferson also remembers the energy, as well as the |
| re-edits for which Hardy became famous in Chicago (as did |
| Knuckles). "He played stuff like æItÆs My LifeÆ by Talk Talk, the |
| ABC stuff, Eurythmics, all that," says Jefferson. "Frankie |
| wouldnÆt play none of that shit. Even like æFrequency 7Æ by |
| Visage. You ever heard that? Frankie wouldnÆt play it. Frankie |
| would play like more straight disco; the black disco stuff, but |
| Ron Hardy would play it all, man. And at really high speeds. |
| Hardy was like busier with the records, too. He would fuck with |
| the EQ more. Frankie would just mess with the bass occasionally, |
| but Hardy would mess with every fuckin thing. I would watch Hardy |
| sometimes like editing songs, man, and he would do it with just a |
| cassette player He would play the record, ssst pause and then |
| whmp play it again, the same part and pause whmm then do it |
| again." "He did editing," agrees Pierre. "You know æBad LuckÆ? He |
| would make a part just keep going. HeÆd loop it on a reel and |
| keep one part just keep on and on again. Like æItÆs Not OverÆ, he |
| looped that beat û dmm dmm kdm-kdm, dmm dmm kdm-kdm û and it |
| would run a long time, and everybody be there, just dancing off |
| that one beat. Then, finally, heÆll let the rest of the song go, |
| and everybody just explode." "Ronnie was doing a lot of his own |
| edits as well, and a lot of his edits were very repetitious," |
| says Knuckles, of the differences in approach between the pair. |
| "Very high energy and very repetitious. He would take a song and |
| take a certain part of the song, and heÆd run that for ten |
| minutes, before the song even played. And then heÆd go into the |
| song or go back to another ten minutes and just play one |
| particular part. But the Music Box, the whole atmosphere was a |
| lot darker than what we had." |
| |
| Chez Damier characterises the difference between FrankieÆs and |
| HardyÆs crowds as essentially one of class. "The thing is, the |
| Music Box is more like the ghetto version of the party. It was |
| real banjy. Kids pulling out their shit on the dancefloor. Or |
| probably in the corner somewhere, it was just really nasty, but I |
| liked it. That was the balance. We had Music Box on one night and |
| Power Plant on the other night." "For some reason it made me |
| think of junkies," squeals Derrick Carter of his memories of the |
| Music Box. "It was just like... junkies. It was a mixed crowd but |
| youÆd get people dancing on just... air. If Ronnie would play |
| something like Eddie KendricksÆ æGoing Up In SmokeÆ, and |
| everybody would be going up in smoke. It would just lift |
| everybody off the ground, and people would be crying, and just |
| freak out and get so charged. Just like junkies getting a fix. |
| And then theyÆd settle down. And then the next track would come |
| on there was people freaking out. It was very very wild." |
| |
| As Chicago moved from being a consumer of other peopleÆs music |
| and began to be a producer, both Knuckles and Hardy assiduously |
| established relationships with different producers. Knuckles was |
| close to Jamie Principle and was playing æYour LoveÆ years before |
| it eventually surfaced on Trax. And if PrincipleÆs slick |
| Prince-influenced sound suited the mellifluous style of Knuckles, |
| then the rawness of Marshall Jefferson and DJ PierreÆs |
| productions perfectly suited Hardy. "We gave the track to Ron |
| Hardy," reflects Pierre of the Phuture (and future) classic. "And |
| if Ron Hardy said he didnÆt like it, it would have been the end |
| of acid. Because he was the man, it was like, if he said he loved |
| something, that was it. If weÆd have went up there and he said æI |
| donÆt like itÆ weÆd have thought, æOh well, back to the drawing |
| boardÆ." |
| |
| As luck would have it, Hardy did indeed like it. "Then after that |
| all these rumours started coming out: Ron HardyÆs æAcid TracksÆ. |
| Everybody was buzzinÆ about this new track and we was like |
| æwhatÆs this new track, whatÆs this new track?Æ Then someone |
| said, æI got it on tapeÆ and when I heard it all I said, æMan, |
| that is our track, that ainÆt Ron HardyÆs track. He said, æMan, |
| people going crazy over this track.Æ I said, æthey called it Ron |
| HardyÆs æAcid TracksÆ?Æ (WeÆd called it æIn Your MindÆ, whatever |
| that means.) Well if everybodyÆs calling it æAcid TracksÆ, it |
| would be stupid to come out under a different nameà." |
| |
| There is an easy parallel to make with a certain New York DJ: |
| Larry Levan. Both black, gay and with a certain unique energy in |
| the DJ booth. Both, sadly, with spiralling drug problems and an |
| all-too-predictable end. "Hardy did every single drug known to |
| man," says Marshall Jefferson of his hero. "How the fuck you |
| gonna programme that? He didnÆt give a fuck about programming or |
| none of that. When I saw Larry Levan later, right, I wasnÆt |
| impressed, because IÆd already seen Ron Hardy. Same type of DJ, |
| but Larry Levan passed out while he was playing. Ron Hardy never |
| passed out while he was playing. As high as he got, he never |
| passed out, Æcos he was so pumped up. Shit man, Hardy would do |
| shit plus six, plus eight, you know, fast as he could play it. |
| The energy man, the energy. Since Larry Levan played everything |
| at the proper speed, thereÆs no way he could duplicate Ron |
| HardyÆs energy." |
| |
| Towards the end, Hardy wasnÆt even DJing that much. His great |
| gigs an increasingly distant memory, his habit increasingly |
| voracious. He was often spotted doing oddjobs out at Trax, in |
| Larry ShermanÆs warehouse (which is a bit like Paul Oakenfold |
| ending up as Pete WatermanÆs cleaner). "Towards the end he got |
| worse with the drugs," says Cedric Neal. "He started shooting up. |
| IÆm not sure the drug of choice that he was doing, and not to |
| defame his name, because he was one of the best DJs in the world. |
| But he got caught in that turmoil, and by the time he got down to |
| the Powerhouse he hated spinning. I talked to him a couple of |
| times and he was like, æI got to feed myself I got to pay my |
| billsÆ. And when he was at the party in the early 80s when I used |
| to talk to him, his attitude was, æthis is what I live for: to |
| spinÆ." |
| |
| When he died, in 1992, there was hardly a mention of him anywhere |
| outside of the right-knit circle of Chicago devotees whoÆd grown |
| up listening to him in their youth. There were no obituaries, no |
| memorials and, unlike Larry Levan, there is no party each year to |
| commemorate and celebrate his life. "Even though heÆs not here |
| with us, heÆs here in spirit and as long as IÆm alive, heÆs |
| alive," Adonis told Jonathan Fleming. "When Ron played, he played |
| to take you to some place. He didnÆt ay just to make some money. |
| For him it was a way of life, it was an art-form and every night |
| he put his soul into it. I can imagine him praying before he put |
| on his turntables. It was no æplug it up, letÆs do itÆ, it was |
| spiritual and thatÆs why I put him as my number one." |
| |
| Bill Brewster & Frank Broughton FAITH 2001 |
| |
| http://www.jahsonic.com/RonHardy.html |
| http://www.faithfanzine.com/features/hardy.html |
| |
| |
| If you liked this record, please BUY it and SUPPORT the artists. |
| DO NOT SHARE it ON P2P Networks. |
| |
| Where to buy? |
| |
| http://www.gemm.com |
| http://www.ebay.com/ |
| http://www.musistack.com |
| |
: ______ ____ _____ __.__ _____ _____ ______ _____ :
_( ____/_ _\__ )_ _\__ (_ _) | (_ _\__ (_ _/)_ _\__ (_ _) ___/_\__ (_
. \_ . / . | . | . / . . | . __). | .
| | | -| | | | | ____| | | | | | | |
| ` l_ | l_ ` l_ ` l_ | | | | l_ | | ` l_
|_____ /__| /___ /___ /__| l____l___| /__| l____ /
: .--l____/---l___/---l___/---l___/----------------l___/------⌐dtA!___/
: | :
| `-------> g.r.o.u.p.i.n.f.o <-) |
| |
| |
| |
: .eMPHASIs. |
: |
: releasing quality electronic music since 2001 |
| |
: kats from the old amiga scene keeping the friendly spirit alive |
. |
: our aim is to showcase talented artists on the cutting edge :
| new and old |
| :
: we at EMP encourage you to support the artists by picking up |
| the CD/vinyl at your favourite record store or go to the show! |
. .
| |
| :
| S H O U T S |
| :
| to all our friends in scene ... |
| |
| |
|__________ _________|
dESIGN bY)_________ _________(dAYTONA'01
)______ ______(
)_______________(