Chicago : Early 1980s – late 1980s
In the early 1980s, Chicago club & radio DJs were playing various styles of dance music, including older disco records, newer Italo Disco, hip hop and electro funk tracks, as well as electronic pop music by Kraftwerk, and recent danceable R&B productions in the genre now known as boogie. Some made and played their own edits of their favorite songs on reel-to-reel tape, and sometimes mixed in effects, drum machines, and other rhythmic electronic instrumentation.
One house tune called "Move Your Body" by Marshall Jefferson made house music known outside of Chicago and was called "the house music anthem" by many, and was featured in the 2005 video game "Grand Theft Auto: San Andreas" on the ingame radio station "SF-UR".
Detroit : early 1980s – late 1980s
Detroit techno was developed in the mid 1980s, although Detroit techno is a distinct musical form in its own right, its pioneers were also instrumental in forwarding house music internationally. The two forms of music developed together from 1985 to 1990 and still are genres that often coincide.
Detroit techno developed as the legendary disc jockey The Electrifying Mojo conducted his own radio program at this time, influencing the fusion of eclectic sounds into the signature Detroit techno sound. This sound, heavily influenced by European Electronica (Kraftwerk, Art of Noise), early B-boy Hip-Hop (Man Parrish, Soul Sonic Force) and Italo Disco (Doctor's Cat, Ris, Klein M.B.O.), was further pioneered by Juan Atkins, Derrick May, and Kevin Saunderson the "godfathers" of Detroit Techno.
UK: mid 1980s – early 1990s
Early British house music quickly set itself apart from the original Chicago house sound; many of the early hits were based on sample montage, rap was often used for vocals (far more than in the US), and humour was frequently an important element.
The house scene in cities such as Birmingham, Sheffield, Manchester and London were also provided with many underground Pirate Radio stations and DJs alike which helped bolster an already contagious, but otherwise ignored by the mainstream, music genre. The earliest and influential UK house and techno record labels such as Warp Records and Network Records (otherwise known as Kool Kat records) helped introduce American and later Italian dance music to Britain as well as promoting select UK dance music acts.
But house was also developing on Ibiza, although no house artists or labels were coming from this tiny island at the time. In the 1970s Ibiza was a stop-over for the rich party crowd. By the mid-1980s a distinct Balearic mix of house was discernible. Several clubs like Amnesia with DJ Alfredo were playing a mix of rock, pop, disco and house. These clubs, fueled by their distinctive sound and Ecstasy, began to have an influence on the British scene. By late 1987, DJs like Paul Oakenfold and Danny Rampling were bringing the Ibiza sound to UK clubs like the Hacienda in Manchester, and in London clubs such as Shoom in Southwark, Heaven, Future and Spectrum.
US: late 1980s – early 1990s
Back in America the scene had still not progressed beyond a small number of clubs in Chicago, Detroit, New York, and New Jersey. Paradise Garage in New York City was still a top club, although they now had Todd Terry, his cover of Class Action's Larry Levan mixed "Weekend" demonstrated the continuum from the underground disco to a new house sound with hip-hop influences evident in the quicker sampling and the more rugged bass-line. While hip-hop had made it onto radio play-lists, the only other choices were Rock, Country & Western or R&B.
Other influences from New York came from the hip-hop, reggae, and Latin community, and many of the New York City super producers/DJs began surfacing for the first time (Erick Morillo, Roger Sanchez, Junior Vasquez, Danny Tenaglia, Jonathan Peters, David Morales) with unique sounds that would evolve into other genres (tribal house, progressive house, funky house).
Late 1980s - 1990s
In Britain, further experiments in the genre boosted its appeal. House and rave clubs like Lakota, Cream emerged across Britain, hosting house and dance scene events.
At the same time, a new indie dance scene emerged. In New York, bands such as Deee-Lite furthered house's international influence.
In England, one of the few licensed venues The Eclipse attracted people from up and down the country as it was open until the early hours.
The music continued to grow and change, as typified by Leftfield with "Release the Pressure", which introduced dub and reggae into the house sound, although Leftfield had prior releases, such as "Not forgotten" released in 1990 on Sheffield's Outer Rhythm records.
A new generation of clubs like, Liverpool's Cream and the Ministry of Sound were opened to provide a venue for more commercial sounds. Major record companies began to open "superclubs" promoting their own acts. These superclubs entered into sponsorship deals initially with fast food, soft drinks, and clothing companies. Flyers in clubs in Ibiza often sported many corporate logos. A new sub-genre, Chicago Hard House, was developed by DJs such as Bad Boy Bill, DJ Lynnwood, DJ Irene, Richard "Humpty" Vission and DJ Enrie, mixing elements of Chicago House, Funky House and Hard House together.
Towards the end of the 1990s and into the 2000s, producers like Daft Punk, Cassius (Band) ST. Germain and DJ Falcon began producing a new sound out of Paris's house scene. Together, they laid the groundwork for what would be known as the French House movement. By combining the harder-edged-yet-soulful philosophy of Chicago House with the melodies of obscure Funk & Disco music from the 1970s, state-of-the-art production techniques and the sound of analog synthesizers, they began to create the standards that would shape practically all House music that was created after it.
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