New York native Frankie Knuckles played an important role in developing house music as a Chicago DJ back in the 1980s and he helped to popularize house music in the 1990s, with his work as a producer and remixer.
He’s universally credited as a pioneer of dance music and was famously crowned “The Godfather of House” for his role in creating modern dance music’s global DJ culture.
So who could possibly explain it better than Frankie? Here we go…
Wow! After so many years of being involved in this movement from the ground level I can’t believe I’m still being hit with this question. I vowed a few years back that I would never answer this question again. And still I’m finding it land in my mail box. So hopefully for the last time, this will be the last time. Though I doubt it;
Working at my craft longer than most of these “PUNTERS” have been on this earth, I guess it makes sense that every now and again that I should explain what is at the heart of the music I BEST represent. Hoping that they really get it, though I really don’t think any of them, if not most of them will be reading this because, at the end of the day, most 18 – 20 year olds are just coming into their adulthood and, if they have to read too much about anything (unless they are seriously pursuing a career in the business), would prefer to look at the flashy pictures and see who’s who at their favourite nightspot and, how much they’d like to be a part of it. I could be wrong and if so, let me apologise in advance.
All that being said; Yes, HOUSE MUSIC’S origins began in Chicago at a little club I partnered and was the resident DJ called Us Studio, THE WAREHOUSE (206 South Jefferson Street aka FRANKIE KNUCKLES WAY). But in my humble opinion, THE WAREHOUSE is not completely responsible for this phenom. At the same time that I was doing everything in my power to keep my dance floor/membership interested in coming back every week to the WAREHOUSE, there were many other DJs across America (if not around the world) doing the same thing. Re-editing music to bring new life and energy to old songs (because of the lack of quality dance choons with great energy). Kinda putting a fresh coat of paint on an old barn to spruce things up, if you will.
I know DJ Mandrill was doing it in Washington DC, David Todd was doing it in Philly, Morales was doing it in Brooklyn and, the list goes on. It’s just that the industry was at a point where it was hungry for something new. A new focus. A new direction. And Chicago was a territory that had never been explored by the media before.
But back in that day Chicago was a small town that only had a rep for being Al Capone’s hometown. And during that time when I was working with Jamie Principle there had been a few choons that had brought some notice to HOUSE MUSIC but, it took Jamie’s “YOUR LOVE’ and “BABY WANTS TO RIDE” and, Marshall Jefferson’s “MOVE YOUR BODY” to light a fire under the crowds of punters across The UK. Filtering it’s way into Europe and Asia and, Downunder. Hence, the foundation was laid. The tone was set for what we call HOUSE MUSIC today.
All you have to do is listen to these three choons and you hear all the influences of what is essentially at the heart of HOUSE MUSIC. Shades of strong messages of Hope and Belief, Heavy Gospel overtones. Coupled with Highlights of early Electronica ala; KRAFTWERK, PRINCE and BOWIE. And as much as many like to think it’s Disco-laden, it runs much deeper and far wider than that.
Much of what I played at THE WAREHOUSE wasn’t as high energy as most HOUSE MUSIC is today. The choons were anything as funky and low down as James Brown’s, “SEX MACHINE” to Sylvester’s, “MIGHTY REAL” and, everything in between. It was always about the song first and foremost. The greatest thing about most of those nights at THE WAREHOUSE was the choons that danced around peoples’ heads long after the parties were over. Folks would rush to their local record shops looking for that choon that sounded like, and would start singing the choruses of these choons.
HOUSE MUSIC has evolved so far away from that now that it doesn’t supprise me that so many young folks out here don’t know what it is. I think it’s fantastic what technology has afforded all of us working DJs. Making it possible for us to expand on our own creativity. But the downside to this is so many of these DJs limiting their creativity by not taking it all the way.
For so many, a song means nothing. Only their track is important. HOW ARROGANT!
Everyone has a song in their heart. We all carry that choon with us everyday, everywhere. And when you’re as fortunate as most of us working DJs to be able to share our creative blessings with the rest of the world, no matter how great or small, wouldn’t you agree that it’s best to give the world the best of who you are? After all, with every effort comes another opportunity to reach new heights (musically). As much as I love playing all over the world, I always have my best time playing and entertaining when I’m home in NYC, London, Chicago or, San Francisco. People embrace everything I have to give them, musically. I can’t compact 35 years of experience into a two hour set. It takes an evening. I guess you can say I’m more of an old locamotive versus a Bullet Train.
So, the next time this question is put to you try to remember this; HOUSE MUSIC is more than just what you’re hearing at the moment by who maybe your favourite DJ (at the time). There’s music history involved here. You can enjoy all the techy/electro savvy tracks that make you float away when you’re rollin’ on whatever high. But if you’re trying to pursue a career in this business or, just someone that simply enjoys the music for what it is and want to delve deep into it’s origins, just listen to some of the greatest singers, funk bands, gospel singers and choirs of the past 40 years and you’ll have a keen sense of what HOUSE MUSIC is. That’s if you’re really interested in an answer.
