New Order - End of an Era

New Order-Technique (1988)
New Order- Fine Time (1988) Single

1988's Technique was New Order's post-acid house masterpiece of British pop. Technique presents New Order doing what they'd done best for close to a decade — writing brilliant left-field pop songs and consistently blurring the line between electronic dance and alternative pop. From the driving singles "Fine Time," "Run," and "Round & Round," it would appear that Technique was the band's most dance-slanted record yet, though rockier album tracks like "Love Less" and "All the Way" reveal the band having it both ways.



New Order - Republic(1993)

New order - Regret(1993) Single

Pulling back slightly from the raw, dance-oriented Technique, New Order took a break for four years and then crafted another slice of prime guitar pop. In keeping with previous work, Republic simply borrows elements of contemporary innovations in club music to frame a set of effortlessly enjoyable alternative pop songs. As on Technique, the singles ("World," "Spooky") are the most danceable on the record, while lyrical concerns are among the most direct of the group's career, including "Ruined in a Day" and "Times Change," sure signs of the demise of Factory Records.

Both Albums Lots and Lots of
Razormaid Collection
New Order - The Best Of
New Order - Singles
New Order - International: Best of New Order
New Order - 12" by 12" and Best Remixes

Frankie Bones

Frankie Bones - Bonesbreaks Volume 1 1988
Frankie Bones - Bonesbreaks Volume 2 1988
Frankie Bones - Bonesbreaks Volume 3 1989
Frankie Bones - Bonesbreaks Volume 4 1990
Frankie Bones - Bonesbreaks Volume 5 1990

Frankie Bones was the original and first DJ coming out of the Brooklyn Underground during the mid 80's with the vision of what was yet to come on the Global front of Electronic Dance Music culture. His early mission came in the many releases of Fourth Floor and Nugroove Records. In a time when timing meant everything, the buzz of his early works caught the attention of the rapidly growing scenesters in the London Orbital M25 raves during the Summer Of Love in 1988.
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Those early "Bonesbreaks" vinyls led Frankie to playing at a rave called "Energy" which had 25,000 people. With the scene already reaching critical mass, Bones had set off a fierce bidding war between XL Recordings and Deconstruction Records which led to two albums by Musto & Bones. The U.K. was very impressed by Frankie's unique Brooklyn style which was a raw-freestylish-bass-in-your-bass-bins-but-electro-bass style that was raw enough to keep the entire scene and industry at bay, waiting for the underground to bubble over. With gigs, remixing and production work pouring in by the truckload, Frankie ventured out into the early European scene playing key breaking parties in France, Holland, Italy, Denmark and Germany. Each country taking note of his style and wanting to license music.

Va - Acid House Volume One (BPM 1988)

Various - Acid House Volume One (1988)

A1 Joi Bangla Sound - Taj Ma House (L.P. Mix)A2 Silicon Chip - Phuture Music (Til You Drop Mix)A3 Construction Crew - Heartbeat (Pulse Mix)A4 Force Motive - You Will Be Dealt With (Dealt With Mix)B1 New Chapter - Acid Generation (Windy City Mix)B2 The Moody Boys - Boogie Woogie Music (Pumpin' Power Mix)B3 L.E. Bass - Acid Bitch (Bitch Mix)B4 Mister Monday - Keep On (The 3AM Mix)

Bomb the Bass - Beat Dis

Classic cut & paste house track. Likely inspired by Marrs - Pump the Volume and almost as good. A Chemical Brothers favorite.

Two more singles:

Bomb The Bass - Winter In July (1991)
Bomb The Bass - Megablast & Don't Make Me Wait

Todd Terry

Royal House - The Royal House Album - Can You Party (1988)

The Todd Terry Project - To The Batmobile Let's Go (1988)

Born in Brooklyn, Terry began DJing in the early '80s while still a teenager, spinning hip-hop at school events and on the street with a team called the Scooby Doo Crew. He increasingly listened to Italian disco as well, and when the house sound of Chicago dropped in the mid-'80s, Terry the DJ made an official switch to house music. In league with fellow New York DJ/producer/remixers Little Louie Vega and Kenny "Dope" Gonzalez, Terry borrowed the Masters at Work guise -- which Vega and Gonzalez would later popularize -- for one of his first big productions, the 1987 single "Alright Alright"; the single became a milestone on New York's early house scene. The Jungle Brothers, another crew of hip-hop heads who were beginning to stray into house, hooked up with Terry and the collaboration resulted in "I'll House You," one of the earliest and most high-profile fusions of hip-hop and house .
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The added prestige transferred back to his own name for two wildly popular 1988 singles, "Weekend" and "Bango (To the Batmobile)," both released as the Todd Terry Project. Perhaps preferring the adoration of the faithful, Terry later resorted to dozens of aliases for dozens of club hits --Black Riot, Bombshell , Bootman, Chrome , CLS, D'Effect, D.M.S., Dred Stock, English Friday, Frontline, Gypsymen, Hardhouse, House Of Gypsies, INCS, KXP, Lime Life, Masters At Work , Orange Lemon, Raid, The, Royal House, Sax, Sound Design, Static, Swan Lake, Tech Nine, Todd Terry All Stars, Todd Terry Project, The, Youngbloods. Despite his wealth of released material, Terry remixed dozens of artists as well, including Sting, Björk, Janet Jackson, Tina Turner, Malcolm McLaren, Annie Lennox, Robert Plant, and Technotronic, among others. The British house boom of the early '90s provided Terry with many an overseas gig, including a high-profile residency at the London superclub Ministry of Sound. His proficiency on the decks became a minor sensation, causing several British journalists to describe him as "God."
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Happy Mondays

Along with the Stone Roses, Happy Mondays were the leaders of the late-'80s/early-'90s dance club-influenced Manchester scene, experiencing a brief moment in the spotlight before collapsing in 1992. While the Stone Roses were based in '60s pop, adding only a slight hint of dance music, Happy Mondays immersed themselves in the club and rave culture, eventually becoming the most recognizable band of that drug-fueled scene. The Mondays' music relied heavily on the sound and rhythm of house music, spiked with '70s soul licks and swirling '60s psychedelia. It was bright, colorful music that had fractured melodies that never quite gelled into cohesive songs.
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Unwittingly or not, Happy Mondays personified the ugly side of rave culture. They were thugs, purely and simply — they brought out the latent violence that lay beneath the surface of any drug culture, even one as seemingly beatific as England's late-'80s/early-'90s rave scene. Under the leadership of vocalist Shaun Ryder, the group sounded and acted like thugs, especially in comparison with their peace-loving peers, the Stone Roses. Ryder's lyrics were twisted and surrealistic, loaded with bizarre pop culture references, drug slang, and menacing sexuality. Appropriately, their music was as convoluted. Happy Mondays were one of the first rock bands to integrate hip-hop techniques into their music. They didn't sample, but they borrowed melodies and lyrics and, in the process, committed rock blasphemy. For a band that celebrated their vulgarity and excessiveness, Happy Mondays appropriately were undone by their addictions, but they left behind a surprisingly influential legacy, apparent in everyone from dance bands like the Chemical Brothers to rock & rollers like Oasis.

Mr. Fingers (aka Larry Heard) - Ammnesia

or here

Mr. Fingers (aka Larry Heard) - Ammnesia (1988) or here

He never sold as many records as some of the other Chicago house producers, but Larry Heard is arguably the best to come out of the scene, providing the crucial marriage between the warmth and communal feeling of disco with the energy and futurism of house music. His classic mid-'80s singles on Trax Records — as Larry Heard and Mr. Fingers, as well as Fingers Inc. with the addition of vocalists Ron Wilson and Robert Owens — set the template for every house-influenced producer to come later, and scores of dance artists have name-checked him as providing the best moments in house music's history. Unlike many of his Chicago house contemporaries, Heard's discography is quite large, with several albums released under each of his three major pseudonyms plus several albums during the 1990s recorded as by Larry Heard.

Fast Eddie - Jack to the Sound

Fast Eddie - Jack to the Sound (1988)

Fast Eddie aka Eddie Smith is a music producer from Chicago. Before his stint as a producer, he was a DJ that was considered one of the premier house DJs at the time. He gained immense popularity during the heyday of Chicago House Music (1986-1988). During that time, he was spinning on WGCI and WBMX in Chicago. However, during that stint, he produced one of his first singles in collaboration with Kenny "Jammin'" Jason entitled "Can You Dance?" circa 1986.
In 1987, Eddie came out with other house tracks such as "The Whop" based on the dance of the same name. Also, Eddie left WGCI for WBMX for a short stint and then quit that to concentrate on producing. In 1988, Eddie scored one of his biggest hits with "Acid Thunder" on the DJ International Label. "Acid Thunder" is regarded as a classic of the Chicago acid house genre.
However, it was the track "Hip House" which really increased his popularity. Eddie popularized the genre of Hip house (Essentially, rap over house beats) and produced several tracks afterward.

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He scored several hits on the Hot Dance Music/Club Play chart in the late eighties and early nineties, including "Git On Up" (featuring Sundance), which spent a week at number one in 1989. .
However, Eddie tried his hand at Gangsta Rap in 1990 by forming the group America's Most Wanted and many critics felt he should have stuck to his House Music roots. Later that year, he released "Make Some Noise."

Va - Acid In The House

Various - Acid In The House(1988) Link or Link

Tracklisting:01 Humanoid Stakker Humanoid (4:59) 02 Kraze The Party (Club Mix) (6:45) 03 Jungle Brothers I'll House You (4:55) 04 Mr. Lee Pump Up Chicago (Acid Mix) (4:24) 05 Phuture We Are Phuture (7:07) 06 Beat Kick Claro Que Si (Acid Dub Acid) (5:00) 07 Swan Lake The Name Of Love (5:20) 08 Bam Bam Give It To Me (Double Trouble Extended Remix) (6:35) 09 Power, Wonder & Love Afro Acid (Remix) (5:40) 10 Todd Terry Project, The Just Wanna Dance (Club Version) (5:35) 11 Todd Terry Project, The Weekend (5:48)

Va - We Call It Hallucinates

Part 1 Part 2 Va - We Call It Hallucinates (1988)

Tracklisting:1 Sleezy D. I've Lost Control (Space Mix) (9:45) 2 Phuture Acid Tracks (12:14) 3 Jungle Wonz Time Marches On (Vocal Mix) (6:56) 4 William S* I'll Never Let You Go (Instrumental) (6:15) 5 Farley "Jackmaster" Funk Jack The Bass (6:39) 6 Maurice Joshua This Is Acid (4:55) 7 Liddell Townsell* As Acid Turns (5:10) 8 Jack Frost Clap Me (6:47) 9 Mr. Lee Pump Up London (Club Mix) (7:13) 10 Liddell Townsell* The Groove (5:09)

Inner City

Album Link



Paradise Remixed




Big Fun (Single) or here

The group that took Detroit techno to the masses via the British charts and the world's dancefloors, Inner City was an intense collaboration between a noted Chicago house vocalist and one of the most influential Detroit producers of the 1980s. Both Paris Grey and Kevin Saunderson were well-known for their contributions to the club music of their respective communities well before their 1989 debut album. Saunderson did more to advance techno than anyone except Juan Atkins and Derrick May, through his releases as Tronik House, Reese, E-Dancer and Essaray. Between the two Inner City topped dance charts in America and Britain 11 times, hit Britain's Top 40 eight times, and sold over six million records.

"Big Fun" was released late in 1988 on the Virgin compilation Techno: The New Dance Sound of Detroit, and hit the British charts in a surprising crossover success. Signed to Virgin soon after, Saunderson and Grey hit again later that same year with the Top Ten single "Good Life." Their debut album Paradise (Big Fun on its American issue) reached the UK Top 20, though it largely failed to cross over on the American pop charts. Paradise Remixed followed in 1990 and later singles "Ain't Nobody Better," "Watcha Gonna Do with My Lovin" and "That Man (He's Mine)" lit up dancefloors around the world, spreading the word about techno to thousands of mainstream clubbers familiar only with house music.