Happy Recycling
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Happy Recycling
ParticipantDJ Vintage.
I agree, good and not good music works well, too. But if you’re collection is ginormous then it’s best to categorize.
For anyone interested this is how a small segment my record collection looks like (I’m awfully proud):
1989-1995
1988-1993
Breakbeat, Ragga HipHop, Techno
88 Hip-House
89 Breakbeat, Hip-House
90 Breakbeat, Ragga HipHop, Techno
91 Breakbeat, Ragga HipHop, Techno
92 Breakbeat, Hardcore, Ragga HipHopBreakbeat, Hardcore, Techno
89 Breakbeat, House, Techno
90 Breakbeat, Techno
91 Breakbeat, Hardcore, Techno
92 Breakbeat, Hardcore, Techno
93 Breakbeat, Hardcore, Techno
94 Breakbeat, Techno, Acid
95 Breakbeat, Breaks, TechnoBreakbeat, Hardcore, House
91 Breakbeat, Hardcore, House
92 Breakbeat, Hardcore, HouseBreakbeat Hardcore
90 Breakbeat, Hardcore
91 Breakbeat, Hardcore
92 Breakbeat, Hardcore
93 Breakbeat, Hardcore
94 Breakbeat, Hardcore1992-1997
Breakbeat Hardcore Jungle
92 Breakbeat, Hardcore, Jungle
93 Breakbeat, Hardcore, Jungle
94 Breakbeat, Hardcore, JungleDrum n Bass, Jungle
92 Drum n Bass, Jungle
93 Drum n Bass, Jungle
94 Drum n Bass, Jungle
95 Drum n Bass, Jungle
96 Drum n Bass, Jungle
97 Drum n Bass, JungleJungle
93 Jungle
94 Jungle
95 Jungle [I’ve included a 96 Jungle tune in this folder … an anthem]Drum n Bass
94 Drum n Bass
95 Drum n Bass
96 Drum n Bass
97 Drum n Bass1993-2002 Happy Hardcore
93-96 Breakbeat, Happy Hardcore
93 Breakbeat, Happy Hardcore
93 Breakbeat, Jungle, Happy Hardcore
94 Breakbeat, Happy Hardcore
94 Breakbeat, Jungle, Happy Hardcore
95 Breakbeat, Happy Hardcore
95 Breakbeat, Jungle, Happy Hardcore1995-98 Stomping Happy Hardcore
95 Happy Hardcore
96 Happy Hardcore
96 Breakbeat, Happy Hardcore
97 Breakbeat, Happy Hardcore
97 Happy Hardcore
98 Happy Hardcore1999-02 New Era Happy Hardcore
98 Happy Hardcore (again)
99 Happy Hardcore
2000 Happy Hardcore
2001 Happy Hardcore
2002 Happy Hardcore91 Hardcore, Techno
each tune has 140-200 have’s (minimum) or a rating of ~4.40/5 off discogs unless rare/dub plate.
total number of tunes 1168.See me climb as high as I can go
Looking down on people far below
You can live a secret fantasy
Take a magic carpet ride with me. lolParticipantHello again, Craig
Breakbeat Happy Hardcore and Bouncy/Stomin Happy Hardcore co-existed until 1997, although hardly any of it is found in 1997.
Toytown came out in 1995, as well as, Now Is The Time (Scott Brown, Scotland), and Rainbow in the Sky (Holland/Netherlands), which made the style more popular (I guess, I don’t know but my gut instinct tells me that I am probably right) changing the face of happy hardcore into the infantile we might know it as.
Breakbeat, Happy Hardcore remixes of more classic tunes of the same style (1993-1995), and even Slipmatt’s remix on a Ragga Tip, plus a few new ones, were still pressed and played.
So this is what I could scour off of Discogs and iTunes.
http://www.discogs.com/Various-Happy-Anthems-Vol-1-The-Heart-Of-Hardcore-Raving/release/174876
http://www.discogs.com/Various-Happy-Anthems-Vol-2-The-Heart-Of-Hardcore-Raving/release/187616
http://www.discogs.com/Various-Happy-Anthems-Vol-3-The-Heart-Of-Hardcore-Raving/release/41430
http://www.discogs.com/Various-Happy-Anthems-Vol-4-The-Heart-Of-Hardcore-Raving/release/187615http://www.discogs.com/Various-Happy-Hardcore-Fever/release/1068630
http://www.discogs.com/Various-Happy-Hardcore-Fever-2/release/205547
http://www.discogs.com/Various-Happy-Hardcore-Fever-2/release/1244389
http://www.discogs.com/Various-Happy-Hardcore-Fever-3/release/1777089
http://www.discogs.com/Various-Happy-Hardcore-Fever-4/release/1776920http://www.discogs.com/Various-Happy-Hardcore/release/66871
http://www.discogs.com/Various-Happy-Hardcore-2/release/154572
http://www.discogs.com/Various-Happy-Hardcore-3/release/244416
http://www.discogs.com/Various-Happy-Hardcore-4/release/66867http://www.discogs.com/Various-Happy-Hardcore-Hysteria/release/239312
http://www.discogs.com/Various-Happy-Hardcore-Hysteria-Volume-2/release/462551http://www.discogs.com/Various-Hardcore-Happiness/release/189773
http://www.discogs.com/Various-Hardcore-Happiness-Vol-2/release/356989
http://www.discogs.com/Various-Hardcore-Happiness-Vol-3/release/363121http://www.discogs.com/Various-Ecstatic-Volume-One/release/187626
http://www.discogs.com/Various-Ecstatic-Volume-Two/release/188447http://www.discogs.com/DJ-Seduction-United-Dance-Volume-2-Presents-The-Ultimate-Selection/release/480858
http://www.discogs.com/Various-United-Dance-3/release/40238http://www.discogs.com/Various-The-Happy-Album/release/154567
http://www.discogs.com/Various-The-Happy-Album-Volume-2/release/684972http://www.discogs.com/Various-Absolutely-Hectic/release/206290
http://www.discogs.com/Various-DJs-Unite-The-Complete-Series/release/918376
http://www.discogs.com/Various-Hardcore-Alliance/release/178774
I would suggest listening to these tunes off youtube just to know what you’re getting. I might be off the mark with some of these.
record company websites:
http://www.kniteforcerevolution.com/
http://www.justanotherlabel.com/articles/;/news/?p=1 — if you want to shop from this storeiTunes, and I’m pretty sure you can get the same off beatport (I used iTunes not beatport):
get
Just Another Label (>/27)
http://www.discogs.com/label/3610-Just-Another-Label
Stompin Choonz (also available off iTunes…the first one (ST 1) & it’s remix (ST 9))
http://www.discogs.com/label/351-Stompin-ChoonziTunes (record labels):
Impact Records (>/IMP056)
http://www.discogs.com/label/439876-Impact-Records-23Kniteforce (>/KF044)
http://www.discogs.com/label/3345-Kniteforce-Records
Knitebreed
http://www.discogs.com/label/10128-Knitebreed
Remix Records (>/ RE 017)
http://www.discogs.com/label/4343-Remix-Records
http://www.discogs.com/label/372992-Remix-Records-Kniteforce-Present-The-RemixsHappy Jack (hardly any of it is highly rated)
http://www.discogs.com/label/4968-Happy-Jack-Productions[again] Stompin Choonz (the first one (ST 1) & it’s remix (ST 9))
http://www.discogs.com/label/351-Stompin-ChoonziTunes (not record labels, … kind of)
Slipmatt Old Skool Top 10 Part 1
Slipmatt’s Universal Classics, Pt. 1
The Slipmatt Remix Collection
In Complete Darkness – SingleThe Best of United Dance Recordings
United Dance Recordings Classics, Pt. 1Epedemik Presents Strictly Old Skool
I Love Happy Hardcore Mixed by DJ Vibes
15 Years of Hardcore Mixed by DJ VibesJanuary 6, 2016 at 8:03 am in reply to: using pitch +8 oldskool hardcore > jungle > dnb // happy hardcore #2331761ParticipantTerry_42. You are right. +8 sounds horrible. Earlier today/yesterday I tested it out and it just sounds terrible. I wounder is there any merit to what I wrote in the two previous posts and that that’s why some DJ’s do this. I guess, what I have to learn is what the crowd wants, not what I want to do with the music I’m using … that’s the “next step” into becoming a good DJ. Thank you.
ParticipantSorry. I may have put my foot in my mouth and have been Mr. Smartypants. Hardcore, vicariously(?) extends to 94 and 95 among some really good tunes. It’s not “breakbeat hardcore,” though if you were to consult discogs. In ’92 there came a new style side by side with breakbeat hardcore, known as breakbeat, hardcore, jungle. That style lasted until ’94 according to my library, but, I could be wrong. Also, I should mention breakbeat happy hardcore. Like I said, it began in 93 and it lasted until 95. In 95 there was another British style of hardcore, the one with the four on the floor beat which is what began happy hardcore as we know it today. We have to thank Hixxy and Scott Brown for that, if we think we need to, and can. :\
January 5, 2016 at 8:14 pm in reply to: using pitch +8 oldskool hardcore > jungle > dnb // happy hardcore #2331351ParticipantAlso, when it comes to the myth of beatmatching, it’s “sampledelic,” not only because of the samples lifted to make the tune but the tunes are edited on spot, like a drummer or turntablist, with quick cuts between records. That’s what KISS FM style of happy hardcore around 95 was like, so is oldskool jungle, so I’d figure, coming from the same origin, oldskool hardcore was the same. So it’s not so much about “beatmatching between tunes,” but laying one or more tune onto of the other so two “drum kits” are being spliced cut quickly one between the other in rhythm with the main tune, so matching is key or you’d hear a huge mess. Hardcore came from hip hop roots, and hip hop means DMC turntablists. While there was scratching involved with these records, Danny Breaks, 2 Bad Mice, and DJ Hype for instance are great examples of DJ’s who scratched hardcore (or darkcore into jungle) and there were happy hardcore counter parts who did the same, Spinback?, it was just as a common practice to splice/beatjuggle which required first to beatmatch to have “live sampledelia.” Am I right on this account too?
January 5, 2016 at 8:01 pm in reply to: using pitch +8 oldskool hardcore > jungle > dnb // happy hardcore #2331341ParticipantI would figure, yeah, some styles would sound horrible on +8. But … given the nature of the sounds of oldskool hardcore (chipmunk vocals, for example) and the entire reason why it’s called hardcore — faster = better, wouldn’t it make sense to pitch to +8? I’m sure there were other times where this “hardcore ideology” was used in record pitch. For instance, the reason why Richie Hawtin and John Aquaviva called their label +8 was because they were pitching records before their time to +8, right? I think they even alluded to the difference between “punk” techno (not directly) and sanitized house in Logical Nonsense, the bonus track on Dimension Intrusion. When asked the question “what’s the difference between house and techno?,” Richie said, “plus eight,” indicating a faster than supposed to “punk ideology” to their performances, which they did do back in the day from what I was reading in old newspaper clippings and books about the plastikman parties, which evolved from this punk aesthetic. I don’t think oldskool rave and breakbeat hardcore producers, even most jungle and happy hardcore producers back in the day would care but would in fact prefer their records to be played as fast as possible. As 2 Bad Mice were quoted, if I’m not mistaken it was them, “sampledelic,” just quick cuts into new tracks, back and forth on the cross fade, and I think the pitch was peaked for the same reason, most bang out which means shortest time. I figure right about until ’97/’98 pitch went down, and it did — trance is the obvious example, or 2-step predominating Drum and Bass giving it it’s modern and more lush less raw sound, this is mainstream underground music. The renegades such as planet-mu and others which stayed hardcore not just by name but by aesthetic, I would figure, kept their pitches up as high as possible reflecting their roots, as well as, their other roots, those of the b-boys, by how they construct their music, like Goldie said, to paraphrase, “boy’s aren’t about what they can do with a piece of equipment, but what they can’t do with it, and then pushing it to its boundaries.” The more melodic style out just don’t have this aesthetic/style/attitude it’s raw, and for most, that would mean going to a dodgy venue where they’d be constantly looking over their shoulder. Well, that was my time, anyway. Opinions? Am I onto something?
Participantp.s. Over the course of these past few months, I acquired from across the globe the entirety (barring Vol. 1, which sucks) Speed Limit 140 bpm+ series as well as other CD’s that fits under your description of what you’re looking for.
I have both breakbeat hardcore jungle drum and bass (and everything in between), and, happy hardcore CD’s from this time. I also have mixed CDs. Most, if not all, are in VG+/NM/M- condition.
I’m not sure what’s forum rules concerning selling, I am not by any means a merchant, but if you wish, write back a brief note here, and I’ll see what I can do so that you could get the best possible sound.
ParticipantHi,
I realize that this, by now, is already an old thread and I’m going to sound like a geek here, but I just came out of months of cataloging music of this sort. There’s really hardly any “breakbeat, hardcore” music from 1994/1995.
I’m not trying to sound like a jerk, more of a geek/nerd. :O)
Actually, there is no breakbeat hardcore from ’95. I guess some of us know the story here: ’92, Sept./Oct. darkcore/darkside/darkness came and got rid of the euphoric happy hardcore. That music became known as Breakbeat, Drum’n’Bass, Jungle (any sort of combination or all three classifiers, in discogs), and in ’93 Slipmatt made his first SMD record paving way to breakbeat, happy hardcore in ’94 which in ’95 was splitting between breakbeat and stomping happy hardcore. So, to return to the original poster’s comment on breakbeat, hardcore in ’94/’95, there is no such thing except for a few records in ’94, such as Kniteforce’s first few records.
The posters are right, Discogs and Speed Limit 140 BPM+ is a good place to start, but not finish. Some of the stuff on those comps are edits, by the way, but one has a gem: 4 Horsemen of the Apocalypse “Drowning in her,” which discogs rates as the most wanted darkcore tune, even besting Rufige Cru’s Terminator. I haven’t found a copy of it any where else, but I wasn’t looking.
But, you know, you can actually find a lot of great tunes of iTunes. That’s what I did, and if you can’t get it there, contact Ola at Just Another Label’s website if you want the happy hardcore files. Compilations are good once you’ve exhausted your possibilities of getting them there; I’ve looked at hardcore junglism’s website and am impressed by the DJ Crystl selection! You can’t find the Dark Crystal, anywhere but this website. TUNE.
In discogs type in big name artists/tunes your looking for, and look underneath the youtube video box and you’ll find lists. Go through those lists and type in another tab on your browser the artist. Then inside the artist’s profile, type in the tune in the search on the left hand side of your screen. You’ll might find compilations there of what you’re looking for.
As for what’s good. Would say anywhere, as an unfixed rule, starting 140-200 have’s (minimum) or a rating of ~4.40/5 if not owned by much, much less people (say a dub plate or a rare record) could potentially be a good records from that era, don’t bother with anything less — but check the comments section below the release table in discogs per record to see if I’m wrong because I could very much could be in a case to case basis. Some records are just rated lower, and some of them, while hated by their respective communities like M-Beat’s Incredible, do exceptionally well (I guess Ali G had something to do with it or it’s just a record that people love to hate).
Post in the groups, too, here’s one which I found useful.
http://www.discogs.com/group/thread/493466Some people on Discogs are a wealth of knowledge, they were into their sort of music for quite some time, I’d figure.
January 5, 2016 at 2:27 am in reply to: using pitch +8 oldskool hardcore > jungle > dnb // happy hardcore #2330991Participant… p.s. the first question is more of a question of philosophy/custom. I figure the hardcore genres are pitched while the more smooth (namely, DnB) is not. Also, with time, DJ’s who play oldskool had to speed up to keep up, right? :\ The other question has to do with sound. Tracks just sound strange when their pitched up to +8, especially without keylock. But then again, I’m a n00b, and I’m figuring, if they are ALL pitched up to ~+8 then they wouldn’t. Would appreciate some advice.
ParticipantJust a late thank-you to both responses!
Practicing …. 🙂Participant*assemble [“it”] tunes to make my own sets sound good. I see DJing as construction.
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