This month’s edition focuses on acid house, a subgenre of house that traces its roots back to the mid-1980s in Chicago, with artists such as DJ Pierre, Sleezy D, and Armando. The eponymous “acid” describes the squelchy, warbling sounds of the Roland TB-303, a small synthesizer that was originally designed to simulate bass guitars, but found itself better suited to soundtracking late nights in clubs and warehouses.

The U.K. and continental Europe soon caught on, adding their own spin to the genre and even taking it mainstream with a number of chart hits. It also had an influence on later genres such as trance, hardcore, jungle, and techno. Here are ten cuts that may not have reached “anthem” status but definitely stood the test of time.

1. Calisto – Get House [Definitive Recordings] [1994]

One of only three tracks from Rob Lenarduzzi under his Calisto alias, “Get House” is a groovy tech house cut which rewards patient listening. Taking a full five minutes before the acid lead fades in during an otherwise nondescript breakdown, the track turns into a squelchy, chunky roller in the second half of its runtime.

2. Van Christie – That Shit’s Wild [Trax Records] [1988]

As is fairly typical of late ’80s/early ’90s Chicago acid house and the infamous Trax Records, there is considerable debate around who actually wrote “That Shit’s Wild.” Although it is officially credited to Van Christie on Trax’s own Acid Classics compilation released in 2006, the 1988 Acid Trax Volume 2 compilation released by Serious Records lists Dr. Derelict (A.K.A. Wayne Williams) as the artist. There are even rumors that the legendary Adonis contributed to the production. Whoever is responsible for it, one thing’s for certain: with its slamming drums, chopped-up vocal refrains, and funky acid line, the title is definitely apt.

3. 2 Body’s – Body Drill [House Records] [1989]

Belgian producers Ro Maron and Ferre Baelen are widely considered pioneers of new beat, a groundbreaking genre that fused elements of acid house with new wave, EBM, and hi-NRG to create an energetic, rave-ready sound with a distinctly European edge. “Body Drill” is a brilliant example of the style, combining chunky, lo-fi drums and overdriven acid into a dark, pounding groove.

4. Mike Dunn Presents MD III – The EL Train [Clone Jack For Daze] [1988-1990/2018]

Although it was released in 2018, “The EL Train” was actually written between 1988 and 1990. It remained in the archives until it was picked up by Clone Records for their Jack For Daze sub label. Typical of his take on the genre, the track saw Mike Dunn take the raw, jacking vibe of acid house and put it into overdrive, distorting the drums and downtuning the TB-303 to give it a sinister edge.

5. The Endless Poker’s – ! The Poke ! (The After Poke Mix) [D.J. International Records] [1987]

Unlike “That Shit’s Wild,” this one is an official Adonis production, written in collaboration with Magic Amp and Derrick Morris under his Flex alias. Funky, stripped-down, and wonky, it focuses around an ever-changing drum loop and rapid-fire vocal hits, with the acid line adding some extra flavor rather than being the centerpiece of the track.

6. Robert Armani – Edge [ACV Records] [1993]

One of the tracks that laid down the foundations for Chicago’s more jackin’, booty-bouncing take on techno, “Edge” is a lesser-known cut from Robert Armani that marks an important point in the acid house timeline. Chunkier, pacier, and grittier than other tracks floating around at the time, its shuffly drums and overdriven TB-303 offered a timely breath of fresh air for the genre.

7. Armando – 151 [Warehouse Records] [1988/1992]

They really don’t come more legendary than Armando when it comes to acid house. A master of using minimal elements to maximum effect, on “151” he combines a simple, off-beat acid line with rough, reverbed TR-707 drums, changing up their patterns throughout the tune’s runtime. Written in 1988 but officially released in 1992, it perfectly characterizes the first wave of acid house from Chicago.

8. Jolly Roger – Acid Man (Happy Mix) [10 Records] [1988]

It didn’t take long for acid house to reach the U.K., and when it did, they added their own unique flavor to it. Typically faster and cheekier than its Chicago counterpart, U.K. acid house was the soundtrack to the rave renaissance of the late ’80s and early ’90s. “Acid Man (Happy Mix)” is regularly cited as a forgotten classic of the time and is one of Camden Palace resident Eddie Richards‘ earliest productions.

9. Mr. Fingers – Washing Machine [Trax Records] [1986]

Although he is more often touted as a founding father of deep house, Mr. Fingers (A.K.A. Larry Heard) also knew how to work a TB-303 and get the wild sort of sounds out of it that his contemporaries could only dream of. “Washing Machine” is a leftfield, psychedelic, and incredibly funky jam with some wild delay effects. It is often overlooked due to being on the same release as the anthemic “Can You Feel It?”

10. Man Machine – Man Machine (Cybernetik Intervention) [Possum Records] [1989]

“Man Machine” is an uplifting, dreamy journey that characterizes the more ravey take on the genre that German artists explored when they got their hands on the TB-303. The acid line bubbles alongside punchy drums in the low end of the track, while gated, choir-like synths, trancey chords, and choppy vocal samples add a playful, colorful edge.

With the help of Tap Music Publishing, Heard and Owens (of Mr. Fingers fame) filed the complaint in June – two months after Trax Records Founder Larry Sherman‘s death. According to 5 Magazine, they allege that Sherman falsely claimed they had transferred rights for several of their definitive releases to him when he registered with the U.S. Copyright Office. Because of that, they claim they haven’t received “a single accounting or payment from defendants for monies derived from the exploitations of [their] musical works.”

Rachael Cain, who now runs Trax, has asserted that Heard and Owens purposefully waited until after Sherman passed away “knowing that [he] was no longer able to defend himself.” The filing goes on to say that because the “Can You Feel It” producers admit to entering into written contracts with Sherman, the label owner had merely misstated the law in his dealings with them. Citing case law from decisions in G&G Closed Circuit Events, LLC v. Castillo and Sosa v. DIRECTV, Inc., among others, it asserts that misstatement of material fact must have taken place for the incident to constitute fraud.

If correct, the motion would dismiss seven of the eight counts of fraud raised in the suit. The defense also seeks to absolve Cain herself from responsibility as she was not yet involved with Trax at the time Heard and Owens’ songs were signed.

Having provided a platform for artists like Frankie Knuckles, Jesse Saunders, Marshall Jefferson and Phuture, Trax Records is widely regarded as the original Chicago house label. Among more informed dance music enthusiasts, its legacy is often overshadowed by Sherman’s alleged unsavory business practices. In the same month that Heard and Owens filed their complaint, for instance, a fundraiser was launched to offset royalties the label allegedly owes Chicago house artist Adonis for his 1985 single “No Way Back.”

Hearings for Larry Heard and Robert Owens’ lawsuit against Trax Records will proceed in US District Court for the Northern District of Illinois. More information on the filing is available via Law360.

Heard released deep house as Mr. Fingers, and as Fingers Inc. alongside Owens. According to a Tap Music statement obtained by Music Week, the lawsuit submitted June 23rd seeks damages for alleged “exploitation of the artists and their works, including unpaid royalties.” Music produced under both projects found a home on Trax in the ’80s, when the label famously popularized the Chicago house sound.

“After doing several releases independently, it was so disappointing that my earliest venture into the music business was with a label in the community that turned out to be dishonest, like with many other artists that we hear about all too often,” said Heard. “We are simply seeking justice and fairness. Maybe our efforts will shed light on the many predatory practices that have been in place for a long time in this industry.”

The lawsuit arrives at a time when recent events have brought the historic exploitation of black artists to the forefront of electronic music fans’ awareness. Demuir uploaded a YouTube video about race and dance music not long after after Black Lives Matter protests spread across the globe. This week, Awakenings were called out for failing to include electronic musicians of color on the lineup for their digital makeup event.

“Larry Heard and Robert Owens have filed this lawsuit to begin the process of righting the wrongs they suffered,” said Robert Meloni of Meloni & McCaffrey, the law firm who filed the suit. “Our hope is that it may inspire other similarly situated African-Americans to stand up for their rights as well.”

Trax Records’ reputation for unsavory business practices often overshadows its history of shaping house music. Label co-founder Larry Sherman, who passed away in April, himself admitted to misdeeds during interviews like the one in Chicago house documentary Pump up the Volume.

Label President Rachel Cain issued a statement in response, claiming that Canadian investor Casablanca Trax Inc has retained all rights to music by Heard and company despite her best efforts over the past 15 years. “Since 2002, Trax Records has had no control over the Trax classic catalogue, which we intend to rectify,” she wrote. “I would like them to know I have not been in control of the classics and have been fighting to get them paid.”

Read Tap Music Publishing’s lawsuit against Trax Records in its entirety here.

Adonis (full name Adonis Smith) brought the topic to light in the weeks after Trax co-founder Larry Sherman died of heart failure. “Do not buy or support Trax Records! Because this label has not paid me one penny in 34 years,” Smith wrote in a Facebook post. “Trax Records do not own any rights to my music. Please share this post everywhere. Also tell all distributors to do not sell this record or any other of my songs from this horrible label. Enough is enough.”

Smith’s accusations are par for the course for Trax Records. In the documentary Pump Up The Volume, Sherman himself commented on the label’s unsavory business practices in the early years of Chicago house.

On Adonis

Prior to releasing music as Adonis, Smith was a member of the boogie group ClockWork. The band’s most notable track was “I’m Your Candy Girl,” which came out on Private I Records in 1984.

Smith is arguably best known for “No Way Back” featuring the late vocalist Gary B. The 1986 single, which sold an estimated 100,000 copies, marked one of the first uses of the Roland TB-303 Bass Line in a house music. DJ Pierre would go on to popularize the synthesizer in his pioneering acid house singles.

Donations to Steve Morgan’s fundraiser can be made via Just Giving.

According to a statement posted to the label’s official website, Sherman succumbed to heart disease on April 8th. “It is with great sadness that Trax Records and [label president] Rachael Cain must announce the passing of Larry Sherman, its legendary founder,” reads a passage. “There are no details of a memorial yet due to the worldwide pandemic.”

Definitive house singles such as Marshall Jefferson‘s “Move Your Body,” Mr. Fingers‘ “Can You Feel It,” and “Acid Trax” by Phuture found a home on Trax after its 1984 launch. The label also springboarded the careers of Frankie Knuckles, Jesse Saunders, and Vince Lawrence. The latter two artists played a key role in its inception. Cain herself started out as a signee under the alias Screamin’ Rachael.

As noted by the Chicago Sun-Times, Sherman left behind a “complex legacy.” Trax earned a reputation for signing artists into predatory deals; Sherman himself discussed some of the label’s controversial practices in the 2001 documentary, Pump Up The Volume.

Sherman is survived by his daughter, Tessa Sherman, and his widow, Sandyee Sherman. He had been planning a royalty fund to aid his artists impacted by COVID-19 restrictions, and his final wishes will be carried out by Rights Incorporated.

Image credit: Rachael Cain