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Premium Member
Post from pablo814Chad you have the most mp3's of any artist in my puter.... that's sayin something...
is that insinuating that i am a complete whore?  or you are the leader of my fan club, bumping peterlee down to merely treasurer?

i appreciate knowing that you stay tuned!  now if only i could get my girlfriend to do the same... lol | |
Premium Member
Post from 2ripis that insinuating that i am a complete whore?  or you are the leader of my fan club, bumping peterlee down to merely treasurer?

i appreciate knowing that you stay tuned!  now if only i could get my girlfriend to do the same... lol
If I could only get my g/f to like non-top-40-trance-edm... lol
"Honey, I want to do something, we never do anything!" "We are doing something. I'm watching the game and eating a sandwich, and you are making me another sandwich!"
Post from pablo814If I could only get my g/f to like non-top-40-trance-edm... lol
w00t cheesy club trance!
Premium Member
okay i know someone was talkin about booty house somewhere... i think john wayne maybe.  thank god i didn't trash my old computer... i pulled a ghetto house & ghetto tek mix from it which i will be sharing with you in a few minutes.

Premium Member
Episode #21:  GHETTO HOUSE


While Cybotron, the first major release from Juan Atkins in Detroit, may be considered the first techno record it is also arguably known as the first electro record. Across the United States, Afrika Bambaataa released "Planet Rock" in 1982 while Hashim released "Al-Naafiysh" in 1983. Electro was dominated by staccato, percussive rhythms with heavy use of effects such as reverbs and delays. Electro was a primary influence in the development of Miami Bass.

Miami Bass became popular at the start of the 90's. The genre was a type of rap music that was geared towards fast-paced dancing. 2 Live Crew is said to have a large influence and with their hit singles like "Me So Horny" the genre became more widely popularized. By 1993 the underground sound of Miami Bass was becoming extinct as groups like Tag Team released "Whoomp! There It is" and Quad City DJ's with "C'mon And Ride It (The Train)." These releases made it onto mainstream radio and many dance cd compilatons. With the commercialization of Miami bass, a few dedicated dj's in Detroit began similar productions of their own.

DJ Assault & Big Red were a hip hop group that dj'ed fast-paced dance music. While working at Buy-Rite Records their owner encouraged them to incorporate techno into their mixes. Right around the time that they signed with Buy-Rite Records, DJ Godfather was popping up on the Detroit scene. DJ Godfather and mentor DJ Dick had put together a couple of bass singles in 1993 and 1994 as Bass Association. In 1995 they founded Twighlight 76 along with DJ Nasty, moving their production in a more techno direction but still combining Miami Bass samples.

Leading up to this point the electro & techno community in Detroit was a primarily black scene. By the mid-nineties a white teen from Ann Arbor, Michigan had climbed into the DJ scene and started combining Detroit's new style after seeing Assault and Godfather at a rave. The style of this sound was often considered to be "fast stuff" or "mix show music" but Disco D quickly coined the phrase "ghetto house." This term rubbed the originators of this music in a very wrong way, however the name stuck. The term also has other monikers such as booty house and ghettotech.

Booty house took on it's shape around 1992 an features stripped down, 4 to the floor, drum-machine driven tracks layered with sexually explicit lyrics. It was also known as Juke House upon it's conception and was said to be founded in Chicago. Ghettotech is the cousin of Juke/Booty House and follows the groundwork described earlier regarding Detroit and the incorporation of techno, juke house and electro gave it a Miami Bass feel.

This mix was recorded in 2003 but the wax selections are from 1995-1997. This recording, like many of the previous, has never been distributed. This particular mix never had a name associated with it and I shortly gave up mixing this genre after the tape was dubbed.

DJ Slugo - Balls
DJ Slugo - Track Is For The Men
Unknown - Beat That Shit Up
DJ Godfather - Playa Haters In Dis House
Twighlight 76 - Roll It, Ride It, Shake It (12" A Side)
DJ Deeon - Where The Hoez (Uh Oh)
Dance Mania - T-N-E = Taris
Big Daddy Rick - Hoe Bend Over
DJ Godfather - Pump
Unknown - Giggle Dat
Big Daddy Rick - Beyond The Inferno
Big Daddy Rick - Balloons
Twilight 76 - Roll It, Ride It, Shake It (12" A Side)
DJ Nasty - Where Them Hoes At
DJ Slugo - Wouldn't You Like To Be A Hoe
Farley Jackmaster Funk - Beat That Bitch With A Bat | |
Premium Member
Episode #22: Mental [1997]


Since 1990 Nicole Maalste had been studying drug use and drug cultures in the Netherlands. In 1995 she started a project, subsidized by the Ministry of Health, that would monitor "risky behavior" and drug use at raves. The study found that one-third of partygoers have felt ill at raves but only 10% actually sought out first aid which was typically provided at most large scale events. As raves continued to become more popular these facts were mirrored across the world.

In 1997 a drug monitoring system reported that the ecstacy market had become polluted as chemists began using other drugs in the pill make-up, but selling them as pure MDMA. Such things had been seen in the past but with raves continuing to make an upswing the total number of partygoers using ecstacy was on the rise, creating a growing number of pill mishaps. That same year a magazine called NewScientist published as article that started out by saying "Panic reigns. Fear overwhelms logical thought. Pointless activity replaces reason, and sensible advice is no longer heard." The article actually did not scrutinize the use of ecstacy but called more intense studies to action so that the public can become more informed about it's effects. The article also called for organizations to honestly present the forthcoming information.

Fastforward to February 1999. An organization called DanceSafe was founded by Emanuel Sferios. DanceSafe became a self-described harm reduction organization that promoted health and safety within the rave and nightclub community. The nonprofit group began sending volunteers to raves to test pills that users believed to be Ecstacy. The group was under immediate scutiny because the testers would hand the pills back to the individual. Approximately 28 chapters were established around the country, some operating under different names such as FLOWER in Pittsburgh.

In an ABC News chat transcript DEA representative, Steve Casteel, and DanceSafe founder Emanuel Sferios were questioned on many aspects of their work. When asked if he has ever been to a rave, Steve Casteel replied that he had been in attendane at events as an attempt to get a feel for what was going on with the ecstacy culture. The DEA representative reported that earlier in the 90's ecstacy seizures were relatively small but nearing the latter portion of the decade the number had grown to the millions.

Rewind back to 1997. Global Underground was reflecting the performances of high profile DJs in venues from around the world. The first five installments of the series was recorded in their perspective clubs. The original was mixed by Tony De Vit in Tel Aviv and released in November of 1996. The second installment was never released. By March of 1997 the third installment featured Nick Warren live in Prague.

Nick Warren also became a part of the group called Echo which soon changed their name to Way Out West. Their debut was also in 1997 with an ablum that spawned singles "Blue," "Domination," "Ajare," and the UK top 15 hit "The Gift."

In the early nineties, ravers found their information through online email networks. The most notable were PB-Cle, SFRaves, SoCal-Raves and DC-Raves. A member of MTN-Raves named Sarah Gianetto built the AZ-Raves website. In the summer of 1997 she helped form a booking management company and record label with DJ Inertia. Their first release was "Time" by The Dream Traveler, which had become an international hit and was chosen as the opening track for Paul Oakenfold's legendary "Tranceport" compilation. The same song was illegally used for the production of Britney Spears: Live In Hawaii.

This mix represents some of the underground progressive house that was produced in the 1997 era. Some names in the credits that are worth noting are Peter Presta, John Digweed, Victor Calderone, Way Out West and Noel Sanger.

Aleem - We Try To Do Our Best
Tipple - The Drift
DJ Gordon - Moonshine Boogie
Victor Calderone - Price Of Love
BBC Click - I'll Do 4 U (Peter Presta Remix)
Chupher - Funk 2 Nite
Freespirit - Twilight
Clanger - Seadog (Way Out West Remix)
Chakra - I Am (John Digweed Remix)
Noel Sanger - All We Are (1997 Mix) | |
Premium Member
Episode #23: Continuum [1998]


As the drum & bass sounds of the mid-nineties began to move towards lighter sounds such as that of intelligent or jazzy drum & bass. In 1996 there was a rise in drum & bass sub-genres such as "hardstep," "techstep," and "darkstep." These were attempts to bring the genre back towards it's darkcore roots.

Techstep became a big deal leading up to the later portion of the decade. The genre, while deeply atmospheric, was often characterized by samples from science fiction themes mixed together with cold and complex percussion.

By 1998 all of the genre splitting had come to an end for a short time. More genre splitting would occur after the change the millenium however.

This mix was recorded live in the garage of my parents house and represents exactly what my style was like back then. However I certainly did steer more towards techstep for the majority of my days spinning drum & bass.

Vortexion - This Side Down
Matrix & Dom - The Vandal
Calyx - Narcosis
DT - Checkmate
Flex Camp - Style Wars
Aphrodite - Acid Junky
EZ Rollers - Tough At The Top
Future Cut - Plastic
DJ Tek - The Year 2000 | |
Premium Member
I'm on a roll this week.... Sorry for the overload but I'm not going to be around to post this on Monday due to Inauguration.  Enjoy the deep, moody beats on Ep24! | |
Premium Member
Episode 24: Liquid Groove [1998]



In 1990 a teenager in Montreal named Ryan Lair had begun his days of partying in the gay house music scene. At the time the only place you could go to hear this type of music was at a club called Crisco. Within a year Ryan found himself promoting for the first rave in Montreal, titled Solstice. In 1991 the Montreal rave scene was made up of parties in warehouses. The early rave scene was a combination of the gay house music clubbers and a new breed of young party people. The vibe of Montreal throughout this time was centered primarily around house music. Ryan had soon entered the dj circuit as RC Lair and had developed a following in Montreal. In 1994 he moved to Phoenix, AZ to experience a completely different scene.

The rave scene is Arizona was mostly into speedier tempos. Soulful house music was not widely accepted and genres like hardcore, trance and drum & bass dominated the scene. This would continue to be the pace for the Arizona scene for years to come.

In 1994 an annual party had come into being, hosted by Swell/Basshead Productions, called Musik. Swell was the name of a clothing/record store that was owned by Alyssa & Russ Ramirez, however the production company also included Scotty Mckenzie. The annual Musik event had become a much respected event throughout Arizona, hosted on the last Saturday of every month. It was considered blatant disrespect for any other local promoters to host parties on the same night. However Wise Guy Productions, led by Darren Blatt, took on the challenge by hosting Tranceformation on the same annual date.

In 1998, Musik was held at the Hyster Building which was a warehouse near the intersection of Ninth Ave & Madison. The party featured Superstar DJ Keoki, Mike Dearborne, Kelly Reverb as well as RC Lair and was also hosted by Z-Trip. Unfortunately the party was eventually busted by the Phoenix police. The bust allegedly took place after Ramirez had shown all of the party permits to the police officer when a kid lost control of an acid trip, took off his clothes and ran outside naked.

Another popular event in Arizona is the annual Earthdance. The idea was conceived in 1996 by an artist/musician named Chris Deckker as a vision to unite the whole world through the universal platform of dance & music. Earthdance has become the largest globally synchronized event in the world. What began in 1997 with 22 cities in 18 countries has grown exponentially each year. The 1998 Earthdance was hosted on Saturday October 10th in a giant airplane hanger Mesa, Arizona and drew a crowd of 1500+ people. However it was busted by 1am and moved to the Nile Theater which was the alternative location. The lineup featured dj's like Pete Salaz, Hipp-E, Lego, and Kevin Brown. At 12 midnight GMT every dj around the world played the same track for world peace and at the same time unified dancefloors and all the dancers.

1998 also saw the continued pursuit of desert raves, which had always been popular in Arizona. One special event during this year was the Emerald Forest parties. The venue was nestled in the foothills of Tonto National Park in a tiny valley that was known as "The Emerald Forest." Emerald Forest 2 which was hosted on May 9, 1998 featured a lineup of Adam Case, CL McSpadden, and Mitch Mills. The follow-up to this event was hosted later in the year on October 3, 1998 featuring 9 dj's playing mainly trance, hard acid and drum & bass.

During the same year a popular house music & garage night had open up called Red Monkey at the Riverbottom Lounge. The event was hosted by Pete Salaz who, like RC Lair, had a deep passion for house music and soulful melodies. Overall the crowd was mature but there was a definitely mix of ravers and non-ravers.

This mix is a session of deep house and tech house from 1998. The reason I chose to host this along with this chapter is because I can relate to the way that RC Lair felt when moving to Arizona, expecting crowds to love the house music he was playing but he had to develop himself and transform his sound, tailoring it to the crowd and the venue. This is something that I have to do on a weekly basis when I travel from city to city or from venue to venue.

David Alvarado - T.O.
Two Right Wrongans - Straight Ahead Then Take The Next Wrong
Adam X - Deepest Memory
Omega Man - Imaginary Trip
Vincenzo - King's Last Ride
Solomonic Sound - Seeing Clear
Kenny Hawkes - Sleaze Dubbing
Mannequin Lung - City Lights
Freestyle Man & Morris Brown - Remedy | |
Premium Member
So many of those tracks bring back memories of old cd's I got before I knew anything about raves. So weird hearing them after not thinking of them for 10 years?
Also some things just shouldnt be shared with the general population...or even on a message board...definately not here on Lolli.
Premium Member
Thanks for the AZ stuff. Emerald Forest parties were NUTS, as were the desert raves. All you had to do was have them on a Reservation and it was all good in the hood...
"Honey, I want to do something, we never do anything!" "We are doing something. I'm watching the game and eating a sandwich, and you are making me another sandwich!"
Great read Chad. My Mp3 is going to be loaded

For clarity; Junglists come from The Jungle which is one specific housing project in trenchtown ( Arnette Gardens).

Premium Member
This will be back as soon as we stop having server problems.  The year is now 1999 and we're going to be doing a lesson on nu skool breaks. | |
Premium Member
Episode #25: Future Teknology [1999]


Owner of Marine Parade Records and one-half of the production crew Tsunami One, Adam Freeland, released a breaks album called "Coastal Breaks" in 1996. At that time Freeland, Rennie Pilgrem and Tayo were hosting a party called Friction. They coined the term "nu skool" to describe the music that they were playing.

Other dj's and producers such as Uberzone, Plump DJ's and Aquasky have since pioneered the nu skool arena. Hybrid was one of the prominent artists to come out of this revolution. In 1999 they released their first album called Wide angle. The compilation was a combination of progressive house and nu skool breaks with vocals and symphonic textures. While they may not necessarily be the originators of the genre, Hybrid was one of the most widely known artists that were producing "progressive breaks."

On the other side of the spectrum there were groups like FreQ Nasty. FreQ Nasty broke down barriers with his music from tracks like "Boomin Back Atcha" to "Move Back". FreQ Nasty was mostly featured on the label Botchit & Scarper.

By the end of 1999 Botchit & Scarper were gearing to change their name to Botchit Breaks. Distinctive Breaks Records was formed shortly after featuring artists such as Way Out West, Icey, Nick Hook and Hybrid.

The nu skool sound had been characterized by most people as slower tempo drum & bass. It was unlike the funky Florida sound or big beat. The primary distinction was in the often growling, sometimes sinister basslines where the funky style of breaks had a lot of focus on using popular samples from funk songs, 80's pop and hip hop. Florida breaks was also influenced by Miami bass which was described in Episode 21. The most notable artists in the Florida breaks scene were DJ Sharaz, Icey and Baby Anne.

While the Orlando scene was highly popularized due to Baby Anne & Icey, it mirrored the nu skool sound while still retaining it's "Florida" feel. However Tampa, FL had forged its own unique sound which was very heavy on sampling and became one of the most notable sound in the Florida breaks category of music. Tampa's biggest pioneers were Huda Hudia & DJ Volume. They formed Kaleidoscope Records in 1997 and churned out 20 classic records before the turn of the millenium.

Since Florida was a prime area for drug trafficking, use of MDMA & cocaine had continued at a high level. A case study performed in 1999 by the DEA showed 3500 drug violation arrests. Around this time a drug known as GHB was being widely used around the country, especially in Florida. The drug was originally meant to be used as a sedative or sleep aid but became recreationally used in the latter period of the nineties. The drug was also popularized by date rapists as high doses of GHB would create a coma-like sleep that would last several hours. In 1999 GHB had become a Federally controlled substance and people became more alert to it's side effects.

This mix was recorded live in 1999. It primarily focused on the nu skool sound which was quite popular at the time, however the end of the mix delves into some of the Tampa style of breaks with Huda Hudia, Sharaz & DJ Volume on the tracklisting.

FreQ Nasty - Taking Liberties
Raw Deal - Oscillators
Tonic & NG - Phoenix
Tonic & NG - San Siro
BT & Tsunami One - Hip Hop Phenomenon
Lenne de Ice - We are I.E.
Inner City - Good Life (Way Out West Remix)
DJ Volume - Unknown
DJ Volume - Get Loose (Sharaz's 4:20 Remix)
Pull's Plastic Playground - 4 On The Floor
Huda Hudia - Drop The Bass Now (Woofer Candy Mix) | |
Premium Member
Episode #26: Deep Audio Release [1999]


The underground scene of Australia in the 1980s was made up of artists such as Soho, Planet Patrol, Yaz, and Serious Intention. Many of which were producing a combination of electro, disco and funk. A popular form of dance called the Melbourne shuffle came out of this era. It was a fast heel-toe action that incorporated body movements suitable for underground dance music.

Melbourne becamse a haven for large-scale raves in the nineties era. In 1992 a crew known as the Melbourne Underground Development (MUD) began a series of parties called Every Picture Tells a Story. The parties were held in the Global Village warehouse complex in Footscray, Melbourne and drew crowds by the thousands.

Outside of Melbourne in the Bushland areas, production crews were hosting "doof" parties. Doofs were essentially outdoor festivals held in remote country areas. The most popular area for this type of partying was around Mt. Disappointment for parties such as Earthcore and Kryal Castle.

Across the country, Perth developed it's rave roots when dj's like Roy Jopson, Colin Clarke and Dave Jackson were mixing Detroit and German techno into their dj sets at the Limbos nightclub in 1990. On October 13, 1990 the first official rave was held in Perth that was titled NRG and held at the Network Dance Club on James Street Northbridge.

By 1999 there was a plethora of production companies hosting events anywhere they could get their hands on. Sydney primarily held down a warehouse scene and focused on house music. Perth production crews mainly used nightclubs as their rave havens but catered more towards a hardcore, drum & bass, and trance crowd.

Popular crews in the Perth region were Storm Productions, Bass Agenda Crew, Raggabone, and Technotainment. Some of the venues used by these crews in 1999 were The Factory Nightclub, the warehouse at 65 Edward St, Belmont Park, Osborne Park warehouse (Hutton St), Greenwich Bar, and a "superclub" called Redheads.

The featured mix is a selection from my deep house archives from 1999. During this time much of the dance scene to me had become all about hard trance, hard house, hardcore, hardstep, hard this & hard that. However during that time I always enjoyed taking a step back and going deep & groovy. The majority of these kinds of sets were never played out since it was almost taboo to spin anything deep with the current influx of ravers that had popped up around that time.

Romanthony & DJ Predator - Clap Ya Handz
Joshua - Remember
Miguel Migs - Easy Does It (Discoteque Mix)
Aka Electric - My Sweet Meat
Brooks - Inside the Heads
Petalpusher - Breakin It Down (Migs Dub)
Atjazz - Come & Play
Kerri Chandler - I Know
Blaze - Lovelee Dae (Primitive Dub)
Romanthony & DJ Predator - Music Mind | |

u didnt listen!
and considering you have reached the turn of the decade dont you think you should do some PITTSBURGH?  (i know.  i'm being a pain in the ass to you lately)
Premium Member
haha hey dude.  it's all good.  check it...

i'm actually going to spend a bit of time on 1999 & 2000.  There's a lot to cover still.  I'll be honest I'm having a difficult time finding any old tech-step mixes of mine.  There's some juicy dnb action to be had though coming up.  Not much but a bit to get ya goin.

Pittsburgh will actually had at least two more dedicated sections in this history thing.  I actually just made some new updates if you go to my direct podcast.  The episodes have now been re-numbered and I'm filling in a lot of stuff that I missed during my first run through this.

And all good on givin me a hard time.  Tis the nature of messageboards & I'm no newb.... though they did throw me off of Tranceaddict today for apparently spamming them.  I posted one event in their event section.  Bastards. | |
Premium Member
K... so it's going to look like I skipped a few episodes.  That is because this past week I posted some retroactively and also re-ordered the entire series to work more chronologically.  Check out to see  the newly added Episodes 5 & 7.

Episode#29: Stargasm [1999 House]


The untold story of Chicago is that after the birth of house, the city developed a major underground scene that mirrored other areas of the United States. By 1993 the Chicago rave scene had really begun to flourish with parties like 100% Pure Hardcore which featured Phantom 45 & Hyperactive; Rejoice which hosted Dubtribe along with Terry Mullan & DB; and See The Light which hosted Moby, Orbital & Aphex Twin.

Throughout the nineties other popular acts in Chicago were Danny Breaks, Ruffneck, Woody Mcbride, John Acquaviva, Sleepy C, and Underground Resistance. The rave scene in Chicago mostly carried over the drum & bass sounds from artists like Phantom 45, techno from Detroit and a lot of Chicago-style acid house. Straight house music dj's were still often featured on lineups with artists like Derrick Carter & Doc Martin.

The dj mixing style of Chicago has, since the days of disco, been a competitive format. As was seen with the birth of house music when dj's were constantly trying to outdo each other, the tradition continued the entire way through the nineties and into present day. Many Chicago dj's specialized in scratching and turntablism and most competed in DMC-style battles. Danny the Wildchild was one of these dj's who competed in and won the 1998 DMC Championships as well as Bad Boy Bill who won First Place one decade earlier in the 1988 DMC Championships.

Bad Boy Bill became famous for taking Chicago house music to a level it had never reached before. Having started his dj'ing with the WBMX dj mixing team "Hot Mix 5" and soon undertaking the challenge of mass producing mixtapes, Bad Boy Bill had developed a base to springboard onto the international music scene. Bill showcased a great deal of local Chicago flavor in his mix series Bangin' the Box which also incorporated a great deal of regional techno. In 1997 he formed House Connection with Richard Humpty Vission. Together they produced two mix compilations that had set the tone for Chicago house mixing in the late nineties.

In 1999 house music continued to progress forward. Pete Heller's "Big Love" was ranked as the #1 dance song of the year by Billboard Magazine while Junior Jack's "My Feeling" reached #31 on the UK Chart. Michael Moog's "That Sound" had also reached #1 on Billboard Magazine's chart, except this did not happen until the year 2000.

The featured session is a house mix that was recorded live during my college years nearly a decade ago. In it's entirety it featured some of the most popular and well-known house and disco house tracks of the 1999 period.

Kamasutra - Burnin
Hardsoul - Fight The Feeling
Celeda - Let The Music Use You Up
Jose Nunez - Hold On (Jazz N Groove Dub)
Ministers De La Funk - Believe (Dub)
Junior Jack - My Feeling (Kick N Deep Mix)
Paul Jacobs - Happy Days (PJ's Unreleased Mix)
Michael Moog - That Sound (Full Intention Dub)
Gambafreaks - Down Down Down (Vocal Mix)
Pete Heller - Big Love (Dronez Mix) | |
Very interesting reads.  I subscribe to this but did not know that there were stories that went along with the music!
Premium Member
usually i don't like to unneccessarily bump shit... but is everyone all caught up on these so far?  i think i'm going to have a new one ready to go by next week. | |
Premium Member
Episode #30: Alien Night 1999 [techno]


As the nineties rushed on the media hype surrounding raves continued to grow. Daily newspapers as well as the evening news dedicated themselves to attempting to uncover the underground world of the rave scene and educate the public about the events, selling the older demographic on the notion that raves were a danger and a threat. The coverage in many ways created a promotion for the rave culture and as interest in the parties grew, so did attendance, as well as the budgets for hosting these events.

In Washington DC, Buzzlife had been successful with their event at the Capital Ballroom. In 1998 the venue was purchased by John Boyle who soon renovated the venue and changed the name to Nation. In 1999, Nation became one of the only venues to own the famous EAW Avalon soundsystem. Unfortunately by May of that year, Fox 5 News did a report which sensationalized what took place inside the venue. They released a report which focused almost completely on drug use and also sited the DC Metro police for being involved as one officer who was on camera was alleged to have had a relationship with one of the ravers who they had been filming. The news report was the cause of a great deal of controversy leading to the closing of Buzz. For two weeks, Buzz patrons protested outside of the Fox 5 studio on Wisconsin Ave in DC. After a few months of being closed the party re-opened.

During the same year a Philadelphia production company called Local 13 had thrown one of their largest events called Whistle 2 which was held at the South Jersey Expo Center in Pennsauken, NJ. The venue was sepereated into different rooms called dome: Pleasure Dome, Super Dome, Power Dome, Drum Dome and Industrial Strength Dome. The lineup featured dj's like Green Velvet, Nigel Richards, Frankie Bones, and DJ Icey.

In Pittsburgh a company called Downlow had thrown their first party together in 1997 called Intergalactic Circus. Since then they had pioneered new venues that gave a home to many ravers through the end of the nineties. Some of these venues included the Rostraver Ice Garden in Bell Vernon, PA as well as multi-room Paintball Arena near the intersection of 21st & Smallman Street in Pittsburgh's Strip District. In 1999, Downlow hosted Magick! at the Paintball Arena which featured Roy Davis Jr and Felix the Housecat.

In Ohio venues like Moda, Metropolis and The Eagles nest had become popular spots for raves. Most of the flyers that were designed for Ohio parties had very futuristic themes, often involving robots in the graphics. Between Cleveland, Akron, Columbus and Cincinnati several local dj's had made good names for themselves. Most parties between Ohio and Pittsburgh were featuring dj's like Tigger, Darwin, Ben Kenobi, Hazey, Deep Blue, and Lemon Lyman.

This podcast is an unfinished studio mix that was meant to be discarded nearly a decade ago. It was recovered from an old PC that I was preparing to throw away. The tracklisting is as accurate as I could make it, however there may be some mis-listings.

Green Velvet - Flash
Percy X - Worklife
Frank Dubois - Buckled
Steve Stoll - Thirty
S.O.L. - Solaris
Mijk van Dijk & Thomas Schumacher - Delivery
Ade Fenton - The Stalker
Yousef & Sharam - Into The Groove
Heckmann - Stahlwerk
Gerd - Arkest's Blaze
Sender Berlin - Nana (Alexander Kowalski Remix) | |
Got the link you sent me.  Thanks for welcoming a newb  hehe  :)

This is a lot of content.  Definitely not going to get through this today but I have a night class tomorrow in a computer lab so this will help me when I get bored.
Is that paintball arena near where they did Koolaid 3?  I know its not a paintball arena anymore but what is the space used as now?
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