Question: what was the name of mel and kim's number-one hit single in the UK?

Answer: Respectable

In January 1987, Chicago artist Steve "Silk" Hurley's "Jack Your Body" reached number one in the UK, showing it was possible for house music to cross over. The same month also saw Raze enter the top 20 with "Jack the Groove", and several further house hits reached the top ten that year. <hl> Stock Aitken Waterman's productions for Mel and Kim, including the number-one hit " Respectable ", added elements of house to their previous Europop sound, and session group Mirage scored top-ten hits with "Jack Mix II" and "Jack Mix IV", medleys of previous electro and Europop hits rearranged in a house style. <hl> Key labels in the rise of house music in the UK included:

In January 1987, Chicago artist Steve "Silk" Hurley's "Jack Your Body" reached number one in the UK, showing it was possible for house music to cross over. The same month also saw Raze enter the top 20 with "Jack the Groove", and several further house hits reached the top ten that year. Stock Aitken Waterman's productions for Mel and Kim, including the number-one hit "<hl> Respectable <hl>", added elements of house to their previous Europop sound, and session group Mirage scored top-ten hits with "Jack Mix II" and "Jack Mix IV", medleys of previous electro and Europop hits rearranged in a house style. Key labels in the rise of house music in the UK included:

Stock Aitken Waterman's productions for Mel and Kim, including the number-one hit " <hl> Respectable <hl> ", added elements of house to their previous Europop sound, and session group Mirage scored top-ten hits with "Jack Mix II" and "Jack Mix IV", medleys of previous electro and Europop hits rearranged in a house style.

question: what was the name of mel and kim's number-one hit single in the UK?, context: In January 1987, Chicago artist Steve "Silk" Hurley's "Jack Your Body" reached number one in the UK, showing it was possible for house music to cross over. The same month also saw Raze enter the top 20 with "Jack the Groove", and several further house hits reached the top ten that year. Stock Aitken Waterman's productions for Mel and Kim, including the number-one hit "Respectable", added elements of house to their previous Europop sound, and session group Mirage scored top-ten hits with "Jack Mix II" and "Jack Mix IV", medleys of previous electro and Europop hits rearranged in a house style. Key labels in the rise of house music in the UK included:


Question: what tour boosted house in the UK in the late 80s?

Answer: Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis as the DJ International Tour

<hl> The tour in March 1987[citation needed] of Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis as the DJ International Tour boosted house in the UK. <hl> Following the number-one success of MARRS' "Pump Up The Volume" in October, the years 1987 to 1989 also saw UK acts such as The Beatmasters, Krush, Coldcut, Yazz, Bomb The Bass, S-Express, and Italy's Black Box opening the doors to a house music onslaught on the UK charts. Early British house music quickly set itself apart from the original Chicago house sound;[citation needed] many of the early hits were based on sample montage, rap was often used for vocals (far more than in the US),[citation needed] and humor was frequently an important element.

The tour in March 1987[citation needed] of <hl> Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis as the DJ International Tour <hl> boosted house in the UK. Following the number-one success of MARRS' "Pump Up The Volume" in October, the years 1987 to 1989 also saw UK acts such as The Beatmasters, Krush, Coldcut, Yazz, Bomb The Bass, S-Express, and Italy's Black Box opening the doors to a house music onslaught on the UK charts. Early British house music quickly set itself apart from the original Chicago house sound;[citation needed] many of the early hits were based on sample montage, rap was often used for vocals (far more than in the US),[citation needed] and humor was frequently an important element.

question: what tour boosted house in the UK in the late 80s?, context: The tour in March 1987[citation needed] of Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis as the DJ International Tour boosted house in the UK. Following the number-one success of MARRS' "Pump Up The Volume" in October, the years 1987 to 1989 also saw UK acts such as The Beatmasters, Krush, Coldcut, Yazz, Bomb The Bass, S-Express, and Italy's Black Box opening the doors to a house music onslaught on the UK charts. Early British house music quickly set itself apart from the original Chicago house sound;[citation needed] many of the early hits were based on sample montage, rap was often used for vocals (far more than in the US),[citation needed] and humor was frequently an important element.


Question: when did the DJ International Tour take place?

Answer: March 1987

<hl> The tour in March 1987 [citation needed] of Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis as the DJ International Tour boosted house in the UK. <hl> Following the number-one success of MARRS' "Pump Up The Volume" in October, the years 1987 to 1989 also saw UK acts such as The Beatmasters, Krush, Coldcut, Yazz, Bomb The Bass, S-Express, and Italy's Black Box opening the doors to a house music onslaught on the UK charts. Early British house music quickly set itself apart from the original Chicago house sound;[citation needed] many of the early hits were based on sample montage, rap was often used for vocals (far more than in the US),[citation needed] and humor was frequently an important element.

The tour in <hl> March 1987 <hl>[citation needed] of Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis as the DJ International Tour boosted house in the UK. Following the number-one success of MARRS' "Pump Up The Volume" in October, the years 1987 to 1989 also saw UK acts such as The Beatmasters, Krush, Coldcut, Yazz, Bomb The Bass, S-Express, and Italy's Black Box opening the doors to a house music onslaught on the UK charts. Early British house music quickly set itself apart from the original Chicago house sound;[citation needed] many of the early hits were based on sample montage, rap was often used for vocals (far more than in the US),[citation needed] and humor was frequently an important element.

The tour in <hl> March 1987 <hl> [citation needed] of Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis as the DJ International Tour boosted house in the UK.

question: when did the DJ International Tour take place?, context: The tour in March 1987[citation needed] of Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis as the DJ International Tour boosted house in the UK. Following the number-one success of MARRS' "Pump Up The Volume" in October, the years 1987 to 1989 also saw UK acts such as The Beatmasters, Krush, Coldcut, Yazz, Bomb The Bass, S-Express, and Italy's Black Box opening the doors to a house music onslaught on the UK charts. Early British house music quickly set itself apart from the original Chicago house sound;[citation needed] many of the early hits were based on sample montage, rap was often used for vocals (far more than in the US),[citation needed] and humor was frequently an important element.


Question: what was the name of MARRS' number-one single in October 1987?

Answer: "Pump Up The Volume"

The tour in March 1987[citation needed] of Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis as the DJ International Tour boosted house in the UK. <hl> Following the number-one success of MARRS' "Pump Up The Volume" in October, the years 1987 to 1989 also saw UK acts such as The Beatmasters, Krush, Coldcut, Yazz, Bomb The Bass, S-Express, and Italy's Black Box opening the doors to a house music onslaught on the UK charts. <hl> Early British house music quickly set itself apart from the original Chicago house sound;[citation needed] many of the early hits were based on sample montage, rap was often used for vocals (far more than in the US),[citation needed] and humor was frequently an important element.

The tour in March 1987[citation needed] of Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis as the DJ International Tour boosted house in the UK. Following the number-one success of MARRS' <hl> "Pump Up The Volume" <hl> in October, the years 1987 to 1989 also saw UK acts such as The Beatmasters, Krush, Coldcut, Yazz, Bomb The Bass, S-Express, and Italy's Black Box opening the doors to a house music onslaught on the UK charts. Early British house music quickly set itself apart from the original Chicago house sound;[citation needed] many of the early hits were based on sample montage, rap was often used for vocals (far more than in the US),[citation needed] and humor was frequently an important element.

question: what was the name of MARRS' number-one single in October 1987?, context: The tour in March 1987[citation needed] of Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis as the DJ International Tour boosted house in the UK. Following the number-one success of MARRS' "Pump Up The Volume" in October, the years 1987 to 1989 also saw UK acts such as The Beatmasters, Krush, Coldcut, Yazz, Bomb The Bass, S-Express, and Italy's Black Box opening the doors to a house music onslaught on the UK charts. Early British house music quickly set itself apart from the original Chicago house sound;[citation needed] many of the early hits were based on sample montage, rap was often used for vocals (far more than in the US),[citation needed] and humor was frequently an important element.


Question: what was frequently an important element of UK house music?

Answer: humor

The tour in March 1987[citation needed] of Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis as the DJ International Tour boosted house in the UK. Following the number-one success of MARRS' "Pump Up The Volume" in October, the years 1987 to 1989 also saw UK acts such as The Beatmasters, Krush, Coldcut, Yazz, Bomb The Bass, S-Express, and Italy's Black Box opening the doors to a house music onslaught on the UK charts. <hl> Early British house music quickly set itself apart from the original Chicago house sound;[citation needed] many of the early hits were based on sample montage, rap was often used for vocals (far more than in the US),[citation needed] and humor was frequently an important element. <hl>

The tour in March 1987[citation needed] of Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis as the DJ International Tour boosted house in the UK. Following the number-one success of MARRS' "Pump Up The Volume" in October, the years 1987 to 1989 also saw UK acts such as The Beatmasters, Krush, Coldcut, Yazz, Bomb The Bass, S-Express, and Italy's Black Box opening the doors to a house music onslaught on the UK charts. Early British house music quickly set itself apart from the original Chicago house sound;[citation needed] many of the early hits were based on sample montage, rap was often used for vocals (far more than in the US),[citation needed] and <hl> humor <hl> was frequently an important element.

question: what was frequently an important element of UK house music?, context: The tour in March 1987[citation needed] of Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis as the DJ International Tour boosted house in the UK. Following the number-one success of MARRS' "Pump Up The Volume" in October, the years 1987 to 1989 also saw UK acts such as The Beatmasters, Krush, Coldcut, Yazz, Bomb The Bass, S-Express, and Italy's Black Box opening the doors to a house music onslaught on the UK charts. Early British house music quickly set itself apart from the original Chicago house sound;[citation needed] many of the early hits were based on sample montage, rap was often used for vocals (far more than in the US),[citation needed] and humor was frequently an important element.


Question: Sample montages were a key difference between british house music and what?

Answer: the original Chicago house sound

The tour in March 1987[citation needed] of Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis as the DJ International Tour boosted house in the UK. Following the number-one success of MARRS' "Pump Up The Volume" in October, the years 1987 to 1989 also saw UK acts such as The Beatmasters, Krush, Coldcut, Yazz, Bomb The Bass, S-Express, and Italy's Black Box opening the doors to a house music onslaught on the UK charts. <hl> Early British house music quickly set itself apart from the original Chicago house sound ;[citation needed] many of the early hits were based on sample montage, rap was often used for vocals (far more than in the US),[citation needed] and humor was frequently an important element. <hl>

The tour in March 1987[citation needed] of Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis as the DJ International Tour boosted house in the UK. Following the number-one success of MARRS' "Pump Up The Volume" in October, the years 1987 to 1989 also saw UK acts such as The Beatmasters, Krush, Coldcut, Yazz, Bomb The Bass, S-Express, and Italy's Black Box opening the doors to a house music onslaught on the UK charts. Early British house music quickly set itself apart from <hl> the original Chicago house sound <hl>;[citation needed] many of the early hits were based on sample montage, rap was often used for vocals (far more than in the US),[citation needed] and humor was frequently an important element.

Early British house music quickly set itself apart from <hl> the original Chicago house sound <hl> ;[citation needed] many of the early hits were based on sample montage, rap was often used for vocals (far more than in the US),[citation needed] and humor was frequently an important element.

question: Sample montages were a key difference between british house music and what?, context: The tour in March 1987[citation needed] of Knuckles, Jefferson, Fingers Inc. (Heard) and Adonis as the DJ International Tour boosted house in the UK. Following the number-one success of MARRS' "Pump Up The Volume" in October, the years 1987 to 1989 also saw UK acts such as The Beatmasters, Krush, Coldcut, Yazz, Bomb The Bass, S-Express, and Italy's Black Box opening the doors to a house music onslaught on the UK charts. Early British house music quickly set itself apart from the original Chicago house sound;[citation needed] many of the early hits were based on sample montage, rap was often used for vocals (far more than in the US),[citation needed] and humor was frequently an important element.


Question: who released the hit single "promised land"?

Answer: Joe Smooth

<hl> One of the early anthemic tunes, "Promised Land" by Joe Smooth , was covered and charted within a week by the Style Council. <hl> Europeans embraced house, and began booking legendary American house DJs to play at the big clubs, such as Ministry of Sound, whose resident, Justin Berkmann brought in Larry Levan.

One of the early anthemic tunes, "Promised Land" by <hl> Joe Smooth <hl>, was covered and charted within a week by the Style Council. Europeans embraced house, and began booking legendary American house DJs to play at the big clubs, such as Ministry of Sound, whose resident, Justin Berkmann brought in Larry Levan.

One of the early anthemic tunes, "Promised Land" by <hl> Joe Smooth <hl> , was covered and charted within a week by the Style Council.

question: who released the hit single "promised land"?, context: One of the early anthemic tunes, "Promised Land" by Joe Smooth, was covered and charted within a week by the Style Council. Europeans embraced house, and began booking legendary American house DJs to play at the big clubs, such as Ministry of Sound, whose resident, Justin Berkmann brought in Larry Levan.


Question: who covered and charted the single "promised land"?

Answer: Style Council

<hl> One of the early anthemic tunes, "Promised Land" by Joe Smooth, was covered and charted within a week by the Style Council . <hl> Europeans embraced house, and began booking legendary American house DJs to play at the big clubs, such as Ministry of Sound, whose resident, Justin Berkmann brought in Larry Levan.

One of the early anthemic tunes, "Promised Land" by Joe Smooth, was covered and charted within a week by the <hl> Style Council <hl>. Europeans embraced house, and began booking legendary American house DJs to play at the big clubs, such as Ministry of Sound, whose resident, Justin Berkmann brought in Larry Levan.

One of the early anthemic tunes, "Promised Land" by Joe Smooth, was covered and charted within a week by the <hl> Style Council <hl> .

question: who covered and charted the single "promised land"?, context: One of the early anthemic tunes, "Promised Land" by Joe Smooth, was covered and charted within a week by the Style Council. Europeans embraced house, and began booking legendary American house DJs to play at the big clubs, such as Ministry of Sound, whose resident, Justin Berkmann brought in Larry Levan.


Question: who was the resident of the Ministry of Sound?

Answer: Justin Berkmann

One of the early anthemic tunes, "Promised Land" by Joe Smooth, was covered and charted within a week by the Style Council. <hl> Europeans embraced house, and began booking legendary American house DJs to play at the big clubs, such as Ministry of Sound, whose resident, Justin Berkmann brought in Larry Levan. <hl>

One of the early anthemic tunes, "Promised Land" by Joe Smooth, was covered and charted within a week by the Style Council. Europeans embraced house, and began booking legendary American house DJs to play at the big clubs, such as Ministry of Sound, whose resident, <hl> Justin Berkmann <hl> brought in Larry Levan.

question: who was the resident of the Ministry of Sound?, context: One of the early anthemic tunes, "Promised Land" by Joe Smooth, was covered and charted within a week by the Style Council. Europeans embraced house, and began booking legendary American house DJs to play at the big clubs, such as Ministry of Sound, whose resident, Justin Berkmann brought in Larry Levan.


Question: who did Justin Berkmann bring into the club to play?

Answer: Larry Levan

One of the early anthemic tunes, "Promised Land" by Joe Smooth, was covered and charted within a week by the Style Council. <hl> Europeans embraced house, and began booking legendary American house DJs to play at the big clubs, such as Ministry of Sound, whose resident, Justin Berkmann brought in Larry Levan . <hl>

One of the early anthemic tunes, "Promised Land" by Joe Smooth, was covered and charted within a week by the Style Council. Europeans embraced house, and began booking legendary American house DJs to play at the big clubs, such as Ministry of Sound, whose resident, Justin Berkmann brought in <hl> Larry Levan <hl>.

Europeans embraced house, and began booking legendary American house DJs to play at the big clubs, such as Ministry of Sound, whose resident, Justin Berkmann brought in <hl> Larry Levan <hl> .

question: who did Justin Berkmann bring into the club to play?, context: One of the early anthemic tunes, "Promised Land" by Joe Smooth, was covered and charted within a week by the Style Council. Europeans embraced house, and began booking legendary American house DJs to play at the big clubs, such as Ministry of Sound, whose resident, Justin Berkmann brought in Larry Levan.


Question: what cities in the UK had major house scenes?

Answer: Birmingham, Leeds, Sheffield and London

<hl> The house scene in cities such as Birmingham, Leeds, Sheffield and London were also provided with many underground Pirate Radio stations and DJs alike which helped bolster an already contagious, but otherwise ignored by the mainstream, music genre. <hl> The earliest and influential UK house and techno record labels such as Warp Records and Network Records (otherwise known as Kool Kat records) helped introduce American and later Italian dance music to Britain as well as promoting select UK dance music acts.

The house scene in cities such as <hl> Birmingham, Leeds, Sheffield and London <hl> were also provided with many underground Pirate Radio stations and DJs alike which helped bolster an already contagious, but otherwise ignored by the mainstream, music genre. The earliest and influential UK house and techno record labels such as Warp Records and Network Records (otherwise known as Kool Kat records) helped introduce American and later Italian dance music to Britain as well as promoting select UK dance music acts.

question: what cities in the UK had major house scenes?, context: The house scene in cities such as Birmingham, Leeds, Sheffield and London were also provided with many underground Pirate Radio stations and DJs alike which helped bolster an already contagious, but otherwise ignored by the mainstream, music genre. The earliest and influential UK house and techno record labels such as Warp Records and Network Records (otherwise known as Kool Kat records) helped introduce American and later Italian dance music to Britain as well as promoting select UK dance music acts.


Question: what helped to bolster house music in the uk?

Answer: underground Pirate Radio stations and DJs

<hl> The house scene in cities such as Birmingham, Leeds, Sheffield and London were also provided with many underground Pirate Radio stations and DJs alike which helped bolster an already contagious, but otherwise ignored by the mainstream, music genre. <hl> The earliest and influential UK house and techno record labels such as Warp Records and Network Records (otherwise known as Kool Kat records) helped introduce American and later Italian dance music to Britain as well as promoting select UK dance music acts.

The house scene in cities such as Birmingham, Leeds, Sheffield and London were also provided with many <hl> underground Pirate Radio stations and DJs <hl> alike which helped bolster an already contagious, but otherwise ignored by the mainstream, music genre. The earliest and influential UK house and techno record labels such as Warp Records and Network Records (otherwise known as Kool Kat records) helped introduce American and later Italian dance music to Britain as well as promoting select UK dance music acts.

question: what helped to bolster house music in the uk?, context: The house scene in cities such as Birmingham, Leeds, Sheffield and London were also provided with many underground Pirate Radio stations and DJs alike which helped bolster an already contagious, but otherwise ignored by the mainstream, music genre. The earliest and influential UK house and techno record labels such as Warp Records and Network Records (otherwise known as Kool Kat records) helped introduce American and later Italian dance music to Britain as well as promoting select UK dance music acts.


Question: what were the earliest and most influential record labels in UK house music?

Answer: Warp Records and Network Records

The house scene in cities such as Birmingham, Leeds, Sheffield and London were also provided with many underground Pirate Radio stations and DJs alike which helped bolster an already contagious, but otherwise ignored by the mainstream, music genre. <hl> The earliest and influential UK house and techno record labels such as Warp Records and Network Records (otherwise known as Kool Kat records) helped introduce American and later Italian dance music to Britain as well as promoting select UK dance music acts. <hl>

The house scene in cities such as Birmingham, Leeds, Sheffield and London were also provided with many underground Pirate Radio stations and DJs alike which helped bolster an already contagious, but otherwise ignored by the mainstream, music genre. The earliest and influential UK house and techno record labels such as <hl> Warp Records and Network Records <hl> (otherwise known as Kool Kat records) helped introduce American and later Italian dance music to Britain as well as promoting select UK dance music acts.

question: what were the earliest and most influential record labels in UK house music?, context: The house scene in cities such as Birmingham, Leeds, Sheffield and London were also provided with many underground Pirate Radio stations and DJs alike which helped bolster an already contagious, but otherwise ignored by the mainstream, music genre. The earliest and influential UK house and techno record labels such as Warp Records and Network Records (otherwise known as Kool Kat records) helped introduce American and later Italian dance music to Britain as well as promoting select UK dance music acts.


Question: what was network records also known as?

Answer: Kool Kat records

The house scene in cities such as Birmingham, Leeds, Sheffield and London were also provided with many underground Pirate Radio stations and DJs alike which helped bolster an already contagious, but otherwise ignored by the mainstream, music genre. <hl> The earliest and influential UK house and techno record labels such as Warp Records and Network Records (otherwise known as Kool Kat records ) helped introduce American and later Italian dance music to Britain as well as promoting select UK dance music acts. <hl>

The house scene in cities such as Birmingham, Leeds, Sheffield and London were also provided with many underground Pirate Radio stations and DJs alike which helped bolster an already contagious, but otherwise ignored by the mainstream, music genre. The earliest and influential UK house and techno record labels such as Warp Records and Network Records (otherwise known as <hl> Kool Kat records <hl>) helped introduce American and later Italian dance music to Britain as well as promoting select UK dance music acts.

The earliest and influential UK house and techno record labels such as Warp Records and Network Records (otherwise known as <hl> Kool Kat records <hl> ) helped introduce American and later Italian dance music to Britain as well as promoting select UK dance music acts.

question: what was network records also known as?, context: The house scene in cities such as Birmingham, Leeds, Sheffield and London were also provided with many underground Pirate Radio stations and DJs alike which helped bolster an already contagious, but otherwise ignored by the mainstream, music genre. The earliest and influential UK house and techno record labels such as Warp Records and Network Records (otherwise known as Kool Kat records) helped introduce American and later Italian dance music to Britain as well as promoting select UK dance music acts.


Question: what type of dance music was later introduced alongside American house music?

Answer: Italian dance music

The house scene in cities such as Birmingham, Leeds, Sheffield and London were also provided with many underground Pirate Radio stations and DJs alike which helped bolster an already contagious, but otherwise ignored by the mainstream, music genre. <hl> The earliest and influential UK house and techno record labels such as Warp Records and Network Records (otherwise known as Kool Kat records) helped introduce American and later Italian dance music to Britain as well as promoting select UK dance music acts. <hl>

The house scene in cities such as Birmingham, Leeds, Sheffield and London were also provided with many underground Pirate Radio stations and DJs alike which helped bolster an already contagious, but otherwise ignored by the mainstream, music genre. The earliest and influential UK house and techno record labels such as Warp Records and Network Records (otherwise known as Kool Kat records) helped introduce American and later <hl> Italian dance music <hl> to Britain as well as promoting select UK dance music acts.

question: what type of dance music was later introduced alongside American house music?, context: The house scene in cities such as Birmingham, Leeds, Sheffield and London were also provided with many underground Pirate Radio stations and DJs alike which helped bolster an already contagious, but otherwise ignored by the mainstream, music genre. The earliest and influential UK house and techno record labels such as Warp Records and Network Records (otherwise known as Kool Kat records) helped introduce American and later Italian dance music to Britain as well as promoting select UK dance music acts.


Question: what tiny island was house music also being devloped on?

Answer: Ibiza

<hl> But house was also being developed on Ibiza ,[citation needed] although no house artists or labels were coming from this tiny island at the time. <hl> By the mid-1980s a distinct Balearic mix of house was discernible.[citation needed] Several clubs such as Amnesia with DJ Alfredo were playing a mix of rock, pop, disco and house. These clubs, fueled by their distinctive sound and Ecstasy, began to have an influence on the British scene. By late 1987, DJs such as Trevor Fung, Paul Oakenfold and Danny Rampling were bringing the Ibiza sound to UK clubs such as the Haçienda in Manchester, and in London clubs such as Shoom in Southwark, Heaven, Future and Spectrum.

But house was also being developed on <hl> Ibiza <hl>,[citation needed] although no house artists or labels were coming from this tiny island at the time. By the mid-1980s a distinct Balearic mix of house was discernible.[citation needed] Several clubs such as Amnesia with DJ Alfredo were playing a mix of rock, pop, disco and house. These clubs, fueled by their distinctive sound and Ecstasy, began to have an influence on the British scene. By late 1987, DJs such as Trevor Fung, Paul Oakenfold and Danny Rampling were bringing the Ibiza sound to UK clubs such as the Haçienda in Manchester, and in London clubs such as Shoom in Southwark, Heaven, Future and Spectrum.

But house was also being developed on <hl> Ibiza <hl> ,[citation needed] although no house artists or labels were coming from this tiny island at the time.

question: what tiny island was house music also being devloped on?, context: But house was also being developed on Ibiza,[citation needed] although no house artists or labels were coming from this tiny island at the time. By the mid-1980s a distinct Balearic mix of house was discernible.[citation needed] Several clubs such as Amnesia with DJ Alfredo were playing a mix of rock, pop, disco and house. These clubs, fueled by their distinctive sound and Ecstasy, began to have an influence on the British scene. By late 1987, DJs such as Trevor Fung, Paul Oakenfold and Danny Rampling were bringing the Ibiza sound to UK clubs such as the Haçienda in Manchester, and in London clubs such as Shoom in Southwark, Heaven, Future and Spectrum.


Question: what was a popular club in ibiza that started playing dance and house music?

Answer: Amnesia

But house was also being developed on Ibiza,[citation needed] although no house artists or labels were coming from this tiny island at the time. <hl> By the mid-1980s a distinct Balearic mix of house was discernible.[citation needed] Several clubs such as Amnesia with DJ Alfredo were playing a mix of rock, pop, disco and house. <hl> These clubs, fueled by their distinctive sound and Ecstasy, began to have an influence on the British scene. By late 1987, DJs such as Trevor Fung, Paul Oakenfold and Danny Rampling were bringing the Ibiza sound to UK clubs such as the Haçienda in Manchester, and in London clubs such as Shoom in Southwark, Heaven, Future and Spectrum.

But house was also being developed on Ibiza,[citation needed] although no house artists or labels were coming from this tiny island at the time. By the mid-1980s a distinct Balearic mix of house was discernible.[citation needed] Several clubs such as <hl> Amnesia <hl> with DJ Alfredo were playing a mix of rock, pop, disco and house. These clubs, fueled by their distinctive sound and Ecstasy, began to have an influence on the British scene. By late 1987, DJs such as Trevor Fung, Paul Oakenfold and Danny Rampling were bringing the Ibiza sound to UK clubs such as the Haçienda in Manchester, and in London clubs such as Shoom in Southwark, Heaven, Future and Spectrum.

question: what was a popular club in ibiza that started playing dance and house music?, context: But house was also being developed on Ibiza,[citation needed] although no house artists or labels were coming from this tiny island at the time. By the mid-1980s a distinct Balearic mix of house was discernible.[citation needed] Several clubs such as Amnesia with DJ Alfredo were playing a mix of rock, pop, disco and house. These clubs, fueled by their distinctive sound and Ecstasy, began to have an influence on the British scene. By late 1987, DJs such as Trevor Fung, Paul Oakenfold and Danny Rampling were bringing the Ibiza sound to UK clubs such as the Haçienda in Manchester, and in London clubs such as Shoom in Southwark, Heaven, Future and Spectrum.


Question: who was the DJ at Amnesia in the mid 80s?

Answer: DJ Alfredo

But house was also being developed on Ibiza,[citation needed] although no house artists or labels were coming from this tiny island at the time. <hl> By the mid-1980s a distinct Balearic mix of house was discernible.[citation needed] Several clubs such as Amnesia with DJ Alfredo were playing a mix of rock, pop, disco and house. <hl> These clubs, fueled by their distinctive sound and Ecstasy, began to have an influence on the British scene. By late 1987, DJs such as Trevor Fung, Paul Oakenfold and Danny Rampling were bringing the Ibiza sound to UK clubs such as the Haçienda in Manchester, and in London clubs such as Shoom in Southwark, Heaven, Future and Spectrum.

But house was also being developed on Ibiza,[citation needed] although no house artists or labels were coming from this tiny island at the time. By the mid-1980s a distinct Balearic mix of house was discernible.[citation needed] Several clubs such as Amnesia with <hl> DJ Alfredo <hl> were playing a mix of rock, pop, disco and house. These clubs, fueled by their distinctive sound and Ecstasy, began to have an influence on the British scene. By late 1987, DJs such as Trevor Fung, Paul Oakenfold and Danny Rampling were bringing the Ibiza sound to UK clubs such as the Haçienda in Manchester, and in London clubs such as Shoom in Southwark, Heaven, Future and Spectrum.

question: who was the DJ at Amnesia in the mid 80s?, context: But house was also being developed on Ibiza,[citation needed] although no house artists or labels were coming from this tiny island at the time. By the mid-1980s a distinct Balearic mix of house was discernible.[citation needed] Several clubs such as Amnesia with DJ Alfredo were playing a mix of rock, pop, disco and house. These clubs, fueled by their distinctive sound and Ecstasy, began to have an influence on the British scene. By late 1987, DJs such as Trevor Fung, Paul Oakenfold and Danny Rampling were bringing the Ibiza sound to UK clubs such as the Haçienda in Manchester, and in London clubs such as Shoom in Southwark, Heaven, Future and Spectrum.


Question: who were some of the DJs that brought the ibiza sound to uk clubs in late 1987?

Answer: Trevor Fung, Paul Oakenfold and Danny Rampling

But house was also being developed on Ibiza,[citation needed] although no house artists or labels were coming from this tiny island at the time. By the mid-1980s a distinct Balearic mix of house was discernible.[citation needed] Several clubs such as Amnesia with DJ Alfredo were playing a mix of rock, pop, disco and house. These clubs, fueled by their distinctive sound and Ecstasy, began to have an influence on the British scene. <hl> By late 1987, DJs such as Trevor Fung, Paul Oakenfold and Danny Rampling were bringing the Ibiza sound to UK clubs such as the Haçienda in Manchester, and in London clubs such as Shoom in Southwark, Heaven, Future and Spectrum. <hl>

But house was also being developed on Ibiza,[citation needed] although no house artists or labels were coming from this tiny island at the time. By the mid-1980s a distinct Balearic mix of house was discernible.[citation needed] Several clubs such as Amnesia with DJ Alfredo were playing a mix of rock, pop, disco and house. These clubs, fueled by their distinctive sound and Ecstasy, began to have an influence on the British scene. By late 1987, DJs such as <hl> Trevor Fung, Paul Oakenfold and Danny Rampling <hl> were bringing the Ibiza sound to UK clubs such as the Haçienda in Manchester, and in London clubs such as Shoom in Southwark, Heaven, Future and Spectrum.

question: who were some of the DJs that brought the ibiza sound to uk clubs in late 1987?, context: But house was also being developed on Ibiza,[citation needed] although no house artists or labels were coming from this tiny island at the time. By the mid-1980s a distinct Balearic mix of house was discernible.[citation needed] Several clubs such as Amnesia with DJ Alfredo were playing a mix of rock, pop, disco and house. These clubs, fueled by their distinctive sound and Ecstasy, began to have an influence on the British scene. By late 1987, DJs such as Trevor Fung, Paul Oakenfold and Danny Rampling were bringing the Ibiza sound to UK clubs such as the Haçienda in Manchester, and in London clubs such as Shoom in Southwark, Heaven, Future and Spectrum.


Question: what was the name of the big dance club in Manchester UK in the late 80s?

Answer: Haçienda

But house was also being developed on Ibiza,[citation needed] although no house artists or labels were coming from this tiny island at the time. By the mid-1980s a distinct Balearic mix of house was discernible.[citation needed] Several clubs such as Amnesia with DJ Alfredo were playing a mix of rock, pop, disco and house. These clubs, fueled by their distinctive sound and Ecstasy, began to have an influence on the British scene. <hl> By late 1987, DJs such as Trevor Fung, Paul Oakenfold and Danny Rampling were bringing the Ibiza sound to UK clubs such as the Haçienda in Manchester, and in London clubs such as Shoom in Southwark, Heaven, Future and Spectrum. <hl>

But house was also being developed on Ibiza,[citation needed] although no house artists or labels were coming from this tiny island at the time. By the mid-1980s a distinct Balearic mix of house was discernible.[citation needed] Several clubs such as Amnesia with DJ Alfredo were playing a mix of rock, pop, disco and house. These clubs, fueled by their distinctive sound and Ecstasy, began to have an influence on the British scene. By late 1987, DJs such as Trevor Fung, Paul Oakenfold and Danny Rampling were bringing the Ibiza sound to UK clubs such as the <hl> Haçienda <hl> in Manchester, and in London clubs such as Shoom in Southwark, Heaven, Future and Spectrum.

question: what was the name of the big dance club in Manchester UK in the late 80s?, context: But house was also being developed on Ibiza,[citation needed] although no house artists or labels were coming from this tiny island at the time. By the mid-1980s a distinct Balearic mix of house was discernible.[citation needed] Several clubs such as Amnesia with DJ Alfredo were playing a mix of rock, pop, disco and house. These clubs, fueled by their distinctive sound and Ecstasy, began to have an influence on the British scene. By late 1987, DJs such as Trevor Fung, Paul Oakenfold and Danny Rampling were bringing the Ibiza sound to UK clubs such as the Haçienda in Manchester, and in London clubs such as Shoom in Southwark, Heaven, Future and Spectrum.


Question: what group did Marshall Jefferson form?

Answer: Ten City Byron Burke, Byron Stingily & Herb Lawson(from "intensity")

In the U.S., the music was being developed to create a more sophisticated sound,[citation needed] moving beyond just drum loops and short samples. <hl> In Chicago, Marshall Jefferson had formed the house group Ten City Byron Burke, Byron Stingily & Herb Lawson(from "intensity") . <hl> New York–based performers such as Mateo & Matos and Blaze had slickly produced disco house tracks. In Detroit a proto-techno music sound began to emerge with the recordings of Juan Atkins, Derrick May and Kevin Saunderson.

In the U.S., the music was being developed to create a more sophisticated sound,[citation needed] moving beyond just drum loops and short samples. In Chicago, Marshall Jefferson had formed the house group <hl> Ten City Byron Burke, Byron Stingily & Herb Lawson(from "intensity") <hl>. New York–based performers such as Mateo & Matos and Blaze had slickly produced disco house tracks. In Detroit a proto-techno music sound began to emerge with the recordings of Juan Atkins, Derrick May and Kevin Saunderson.

In Chicago, Marshall Jefferson had formed the house group <hl> Ten City Byron Burke, Byron Stingily & Herb Lawson(from "intensity") <hl> .

question: what group did Marshall Jefferson form?, context: In the U.S., the music was being developed to create a more sophisticated sound,[citation needed] moving beyond just drum loops and short samples. In Chicago, Marshall Jefferson had formed the house group Ten City Byron Burke, Byron Stingily & Herb Lawson(from "intensity"). New York–based performers such as Mateo & Matos and Blaze had slickly produced disco house tracks. In Detroit a proto-techno music sound began to emerge with the recordings of Juan Atkins, Derrick May and Kevin Saunderson.


Question: what sound emerged in Detroit with the recordings of juan atkins and derrick may?

Answer: proto-techno music sound

In the U.S., the music was being developed to create a more sophisticated sound,[citation needed] moving beyond just drum loops and short samples. In Chicago, Marshall Jefferson had formed the house group Ten City Byron Burke, Byron Stingily & Herb Lawson(from "intensity"). New York–based performers such as Mateo & Matos and Blaze had slickly produced disco house tracks. <hl> In Detroit a proto-techno music sound began to emerge with the recordings of Juan Atkins, Derrick May and Kevin Saunderson. <hl>

In the U.S., the music was being developed to create a more sophisticated sound,[citation needed] moving beyond just drum loops and short samples. In Chicago, Marshall Jefferson had formed the house group Ten City Byron Burke, Byron Stingily & Herb Lawson(from "intensity"). New York–based performers such as Mateo & Matos and Blaze had slickly produced disco house tracks. In Detroit a <hl> proto-techno music sound <hl> began to emerge with the recordings of Juan Atkins, Derrick May and Kevin Saunderson.

question: what sound emerged in Detroit with the recordings of juan atkins and derrick may?, context: In the U.S., the music was being developed to create a more sophisticated sound,[citation needed] moving beyond just drum loops and short samples. In Chicago, Marshall Jefferson had formed the house group Ten City Byron Burke, Byron Stingily & Herb Lawson(from "intensity"). New York–based performers such as Mateo & Matos and Blaze had slickly produced disco house tracks. In Detroit a proto-techno music sound began to emerge with the recordings of Juan Atkins, Derrick May and Kevin Saunderson.


Question: where were mateo & matos based?

Answer: New York

In the U.S., the music was being developed to create a more sophisticated sound,[citation needed] moving beyond just drum loops and short samples. In Chicago, Marshall Jefferson had formed the house group Ten City Byron Burke, Byron Stingily & Herb Lawson(from "intensity"). <hl> New York –based performers such as Mateo & Matos and Blaze had slickly produced disco house tracks. <hl> In Detroit a proto-techno music sound began to emerge with the recordings of Juan Atkins, Derrick May and Kevin Saunderson.

In the U.S., the music was being developed to create a more sophisticated sound,[citation needed] moving beyond just drum loops and short samples. In Chicago, Marshall Jefferson had formed the house group Ten City Byron Burke, Byron Stingily & Herb Lawson(from "intensity"). <hl> New York <hl>–based performers such as Mateo & Matos and Blaze had slickly produced disco house tracks. In Detroit a proto-techno music sound began to emerge with the recordings of Juan Atkins, Derrick May and Kevin Saunderson.

<hl> New York <hl> –based performers such as Mateo & Matos and Blaze had slickly produced disco house tracks.

question: where were mateo & matos based?, context: In the U.S., the music was being developed to create a more sophisticated sound,[citation needed] moving beyond just drum loops and short samples. In Chicago, Marshall Jefferson had formed the house group Ten City Byron Burke, Byron Stingily & Herb Lawson(from "intensity"). New York–based performers such as Mateo & Matos and Blaze had slickly produced disco house tracks. In Detroit a proto-techno music sound began to emerge with the recordings of Juan Atkins, Derrick May and Kevin Saunderson.


Question: where was marshall jefferson based?

Answer: Chicago

In the U.S., the music was being developed to create a more sophisticated sound,[citation needed] moving beyond just drum loops and short samples. <hl> In Chicago , Marshall Jefferson had formed the house group Ten City Byron Burke, Byron Stingily & Herb Lawson(from "intensity"). <hl> New York–based performers such as Mateo & Matos and Blaze had slickly produced disco house tracks. In Detroit a proto-techno music sound began to emerge with the recordings of Juan Atkins, Derrick May and Kevin Saunderson.

In the U.S., the music was being developed to create a more sophisticated sound,[citation needed] moving beyond just drum loops and short samples. In <hl> Chicago <hl>, Marshall Jefferson had formed the house group Ten City Byron Burke, Byron Stingily & Herb Lawson(from "intensity"). New York–based performers such as Mateo & Matos and Blaze had slickly produced disco house tracks. In Detroit a proto-techno music sound began to emerge with the recordings of Juan Atkins, Derrick May and Kevin Saunderson.

In <hl> Chicago <hl> , Marshall Jefferson had formed the house group Ten City Byron Burke, Byron Stingily & Herb Lawson(from "intensity").

question: where was marshall jefferson based?, context: In the U.S., the music was being developed to create a more sophisticated sound,[citation needed] moving beyond just drum loops and short samples. In Chicago, Marshall Jefferson had formed the house group Ten City Byron Burke, Byron Stingily & Herb Lawson(from "intensity"). New York–based performers such as Mateo & Matos and Blaze had slickly produced disco house tracks. In Detroit a proto-techno music sound began to emerge with the recordings of Juan Atkins, Derrick May and Kevin Saunderson.


Question: what sound did US house music move beyond in the late 80s?

Answer: drum loops and short samples

<hl> In the U.S., the music was being developed to create a more sophisticated sound,[citation needed] moving beyond just drum loops and short samples . <hl> In Chicago, Marshall Jefferson had formed the house group Ten City Byron Burke, Byron Stingily & Herb Lawson(from "intensity"). New York–based performers such as Mateo & Matos and Blaze had slickly produced disco house tracks. In Detroit a proto-techno music sound began to emerge with the recordings of Juan Atkins, Derrick May and Kevin Saunderson.

In the U.S., the music was being developed to create a more sophisticated sound,[citation needed] moving beyond just <hl> drum loops and short samples <hl>. In Chicago, Marshall Jefferson had formed the house group Ten City Byron Burke, Byron Stingily & Herb Lawson(from "intensity"). New York–based performers such as Mateo & Matos and Blaze had slickly produced disco house tracks. In Detroit a proto-techno music sound began to emerge with the recordings of Juan Atkins, Derrick May and Kevin Saunderson.

In the U.S., the music was being developed to create a more sophisticated sound,[citation needed] moving beyond just <hl> drum loops and short samples <hl> .

question: what sound did US house music move beyond in the late 80s?, context: In the U.S., the music was being developed to create a more sophisticated sound,[citation needed] moving beyond just drum loops and short samples. In Chicago, Marshall Jefferson had formed the house group Ten City Byron Burke, Byron Stingily & Herb Lawson(from "intensity"). New York–based performers such as Mateo & Matos and Blaze had slickly produced disco house tracks. In Detroit a proto-techno music sound began to emerge with the recordings of Juan Atkins, Derrick May and Kevin Saunderson.


Question: atkins was a former member of what music group?

Answer: Cybotron

<hl> Atkins, a former member of Cybotron , released Model 500 "No UFOs" in 1985, which became a regional hit, followed by dozens of tracks on Transmat, Metroplex and Fragile. <hl> One of the most unusual was "Strings of Life" by Derrick May, a darker, more intellectual strain of house. "Techno-Scratch" was released by the Knights Of The Turntable in 1984 which had a similar techno sound to Cybotron. The manager of the Factory nightclub and co-owner of the Haçienda, Tony Wilson, also promoted acid house culture on his weekly TV show. The Midlands also embraced the late 1980s house scene with illegal parties and more legal dance clubs such as The Hummingbird.

Atkins, a former member of <hl> Cybotron <hl>, released Model 500 "No UFOs" in 1985, which became a regional hit, followed by dozens of tracks on Transmat, Metroplex and Fragile. One of the most unusual was "Strings of Life" by Derrick May, a darker, more intellectual strain of house. "Techno-Scratch" was released by the Knights Of The Turntable in 1984 which had a similar techno sound to Cybotron. The manager of the Factory nightclub and co-owner of the Haçienda, Tony Wilson, also promoted acid house culture on his weekly TV show. The Midlands also embraced the late 1980s house scene with illegal parties and more legal dance clubs such as The Hummingbird.

Atkins, a former member of <hl> Cybotron <hl> , released Model 500 "No UFOs" in 1985, which became a regional hit, followed by dozens of tracks on Transmat, Metroplex and Fragile.

question: atkins was a former member of what music group?, context: Atkins, a former member of Cybotron, released Model 500 "No UFOs" in 1985, which became a regional hit, followed by dozens of tracks on Transmat, Metroplex and Fragile. One of the most unusual was "Strings of Life" by Derrick May, a darker, more intellectual strain of house. "Techno-Scratch" was released by the Knights Of The Turntable in 1984 which had a similar techno sound to Cybotron. The manager of the Factory nightclub and co-owner of the Haçienda, Tony Wilson, also promoted acid house culture on his weekly TV show. The Midlands also embraced the late 1980s house scene with illegal parties and more legal dance clubs such as The Hummingbird.


Question: what hit single did atkins release in 1985?

Answer: "No UFOs"

<hl> Atkins, a former member of Cybotron, released Model 500 "No UFOs" in 1985, which became a regional hit, followed by dozens of tracks on Transmat, Metroplex and Fragile. <hl> One of the most unusual was "Strings of Life" by Derrick May, a darker, more intellectual strain of house. "Techno-Scratch" was released by the Knights Of The Turntable in 1984 which had a similar techno sound to Cybotron. The manager of the Factory nightclub and co-owner of the Haçienda, Tony Wilson, also promoted acid house culture on his weekly TV show. The Midlands also embraced the late 1980s house scene with illegal parties and more legal dance clubs such as The Hummingbird.

Atkins, a former member of Cybotron, released Model 500 <hl> "No UFOs" <hl> in 1985, which became a regional hit, followed by dozens of tracks on Transmat, Metroplex and Fragile. One of the most unusual was "Strings of Life" by Derrick May, a darker, more intellectual strain of house. "Techno-Scratch" was released by the Knights Of The Turntable in 1984 which had a similar techno sound to Cybotron. The manager of the Factory nightclub and co-owner of the Haçienda, Tony Wilson, also promoted acid house culture on his weekly TV show. The Midlands also embraced the late 1980s house scene with illegal parties and more legal dance clubs such as The Hummingbird.

question: what hit single did atkins release in 1985?, context: Atkins, a former member of Cybotron, released Model 500 "No UFOs" in 1985, which became a regional hit, followed by dozens of tracks on Transmat, Metroplex and Fragile. One of the most unusual was "Strings of Life" by Derrick May, a darker, more intellectual strain of house. "Techno-Scratch" was released by the Knights Of The Turntable in 1984 which had a similar techno sound to Cybotron. The manager of the Factory nightclub and co-owner of the Haçienda, Tony Wilson, also promoted acid house culture on his weekly TV show. The Midlands also embraced the late 1980s house scene with illegal parties and more legal dance clubs such as The Hummingbird.


Question: what unusual single did derrick may release, featuring a darker strain of house?

Answer: "Strings of Life"

Atkins, a former member of Cybotron, released Model 500 "No UFOs" in 1985, which became a regional hit, followed by dozens of tracks on Transmat, Metroplex and Fragile. <hl> One of the most unusual was "Strings of Life" by Derrick May, a darker, more intellectual strain of house. <hl> "Techno-Scratch" was released by the Knights Of The Turntable in 1984 which had a similar techno sound to Cybotron. The manager of the Factory nightclub and co-owner of the Haçienda, Tony Wilson, also promoted acid house culture on his weekly TV show. The Midlands also embraced the late 1980s house scene with illegal parties and more legal dance clubs such as The Hummingbird.

Atkins, a former member of Cybotron, released Model 500 "No UFOs" in 1985, which became a regional hit, followed by dozens of tracks on Transmat, Metroplex and Fragile. One of the most unusual was <hl> "Strings of Life" <hl> by Derrick May, a darker, more intellectual strain of house. "Techno-Scratch" was released by the Knights Of The Turntable in 1984 which had a similar techno sound to Cybotron. The manager of the Factory nightclub and co-owner of the Haçienda, Tony Wilson, also promoted acid house culture on his weekly TV show. The Midlands also embraced the late 1980s house scene with illegal parties and more legal dance clubs such as The Hummingbird.

question: what unusual single did derrick may release, featuring a darker strain of house?, context: Atkins, a former member of Cybotron, released Model 500 "No UFOs" in 1985, which became a regional hit, followed by dozens of tracks on Transmat, Metroplex and Fragile. One of the most unusual was "Strings of Life" by Derrick May, a darker, more intellectual strain of house. "Techno-Scratch" was released by the Knights Of The Turntable in 1984 which had a similar techno sound to Cybotron. The manager of the Factory nightclub and co-owner of the Haçienda, Tony Wilson, also promoted acid house culture on his weekly TV show. The Midlands also embraced the late 1980s house scene with illegal parties and more legal dance clubs such as The Hummingbird.


Question: what did knights of the turntable release in 1984?

Answer: Techno-Scratch

Atkins, a former member of Cybotron, released Model 500 "No UFOs" in 1985, which became a regional hit, followed by dozens of tracks on Transmat, Metroplex and Fragile. <hl> One of the most unusual was "Strings of Life" by Derrick May, a darker, more intellectual strain of house. " Techno-Scratch " was released by the Knights Of The Turntable in 1984 which had a similar techno sound to Cybotron. <hl> The manager of the Factory nightclub and co-owner of the Haçienda, Tony Wilson, also promoted acid house culture on his weekly TV show. The Midlands also embraced the late 1980s house scene with illegal parties and more legal dance clubs such as The Hummingbird.

Atkins, a former member of Cybotron, released Model 500 "No UFOs" in 1985, which became a regional hit, followed by dozens of tracks on Transmat, Metroplex and Fragile. One of the most unusual was "Strings of Life" by Derrick May, a darker, more intellectual strain of house. "<hl> Techno-Scratch <hl>" was released by the Knights Of The Turntable in 1984 which had a similar techno sound to Cybotron. The manager of the Factory nightclub and co-owner of the Haçienda, Tony Wilson, also promoted acid house culture on his weekly TV show. The Midlands also embraced the late 1980s house scene with illegal parties and more legal dance clubs such as The Hummingbird.

One of the most unusual was "Strings of Life" by Derrick May, a darker, more intellectual strain of house. " <hl> Techno-Scratch <hl> " was released by the Knights Of The Turntable in 1984 which had a similar techno sound to Cybotron.

question: what did knights of the turntable release in 1984?, context: Atkins, a former member of Cybotron, released Model 500 "No UFOs" in 1985, which became a regional hit, followed by dozens of tracks on Transmat, Metroplex and Fragile. One of the most unusual was "Strings of Life" by Derrick May, a darker, more intellectual strain of house. "Techno-Scratch" was released by the Knights Of The Turntable in 1984 which had a similar techno sound to Cybotron. The manager of the Factory nightclub and co-owner of the Haçienda, Tony Wilson, also promoted acid house culture on his weekly TV show. The Midlands also embraced the late 1980s house scene with illegal parties and more legal dance clubs such as The Hummingbird.


Question: who was the manager of the factory nightclub and co-owner of the hacienda?

Answer: Tony Wilson

Atkins, a former member of Cybotron, released Model 500 "No UFOs" in 1985, which became a regional hit, followed by dozens of tracks on Transmat, Metroplex and Fragile. One of the most unusual was "Strings of Life" by Derrick May, a darker, more intellectual strain of house. "Techno-Scratch" was released by the Knights Of The Turntable in 1984 which had a similar techno sound to Cybotron. <hl> The manager of the Factory nightclub and co-owner of the Haçienda, Tony Wilson , also promoted acid house culture on his weekly TV show. <hl> The Midlands also embraced the late 1980s house scene with illegal parties and more legal dance clubs such as The Hummingbird.

Atkins, a former member of Cybotron, released Model 500 "No UFOs" in 1985, which became a regional hit, followed by dozens of tracks on Transmat, Metroplex and Fragile. One of the most unusual was "Strings of Life" by Derrick May, a darker, more intellectual strain of house. "Techno-Scratch" was released by the Knights Of The Turntable in 1984 which had a similar techno sound to Cybotron. The manager of the Factory nightclub and co-owner of the Haçienda, <hl> Tony Wilson <hl>, also promoted acid house culture on his weekly TV show. The Midlands also embraced the late 1980s house scene with illegal parties and more legal dance clubs such as The Hummingbird.

The manager of the Factory nightclub and co-owner of the Haçienda, <hl> Tony Wilson <hl> , also promoted acid house culture on his weekly TV show.

question: who was the manager of the factory nightclub and co-owner of the hacienda?, context: Atkins, a former member of Cybotron, released Model 500 "No UFOs" in 1985, which became a regional hit, followed by dozens of tracks on Transmat, Metroplex and Fragile. One of the most unusual was "Strings of Life" by Derrick May, a darker, more intellectual strain of house. "Techno-Scratch" was released by the Knights Of The Turntable in 1984 which had a similar techno sound to Cybotron. The manager of the Factory nightclub and co-owner of the Haçienda, Tony Wilson, also promoted acid house culture on his weekly TV show. The Midlands also embraced the late 1980s house scene with illegal parties and more legal dance clubs such as The Hummingbird.


Question: what was a top club for house music in new york city?

Answer: Paradise Garage

Back in America the scene had still not progressed beyond a small number of clubs in Chicago, Detroit, Newark and New York City. However, many independent Chicago-based record labels were making appearances on the Dance Chart with their releases. In the UK, any house song released by a Chicago-based label was routinely considered a must play at many clubs playing house music. <hl> Paradise Garage in New York City was still a top club. <hl> The emergence of Todd Terry, a pioneer of the genre, was important in America. His cover of Class Action's Larry Levan mixed "Weekend" demonstrated the continuum from the underground disco to a new house sound with hip-hop influences evident in the quicker sampling and the more rugged bass-line.

Back in America the scene had still not progressed beyond a small number of clubs in Chicago, Detroit, Newark and New York City. However, many independent Chicago-based record labels were making appearances on the Dance Chart with their releases. In the UK, any house song released by a Chicago-based label was routinely considered a must play at many clubs playing house music. <hl> Paradise Garage <hl> in New York City was still a top club. The emergence of Todd Terry, a pioneer of the genre, was important in America. His cover of Class Action's Larry Levan mixed "Weekend" demonstrated the continuum from the underground disco to a new house sound with hip-hop influences evident in the quicker sampling and the more rugged bass-line.

question: what was a top club for house music in new york city?, context: Back in America the scene had still not progressed beyond a small number of clubs in Chicago, Detroit, Newark and New York City. However, many independent Chicago-based record labels were making appearances on the Dance Chart with their releases. In the UK, any house song released by a Chicago-based label was routinely considered a must play at many clubs playing house music. Paradise Garage in New York City was still a top club. The emergence of Todd Terry, a pioneer of the genre, was important in America. His cover of Class Action's Larry Levan mixed "Weekend" demonstrated the continuum from the underground disco to a new house sound with hip-hop influences evident in the quicker sampling and the more rugged bass-line.


Question: who was a pioneer of the genre in america?

Answer: Todd Terry

Back in America the scene had still not progressed beyond a small number of clubs in Chicago, Detroit, Newark and New York City. However, many independent Chicago-based record labels were making appearances on the Dance Chart with their releases. In the UK, any house song released by a Chicago-based label was routinely considered a must play at many clubs playing house music. Paradise Garage in New York City was still a top club. <hl> The emergence of Todd Terry , a pioneer of the genre, was important in America. <hl> His cover of Class Action's Larry Levan mixed "Weekend" demonstrated the continuum from the underground disco to a new house sound with hip-hop influences evident in the quicker sampling and the more rugged bass-line.

Back in America the scene had still not progressed beyond a small number of clubs in Chicago, Detroit, Newark and New York City. However, many independent Chicago-based record labels were making appearances on the Dance Chart with their releases. In the UK, any house song released by a Chicago-based label was routinely considered a must play at many clubs playing house music. Paradise Garage in New York City was still a top club. The emergence of <hl> Todd Terry <hl>, a pioneer of the genre, was important in America. His cover of Class Action's Larry Levan mixed "Weekend" demonstrated the continuum from the underground disco to a new house sound with hip-hop influences evident in the quicker sampling and the more rugged bass-line.

The emergence of <hl> Todd Terry <hl> , a pioneer of the genre, was important in America.

question: who was a pioneer of the genre in america?, context: Back in America the scene had still not progressed beyond a small number of clubs in Chicago, Detroit, Newark and New York City. However, many independent Chicago-based record labels were making appearances on the Dance Chart with their releases. In the UK, any house song released by a Chicago-based label was routinely considered a must play at many clubs playing house music. Paradise Garage in New York City was still a top club. The emergence of Todd Terry, a pioneer of the genre, was important in America. His cover of Class Action's Larry Levan mixed "Weekend" demonstrated the continuum from the underground disco to a new house sound with hip-hop influences evident in the quicker sampling and the more rugged bass-line.


Question: what hit house song did todd terry cover?

Answer: Weekend

Back in America the scene had still not progressed beyond a small number of clubs in Chicago, Detroit, Newark and New York City. However, many independent Chicago-based record labels were making appearances on the Dance Chart with their releases. In the UK, any house song released by a Chicago-based label was routinely considered a must play at many clubs playing house music. Paradise Garage in New York City was still a top club. The emergence of Todd Terry, a pioneer of the genre, was important in America. <hl> His cover of Class Action's Larry Levan mixed " Weekend " demonstrated the continuum from the underground disco to a new house sound with hip-hop influences evident in the quicker sampling and the more rugged bass-line. <hl>

Back in America the scene had still not progressed beyond a small number of clubs in Chicago, Detroit, Newark and New York City. However, many independent Chicago-based record labels were making appearances on the Dance Chart with their releases. In the UK, any house song released by a Chicago-based label was routinely considered a must play at many clubs playing house music. Paradise Garage in New York City was still a top club. The emergence of Todd Terry, a pioneer of the genre, was important in America. His cover of Class Action's Larry Levan mixed "<hl> Weekend <hl>" demonstrated the continuum from the underground disco to a new house sound with hip-hop influences evident in the quicker sampling and the more rugged bass-line.

His cover of Class Action's Larry Levan mixed " <hl> Weekend <hl> " demonstrated the continuum from the underground disco to a new house sound with hip-hop influences evident in the quicker sampling and the more rugged bass-line.

question: what hit house song did todd terry cover?, context: Back in America the scene had still not progressed beyond a small number of clubs in Chicago, Detroit, Newark and New York City. However, many independent Chicago-based record labels were making appearances on the Dance Chart with their releases. In the UK, any house song released by a Chicago-based label was routinely considered a must play at many clubs playing house music. Paradise Garage in New York City was still a top club. The emergence of Todd Terry, a pioneer of the genre, was important in America. His cover of Class Action's Larry Levan mixed "Weekend" demonstrated the continuum from the underground disco to a new house sound with hip-hop influences evident in the quicker sampling and the more rugged bass-line.


Question: what new influences led to a new house sound?

Answer: hip-hop influences

Back in America the scene had still not progressed beyond a small number of clubs in Chicago, Detroit, Newark and New York City. However, many independent Chicago-based record labels were making appearances on the Dance Chart with their releases. In the UK, any house song released by a Chicago-based label was routinely considered a must play at many clubs playing house music. Paradise Garage in New York City was still a top club. The emergence of Todd Terry, a pioneer of the genre, was important in America. <hl> His cover of Class Action's Larry Levan mixed "Weekend" demonstrated the continuum from the underground disco to a new house sound with hip-hop influences evident in the quicker sampling and the more rugged bass-line. <hl>

Back in America the scene had still not progressed beyond a small number of clubs in Chicago, Detroit, Newark and New York City. However, many independent Chicago-based record labels were making appearances on the Dance Chart with their releases. In the UK, any house song released by a Chicago-based label was routinely considered a must play at many clubs playing house music. Paradise Garage in New York City was still a top club. The emergence of Todd Terry, a pioneer of the genre, was important in America. His cover of Class Action's Larry Levan mixed "Weekend" demonstrated the continuum from the underground disco to a new house sound with <hl> hip-hop influences <hl> evident in the quicker sampling and the more rugged bass-line.

question: what new influences led to a new house sound?, context: Back in America the scene had still not progressed beyond a small number of clubs in Chicago, Detroit, Newark and New York City. However, many independent Chicago-based record labels were making appearances on the Dance Chart with their releases. In the UK, any house song released by a Chicago-based label was routinely considered a must play at many clubs playing house music. Paradise Garage in New York City was still a top club. The emergence of Todd Terry, a pioneer of the genre, was important in America. His cover of Class Action's Larry Levan mixed "Weekend" demonstrated the continuum from the underground disco to a new house sound with hip-hop influences evident in the quicker sampling and the more rugged bass-line.


Question: what was different about the bass-line in the hip-hop influenced house songs?

Answer: more rugged

Back in America the scene had still not progressed beyond a small number of clubs in Chicago, Detroit, Newark and New York City. However, many independent Chicago-based record labels were making appearances on the Dance Chart with their releases. In the UK, any house song released by a Chicago-based label was routinely considered a must play at many clubs playing house music. Paradise Garage in New York City was still a top club. The emergence of Todd Terry, a pioneer of the genre, was important in America. <hl> His cover of Class Action's Larry Levan mixed "Weekend" demonstrated the continuum from the underground disco to a new house sound with hip-hop influences evident in the quicker sampling and the more rugged bass-line. <hl>

Back in America the scene had still not progressed beyond a small number of clubs in Chicago, Detroit, Newark and New York City. However, many independent Chicago-based record labels were making appearances on the Dance Chart with their releases. In the UK, any house song released by a Chicago-based label was routinely considered a must play at many clubs playing house music. Paradise Garage in New York City was still a top club. The emergence of Todd Terry, a pioneer of the genre, was important in America. His cover of Class Action's Larry Levan mixed "Weekend" demonstrated the continuum from the underground disco to a new house sound with hip-hop influences evident in the quicker sampling and the <hl> more rugged <hl> bass-line.

question: what was different about the bass-line in the hip-hop influenced house songs?, context: Back in America the scene had still not progressed beyond a small number of clubs in Chicago, Detroit, Newark and New York City. However, many independent Chicago-based record labels were making appearances on the Dance Chart with their releases. In the UK, any house song released by a Chicago-based label was routinely considered a must play at many clubs playing house music. Paradise Garage in New York City was still a top club. The emergence of Todd Terry, a pioneer of the genre, was important in America. His cover of Class Action's Larry Levan mixed "Weekend" demonstrated the continuum from the underground disco to a new house sound with hip-hop influences evident in the quicker sampling and the more rugged bass-line.


Question: what label launched the careers of burrell?

Answer: Nu Groove Records

<hl> In the late 1980s, Nu Groove Records prolonged, if not launched the careers of Rheji Burrell & Rhano Burrell, collectively known as Burrell (after a brief stay on Virgin America via Timmy Regisford and Frank Mendez), along with basically every relevant DJ and Producer in the NY underground scene. <hl> The Burrell's are responsible for the "New York Underground" sound and are the undisputed champions of this style of house. Their 30+ releases on this label alone seems to support that fact. In today's market Nu Groove Record releases like the Burrells' enjoy a cult-like following and mint vinyl can fetch $100 U.S. or more in the open market.

In the late 1980s, <hl> Nu Groove Records <hl> prolonged, if not launched the careers of Rheji Burrell & Rhano Burrell, collectively known as Burrell (after a brief stay on Virgin America via Timmy Regisford and Frank Mendez), along with basically every relevant DJ and Producer in the NY underground scene. The Burrell's are responsible for the "New York Underground" sound and are the undisputed champions of this style of house. Their 30+ releases on this label alone seems to support that fact. In today's market Nu Groove Record releases like the Burrells' enjoy a cult-like following and mint vinyl can fetch $100 U.S. or more in the open market.

question: what label launched the careers of burrell?, context: In the late 1980s, Nu Groove Records prolonged, if not launched the careers of Rheji Burrell & Rhano Burrell, collectively known as Burrell (after a brief stay on Virgin America via Timmy Regisford and Frank Mendez), along with basically every relevant DJ and Producer in the NY underground scene. The Burrell's are responsible for the "New York Underground" sound and are the undisputed champions of this style of house. Their 30+ releases on this label alone seems to support that fact. In today's market Nu Groove Record releases like the Burrells' enjoy a cult-like following and mint vinyl can fetch $100 U.S. or more in the open market.


Question: what sound are the burrell's responsible for?

Answer: "New York Underground"

In the late 1980s, Nu Groove Records prolonged, if not launched the careers of Rheji Burrell & Rhano Burrell, collectively known as Burrell (after a brief stay on Virgin America via Timmy Regisford and Frank Mendez), along with basically every relevant DJ and Producer in the NY underground scene. <hl> The Burrell's are responsible for the "New York Underground" sound and are the undisputed champions of this style of house. <hl> Their 30+ releases on this label alone seems to support that fact. In today's market Nu Groove Record releases like the Burrells' enjoy a cult-like following and mint vinyl can fetch $100 U.S. or more in the open market.

In the late 1980s, Nu Groove Records prolonged, if not launched the careers of Rheji Burrell & Rhano Burrell, collectively known as Burrell (after a brief stay on Virgin America via Timmy Regisford and Frank Mendez), along with basically every relevant DJ and Producer in the NY underground scene. The Burrell's are responsible for the <hl> "New York Underground" <hl> sound and are the undisputed champions of this style of house. Their 30+ releases on this label alone seems to support that fact. In today's market Nu Groove Record releases like the Burrells' enjoy a cult-like following and mint vinyl can fetch $100 U.S. or more in the open market.

question: what sound are the burrell's responsible for?, context: In the late 1980s, Nu Groove Records prolonged, if not launched the careers of Rheji Burrell & Rhano Burrell, collectively known as Burrell (after a brief stay on Virgin America via Timmy Regisford and Frank Mendez), along with basically every relevant DJ and Producer in the NY underground scene. The Burrell's are responsible for the "New York Underground" sound and are the undisputed champions of this style of house. Their 30+ releases on this label alone seems to support that fact. In today's market Nu Groove Record releases like the Burrells' enjoy a cult-like following and mint vinyl can fetch $100 U.S. or more in the open market.


Question: how much can old vinyl releases of the burrells sell for today?

Answer: $100

In the late 1980s, Nu Groove Records prolonged, if not launched the careers of Rheji Burrell & Rhano Burrell, collectively known as Burrell (after a brief stay on Virgin America via Timmy Regisford and Frank Mendez), along with basically every relevant DJ and Producer in the NY underground scene. The Burrell's are responsible for the "New York Underground" sound and are the undisputed champions of this style of house. Their 30+ releases on this label alone seems to support that fact. <hl> In today's market Nu Groove Record releases like the Burrells' enjoy a cult-like following and mint vinyl can fetch $100 U.S. or more in the open market. <hl>

In the late 1980s, Nu Groove Records prolonged, if not launched the careers of Rheji Burrell & Rhano Burrell, collectively known as Burrell (after a brief stay on Virgin America via Timmy Regisford and Frank Mendez), along with basically every relevant DJ and Producer in the NY underground scene. The Burrell's are responsible for the "New York Underground" sound and are the undisputed champions of this style of house. Their 30+ releases on this label alone seems to support that fact. In today's market Nu Groove Record releases like the Burrells' enjoy a cult-like following and mint vinyl can fetch <hl> $100 <hl> U.S. or more in the open market.

question: how much can old vinyl releases of the burrells sell for today?, context: In the late 1980s, Nu Groove Records prolonged, if not launched the careers of Rheji Burrell & Rhano Burrell, collectively known as Burrell (after a brief stay on Virgin America via Timmy Regisford and Frank Mendez), along with basically every relevant DJ and Producer in the NY underground scene. The Burrell's are responsible for the "New York Underground" sound and are the undisputed champions of this style of house. Their 30+ releases on this label alone seems to support that fact. In today's market Nu Groove Record releases like the Burrells' enjoy a cult-like following and mint vinyl can fetch $100 U.S. or more in the open market.


Question: what label were the burrell's briefly with before their success?

Answer: Virgin America

<hl> In the late 1980s, Nu Groove Records prolonged, if not launched the careers of Rheji Burrell & Rhano Burrell, collectively known as Burrell (after a brief stay on Virgin America via Timmy Regisford and Frank Mendez), along with basically every relevant DJ and Producer in the NY underground scene. <hl> The Burrell's are responsible for the "New York Underground" sound and are the undisputed champions of this style of house. Their 30+ releases on this label alone seems to support that fact. In today's market Nu Groove Record releases like the Burrells' enjoy a cult-like following and mint vinyl can fetch $100 U.S. or more in the open market.

In the late 1980s, Nu Groove Records prolonged, if not launched the careers of Rheji Burrell & Rhano Burrell, collectively known as Burrell (after a brief stay on <hl> Virgin America <hl> via Timmy Regisford and Frank Mendez), along with basically every relevant DJ and Producer in the NY underground scene. The Burrell's are responsible for the "New York Underground" sound and are the undisputed champions of this style of house. Their 30+ releases on this label alone seems to support that fact. In today's market Nu Groove Record releases like the Burrells' enjoy a cult-like following and mint vinyl can fetch $100 U.S. or more in the open market.

question: what label were the burrell's briefly with before their success?, context: In the late 1980s, Nu Groove Records prolonged, if not launched the careers of Rheji Burrell & Rhano Burrell, collectively known as Burrell (after a brief stay on Virgin America via Timmy Regisford and Frank Mendez), along with basically every relevant DJ and Producer in the NY underground scene. The Burrell's are responsible for the "New York Underground" sound and are the undisputed champions of this style of house. Their 30+ releases on this label alone seems to support that fact. In today's market Nu Groove Record releases like the Burrells' enjoy a cult-like following and mint vinyl can fetch $100 U.S. or more in the open market.


Question: what is the oldest dance club in america?

Answer: Jewel's Catch One

By the late 80s, House had moved West, particularly to San Francisco, Oakland, Los Angeles, Fresno, San Diego and Seattle. <hl> Los Angeles saw a huge explosion of underground raves and DJs, notably DJs Marques Wyatt and Billy Long, who spun at Jewel's Catch One , the oldest dance club in America. <hl> In 1989, the L.A. based, former EBN-OZN singer/rapper Robert Ozn started indie house label One Voice Records, releasing the Mike "Hitman" Wilson remix of Dada Nada's "Haunted House," which garnered instant club and mix show radio play in Chicago, Detroit and New York as well as in the U.K. and France. The record shot up to Number Five on the Billboard Club Chart, marking it as the first House record by a white artist to chart in the U.S. Dada Nada, the moniker for Ozn's solo act, released in 1990, what has become a classic example of jazz-based Deep House, the Frankie Knuckles and David Morales remix of Dada Nada's "Deep Love" (One Voice Records/US, Polydor/UK), featuring Ozn's lush, crooning vocals and muted trumpet improvisational solos, underscoring Deep House's progression into a genre that integrated jazz and pop songwriting structures – a feature which continued to set it apart from Acid House and Techno.

By the late 80s, House had moved West, particularly to San Francisco, Oakland, Los Angeles, Fresno, San Diego and Seattle. Los Angeles saw a huge explosion of underground raves and DJs, notably DJs Marques Wyatt and Billy Long, who spun at <hl> Jewel's Catch One <hl>, the oldest dance club in America. In 1989, the L.A. based, former EBN-OZN singer/rapper Robert Ozn started indie house label One Voice Records, releasing the Mike "Hitman" Wilson remix of Dada Nada's "Haunted House," which garnered instant club and mix show radio play in Chicago, Detroit and New York as well as in the U.K. and France. The record shot up to Number Five on the Billboard Club Chart, marking it as the first House record by a white artist to chart in the U.S. Dada Nada, the moniker for Ozn's solo act, released in 1990, what has become a classic example of jazz-based Deep House, the Frankie Knuckles and David Morales remix of Dada Nada's "Deep Love" (One Voice Records/US, Polydor/UK), featuring Ozn's lush, crooning vocals and muted trumpet improvisational solos, underscoring Deep House's progression into a genre that integrated jazz and pop songwriting structures – a feature which continued to set it apart from Acid House and Techno.

Los Angeles saw a huge explosion of underground raves and DJs, notably DJs Marques Wyatt and Billy Long, who spun at <hl> Jewel's Catch One <hl> , the oldest dance club in America.

question: what is the oldest dance club in america?, context: By the late 80s, House had moved West, particularly to San Francisco, Oakland, Los Angeles, Fresno, San Diego and Seattle. Los Angeles saw a huge explosion of underground raves and DJs, notably DJs Marques Wyatt and Billy Long, who spun at Jewel's Catch One, the oldest dance club in America. In 1989, the L.A. based, former EBN-OZN singer/rapper Robert Ozn started indie house label One Voice Records, releasing the Mike "Hitman" Wilson remix of Dada Nada's "Haunted House," which garnered instant club and mix show radio play in Chicago, Detroit and New York as well as in the U.K. and France. The record shot up to Number Five on the Billboard Club Chart, marking it as the first House record by a white artist to chart in the U.S. Dada Nada, the moniker for Ozn's solo act, released in 1990, what has become a classic example of jazz-based Deep House, the Frankie Knuckles and David Morales remix of Dada Nada's "Deep Love" (One Voice Records/US, Polydor/UK), featuring Ozn's lush, crooning vocals and muted trumpet improvisational solos, underscoring Deep House's progression into a genre that integrated jazz and pop songwriting structures – a feature which continued to set it apart from Acid House and Techno.


Question: where did DJs marques wyatt and billy long become successful?

Answer: Los Angeles

<hl> By the late 80s, House had moved West, particularly to San Francisco, Oakland, Los Angeles , Fresno, San Diego and Seattle. <hl> Los Angeles saw a huge explosion of underground raves and DJs, notably DJs Marques Wyatt and Billy Long, who spun at Jewel's Catch One, the oldest dance club in America. In 1989, the L.A. based, former EBN-OZN singer/rapper Robert Ozn started indie house label One Voice Records, releasing the Mike "Hitman" Wilson remix of Dada Nada's "Haunted House," which garnered instant club and mix show radio play in Chicago, Detroit and New York as well as in the U.K. and France. The record shot up to Number Five on the Billboard Club Chart, marking it as the first House record by a white artist to chart in the U.S. Dada Nada, the moniker for Ozn's solo act, released in 1990, what has become a classic example of jazz-based Deep House, the Frankie Knuckles and David Morales remix of Dada Nada's "Deep Love" (One Voice Records/US, Polydor/UK), featuring Ozn's lush, crooning vocals and muted trumpet improvisational solos, underscoring Deep House's progression into a genre that integrated jazz and pop songwriting structures – a feature which continued to set it apart from Acid House and Techno.

By the late 80s, House had moved West, particularly to San Francisco, Oakland, <hl> Los Angeles <hl>, Fresno, San Diego and Seattle. Los Angeles saw a huge explosion of underground raves and DJs, notably DJs Marques Wyatt and Billy Long, who spun at Jewel's Catch One, the oldest dance club in America. In 1989, the L.A. based, former EBN-OZN singer/rapper Robert Ozn started indie house label One Voice Records, releasing the Mike "Hitman" Wilson remix of Dada Nada's "Haunted House," which garnered instant club and mix show radio play in Chicago, Detroit and New York as well as in the U.K. and France. The record shot up to Number Five on the Billboard Club Chart, marking it as the first House record by a white artist to chart in the U.S. Dada Nada, the moniker for Ozn's solo act, released in 1990, what has become a classic example of jazz-based Deep House, the Frankie Knuckles and David Morales remix of Dada Nada's "Deep Love" (One Voice Records/US, Polydor/UK), featuring Ozn's lush, crooning vocals and muted trumpet improvisational solos, underscoring Deep House's progression into a genre that integrated jazz and pop songwriting structures – a feature which continued to set it apart from Acid House and Techno.

By the late 80s, House had moved West, particularly to San Francisco, Oakland, <hl> Los Angeles <hl> , Fresno, San Diego and Seattle.

question: where did DJs marques wyatt and billy long become successful?, context: By the late 80s, House had moved West, particularly to San Francisco, Oakland, Los Angeles, Fresno, San Diego and Seattle. Los Angeles saw a huge explosion of underground raves and DJs, notably DJs Marques Wyatt and Billy Long, who spun at Jewel's Catch One, the oldest dance club in America. In 1989, the L.A. based, former EBN-OZN singer/rapper Robert Ozn started indie house label One Voice Records, releasing the Mike "Hitman" Wilson remix of Dada Nada's "Haunted House," which garnered instant club and mix show radio play in Chicago, Detroit and New York as well as in the U.K. and France. The record shot up to Number Five on the Billboard Club Chart, marking it as the first House record by a white artist to chart in the U.S. Dada Nada, the moniker for Ozn's solo act, released in 1990, what has become a classic example of jazz-based Deep House, the Frankie Knuckles and David Morales remix of Dada Nada's "Deep Love" (One Voice Records/US, Polydor/UK), featuring Ozn's lush, crooning vocals and muted trumpet improvisational solos, underscoring Deep House's progression into a genre that integrated jazz and pop songwriting structures – a feature which continued to set it apart from Acid House and Techno.


Question: what label did robert ozn start in 1989?

Answer: One Voice Records

By the late 80s, House had moved West, particularly to San Francisco, Oakland, Los Angeles, Fresno, San Diego and Seattle. Los Angeles saw a huge explosion of underground raves and DJs, notably DJs Marques Wyatt and Billy Long, who spun at Jewel's Catch One, the oldest dance club in America. <hl> In 1989, the L.A. based, former EBN-OZN singer/rapper Robert Ozn started indie house label One Voice Records , releasing the Mike "Hitman" Wilson remix of Dada Nada's "Haunted House," which garnered instant club and mix show radio play in Chicago, Detroit and New York as well as in the U.K. and France. <hl> The record shot up to Number Five on the Billboard Club Chart, marking it as the first House record by a white artist to chart in the U.S. Dada Nada, the moniker for Ozn's solo act, released in 1990, what has become a classic example of jazz-based Deep House, the Frankie Knuckles and David Morales remix of Dada Nada's "Deep Love" (One Voice Records/US, Polydor/UK), featuring Ozn's lush, crooning vocals and muted trumpet improvisational solos, underscoring Deep House's progression into a genre that integrated jazz and pop songwriting structures – a feature which continued to set it apart from Acid House and Techno.

By the late 80s, House had moved West, particularly to San Francisco, Oakland, Los Angeles, Fresno, San Diego and Seattle. Los Angeles saw a huge explosion of underground raves and DJs, notably DJs Marques Wyatt and Billy Long, who spun at Jewel's Catch One, the oldest dance club in America. In 1989, the L.A. based, former EBN-OZN singer/rapper Robert Ozn started indie house label <hl> One Voice Records <hl>, releasing the Mike "Hitman" Wilson remix of Dada Nada's "Haunted House," which garnered instant club and mix show radio play in Chicago, Detroit and New York as well as in the U.K. and France. The record shot up to Number Five on the Billboard Club Chart, marking it as the first House record by a white artist to chart in the U.S. Dada Nada, the moniker for Ozn's solo act, released in 1990, what has become a classic example of jazz-based Deep House, the Frankie Knuckles and David Morales remix of Dada Nada's "Deep Love" (One Voice Records/US, Polydor/UK), featuring Ozn's lush, crooning vocals and muted trumpet improvisational solos, underscoring Deep House's progression into a genre that integrated jazz and pop songwriting structures – a feature which continued to set it apart from Acid House and Techno.

In 1989, the L.A. based, former EBN-OZN singer/rapper Robert Ozn started indie house label <hl> One Voice Records <hl> , releasing the Mike "Hitman" Wilson remix of Dada Nada's "Haunted House," which garnered instant club and mix show radio play in Chicago, Detroit and New York as well as in the U.K. and France.

question: what label did robert ozn start in 1989?, context: By the late 80s, House had moved West, particularly to San Francisco, Oakland, Los Angeles, Fresno, San Diego and Seattle. Los Angeles saw a huge explosion of underground raves and DJs, notably DJs Marques Wyatt and Billy Long, who spun at Jewel's Catch One, the oldest dance club in America. In 1989, the L.A. based, former EBN-OZN singer/rapper Robert Ozn started indie house label One Voice Records, releasing the Mike "Hitman" Wilson remix of Dada Nada's "Haunted House," which garnered instant club and mix show radio play in Chicago, Detroit and New York as well as in the U.K. and France. The record shot up to Number Five on the Billboard Club Chart, marking it as the first House record by a white artist to chart in the U.S. Dada Nada, the moniker for Ozn's solo act, released in 1990, what has become a classic example of jazz-based Deep House, the Frankie Knuckles and David Morales remix of Dada Nada's "Deep Love" (One Voice Records/US, Polydor/UK), featuring Ozn's lush, crooning vocals and muted trumpet improvisational solos, underscoring Deep House's progression into a genre that integrated jazz and pop songwriting structures – a feature which continued to set it apart from Acid House and Techno.


Question: one voice records released a remix of what dada nada song in 1989?

Answer: Haunted House

By the late 80s, House had moved West, particularly to San Francisco, Oakland, Los Angeles, Fresno, San Diego and Seattle. Los Angeles saw a huge explosion of underground raves and DJs, notably DJs Marques Wyatt and Billy Long, who spun at Jewel's Catch One, the oldest dance club in America. <hl> In 1989, the L.A. based, former EBN-OZN singer/rapper Robert Ozn started indie house label One Voice Records, releasing the Mike "Hitman" Wilson remix of Dada Nada's " Haunted House ," which garnered instant club and mix show radio play in Chicago, Detroit and New York as well as in the U.K. and France. <hl> The record shot up to Number Five on the Billboard Club Chart, marking it as the first House record by a white artist to chart in the U.S. Dada Nada, the moniker for Ozn's solo act, released in 1990, what has become a classic example of jazz-based Deep House, the Frankie Knuckles and David Morales remix of Dada Nada's "Deep Love" (One Voice Records/US, Polydor/UK), featuring Ozn's lush, crooning vocals and muted trumpet improvisational solos, underscoring Deep House's progression into a genre that integrated jazz and pop songwriting structures – a feature which continued to set it apart from Acid House and Techno.

By the late 80s, House had moved West, particularly to San Francisco, Oakland, Los Angeles, Fresno, San Diego and Seattle. Los Angeles saw a huge explosion of underground raves and DJs, notably DJs Marques Wyatt and Billy Long, who spun at Jewel's Catch One, the oldest dance club in America. In 1989, the L.A. based, former EBN-OZN singer/rapper Robert Ozn started indie house label One Voice Records, releasing the Mike "Hitman" Wilson remix of Dada Nada's "<hl> Haunted House <hl>," which garnered instant club and mix show radio play in Chicago, Detroit and New York as well as in the U.K. and France. The record shot up to Number Five on the Billboard Club Chart, marking it as the first House record by a white artist to chart in the U.S. Dada Nada, the moniker for Ozn's solo act, released in 1990, what has become a classic example of jazz-based Deep House, the Frankie Knuckles and David Morales remix of Dada Nada's "Deep Love" (One Voice Records/US, Polydor/UK), featuring Ozn's lush, crooning vocals and muted trumpet improvisational solos, underscoring Deep House's progression into a genre that integrated jazz and pop songwriting structures – a feature which continued to set it apart from Acid House and Techno.

In 1989, the L.A. based, former EBN-OZN singer/rapper Robert Ozn started indie house label One Voice Records, releasing the Mike "Hitman" Wilson remix of Dada Nada's " <hl> Haunted House <hl> ," which garnered instant club and mix show radio play in Chicago, Detroit and New York as well as in the U.K. and France.

question: one voice records released a remix of what dada nada song in 1989?, context: By the late 80s, House had moved West, particularly to San Francisco, Oakland, Los Angeles, Fresno, San Diego and Seattle. Los Angeles saw a huge explosion of underground raves and DJs, notably DJs Marques Wyatt and Billy Long, who spun at Jewel's Catch One, the oldest dance club in America. In 1989, the L.A. based, former EBN-OZN singer/rapper Robert Ozn started indie house label One Voice Records, releasing the Mike "Hitman" Wilson remix of Dada Nada's "Haunted House," which garnered instant club and mix show radio play in Chicago, Detroit and New York as well as in the U.K. and France. The record shot up to Number Five on the Billboard Club Chart, marking it as the first House record by a white artist to chart in the U.S. Dada Nada, the moniker for Ozn's solo act, released in 1990, what has become a classic example of jazz-based Deep House, the Frankie Knuckles and David Morales remix of Dada Nada's "Deep Love" (One Voice Records/US, Polydor/UK), featuring Ozn's lush, crooning vocals and muted trumpet improvisational solos, underscoring Deep House's progression into a genre that integrated jazz and pop songwriting structures – a feature which continued to set it apart from Acid House and Techno.