405:'s departure, and agreed to mix the track, suggesting them to slow it from the original c. 130 beats per minute to about 120 bpm. Although the group initially resisted, Jefferson reassured then that if a DJ wanted to play it faster, they could speed up the record. Jones slowed it to 120 bpm and later claimed that Jefferson's contributions were limited to "setting levels and stuff. But as far as producing, he didn't add any new sounds to it or anything like that." Marshall also suggested changes to the track "Your Only Friend", having Spanky do the vocals instead of Jones, and added a harmonizer to make his voice deeper. Jefferson stated about the recording that he "sat in the studio and watched them", and that Larry Sherman of Trax did not want to put the record out unless Jefferson produced it. "Acid Tracks" was released in 1987.
336:, colloquially known as "acid", recalling that "sometimes things will go right over my head. I was like, acid makes a gritty sound. Like you know, you have battery acid, you'd always see the sign “acid” and then they show somebody pouring something out of a tube onto metal and be melting it. And I thought, okay, this thing is gritty. It's like acidic! It's a tough sound! So that's what I thought." The relationship between the song and drug culture led to the group developing the track "Your Only Friend", a song with anti-drug lyrics, which Jones recalled "didn't even get across like that, people literally, in Chicago, would go get their drugs when that song came on. And I was thinking, Oh crap, you guys, I'm trying to tell you something."
348:
394:". Jefferson was performing "Move Your Body" at the Power House in Chicago. Pierre recalled that he wrote a note stating "My name is DJ Pierre. I'm in a group called Phuture, and we did a track called "Acid Tracks", and Ron Hardy has been playing this track off a reel. Could you help us make a record?" The group was in front of a stage where Marshall was performing "Move Your Body", trying to pass him the note. House producer Curtis McClain eventually took the note and passed it on to Jefferson.
270:
315:
imitation was poor and afterwards "began pushing buttons didn't understand." Encouraged by his bandmates, Jones kept experimenting with the sound. When experimenting with the machine, Jones recalled that he "wanted to make something that sounded like things I'd hear in the Music Box, or I heard Farley play on the radio" and that "when we made "Acid Tracks", that was an accident. It was just ignorance, basically. Not knowing how to work the damn 303."
306:, a bass synth designed to provide an automatic bass accompaniment for solo guitarists. Jones recalled that Spanky had found the TB-303 at a second-hand shop for about $ 40, while Spanky recollected that he his initial search for the machine had no result until he found it second-hand for $ 200, which he " last dime on." Following the purchase of the equipment, the group began experimenting on their first tracks.
464:'s "Nude Photo" having "a phenomenal impact" and that "even straight away you realised that here was a new form of energy that has materialised." British DJ Dave Dorrell recalled that "Acid Tracks" and Armando's "Frequency" and "Land of Confusion" were the first acid house records he got his hands on, stating that "acid house was so far out there that it was beyond anything. There were no direction signs."
327:"ecstatic". Jones recalled that "People were dancing upside down. This guy was on his back, kicking his legs in the air. It was like, 'wow!'" When originally conceived, the track was titled "In Your Mind". The track became a regular feature in Hardy's DJ sets, with fans resorting to bootlegging it on
408:
The band were each paid $ 1500 from Trax, but were unaware of the track's popularity outside the
Chicago area. Looking back, Jones says that the deal "kick-started our careers, so I never look back and complain. I state the fact that Trax is the most crooked label on the planet. But good came of it.
326:
Jones recalled that when "Acid Tracks" was first played by Hardy, everyone left the dance floor, leaving them to think he would never play the song again. He later played the song a number of times that night, getting a better reception each time; by the fourth performance around 4am, the crowd were
314:
Herb and Spanky worked on the track from late 1985, using the 303 to create a "bleeping" noise which then led to Jones to start "turning the knobs up and tweaking it just like were." Spanky recollected that the group was pressing a button that was supposed to sound like a live bass guitar, but the
471:
gave the song a four-and-a-half star rating out of five, describing it as an "incredibly raw cut Still, the superb acid squelch, ripe for the picking by DJs across the world, continued to impress long after the first hundred or so "covers" and answer records flooded the dance racks." Critic Garry
322:
to play. They waited outside the club for two hours before giving it to him, believing that "he was the man. If he said he loved something, that was it. But if Ron Hardy had said he didn't like it, that would have been the end of acid." According to Jones, Hardy listened to the entire 30 minutes
228:
to listen to. Hardy agreed to play it at the Muzic Box. Although the audience were not at first receptive, the song became more popular over the course of the night. "Acid Tracks" was bootlegged as "Ron Hardy's Acid Track", leading to
Phuture seeking out a way to release it on vinyl. The group
29:
301:
As
Phuture, Jones, Earl Smith Jr. (known as "Spanky"), and Herbert Jackson began to experiment, but were not satisfied with any of the basslines they developed. Jones heard a friend's track; inspired by his bassline he created, he discovered that it had been developed using a
297:
performed. Jones described it as being "baptized into real house music by going there, I'd never seen anyone yell for a DJ before Ron Hardy. I mean, they were screaming his name. People were so passionate that they would start crying.”
323:
without saying anything. Jones recalled that they "were worried, because he didn't give us any indication that he liked it... and so we were just quiet. When it faded out he looked over at us and said, 'When can I get a copy?'"
476:, describing it as "the longest, the deepest, the headfuckingest. It fascinated anyone who wanted more than hard disco, and of course, it gave a name to the biggest pop-culture revolution in this book." In 1999,
1130:
366:
331:
recorders. These fans began calling the track "Ron Hardy's Acid Track," leading to the track's title change. On the new title, Jones recollected that he was "very innocent" and was unfamiliar with the drug
364:
365:
1140:
1212:
472:
Mulholland noted that other tracks featured an acid house sound prior to the official release of "Acid Tracks", but still included "Acid Tracks" in his book
217:
perform in
Chicago. The trio began developing tracks without finding anything that they felt was satisfying; Jones had heard a track made on the unpopular
938:
285:. He played drums and clarinet in school bands before getting into DJing and scratch mixing. Pierre became interested in music through listening to the
1022:
467:
Later reception included author Micah
Salkind saying that "Acid Tracks" became "ne of Trax Records's most iconic releases", while John Bush of
961:
1109:
318:
The group sought a sound which
Chicago DJs in might use as an opening track. They took a cassette tape of the recording to the Muzic Box for
768:
1157:
1069:
293:. Jones was predominantly making break-dancing music, but changed styles after Spanky took him to a club called the Muzic Box, where DJ
209:(known as "Spanky"), and Herbert Jackson. Jones had been interested in developing dance music and became superficially interested in
997:
391:
242:
444:, wrote that this scene had many listeners "ignorant of any distinctions", leading to acid house becoming a shorthand for any
409:
Phuture was born, and DJ Pierre was here to stay." "Acid Tracks" was followed up with the single "We Are
Phuture" in 1988.
1098:
986:
888:
421:
movement, especially in the United
Kingdom and the acid style became known for the distinctive sound created on the
290:
357:
1207:
957:
932:
1197:
333:
1026:
282:
1061:
252:
Following its release in 1987, its popularity expanded outside
Chicago and it became a foundational
1113:
425:
Bass
Synthesizer. Following the release of "Acid Tracks", countless similar tracks were released.
1090:
772:
1202:
1131:"Back to the Phuture: DJ Pierre on Inventing Acid and Why EDM Fans Need to Learn Their History"
1065:
461:
453:
1167:
794:
1044:
224:
In 1985, the group developed a track initially known as "In Your Mind", which they gave to
1005:
8:
1192:
482:
magazine included the release on their list of the most influential records of all time.
515:
387:
230:
194:
140:
1094:
1049:
982:
884:
48:
246:
134:
433:
436:
in Manchester. By 1988, the British music press were describing the emerging
402:
206:
126:
36:
1186:
440:
as driven by acid house music. Bill Brewster and Frank Broughton, authors of
422:
328:
303:
218:
398:
234:
198:
107:
102:
530:
Herbert J – writer (on "Acid Tracks" and "Phuture Jacks")
445:
238:
210:
74:
904:
Tope, Frank (July 1999). "The 50 Most Influential Records of All Time".
273:"Acid Tracks" was developed through experimentation on the Roland TB-303
1045:
Can You Jack? Volume 1: Chicago Acid & Experimental House 1985-1995
437:
418:
378:
253:
186:
115:
79:
527:
Spanky – writer (on "Acid Tracks" and "Phuture Jacks")
269:
28:
1135:
1057:
521:
319:
294:
286:
278:
225:
214:
202:
122:
1001:
814:
812:
650:
468:
648:
646:
644:
642:
640:
638:
636:
634:
632:
630:
580:
578:
576:
574:
572:
457:
190:
147:
40:
848:
836:
824:
809:
249:
and suggesting a vocal change on the B-side "Your Only Friend".
1162:
721:
627:
569:
449:
390:, a house music producer already known for the tracks such as "
1087:
Do You Remember House?: Chicago's Queer of Color Undergrounds
979:
Last Night a DJ Saved My Life: The History of the Disc Jockey
906:
881:
This is Uncool: The 500 Greatest Singles Since Punk and Disco
478:
429:
245:". Jefferson assisted with the recording by slowing down the
201:. Phuture consisted of Nathan Pierre Jones, better known as
428:
The tune became popular in British clubs such as London's
738:
736:
927:(label and sleeve). Phuture. Trax Records. 1987. TX142.
605:
603:
601:
599:
597:
595:
593:
748:
733:
688:
686:
684:
682:
669:
667:
665:
663:
711:
709:
707:
705:
703:
701:
615:
590:
559:
557:
555:
553:
551:
549:
386:
Unsure how to promote the track, Phuture approached
281:, grew up in a musical family in Chicago suburb of
221:bass machine, which led the group to purchase one.
679:
660:
976:
883:. Octopus Publishing Group Limited. p. 264.
854:
842:
830:
818:
727:
698:
654:
584:
546:
289:radio show, in particular the episodes hosted by
1184:
511:Credits adapted from the singles label sticker.
1062:"The Story Of Acid House: As Told By DJ Pierre"
937:: CS1 maint: others in cite AV media (notes) (
417:"Acid Tracks" became a pioneering song for the
1213:Song recordings produced by Marshall Jefferson
981:(Updated and Revised ed.). Grove Press.
474:The 500 Greatest Singles Since Punk and Disco
460:, described tracks such as "Acid Tracks" and
397:Jefferson had recently taken over A&R at
860:
452:becoming a blanket term in Britain for new
339:
1155:
878:
754:
27:
1056:
977:Brewster, Bill; Broughton, Frank (2014).
919:
917:
766:
609:
358:'Phuture – "Acid Tracks" (1987) (excerpt)
1041:
621:
268:
1128:
1107:
1084:
742:
692:
412:
1185:
1158:"Game Changers: Phuture 'Acid Tracks'"
1020:
955:
914:
715:
673:
563:
277:Nathan Pierre Jones, better known as
213:after Spanky had taken him to see DJ
1072:from the original on August 12, 2020
903:
1156:Whitehurst, Andrew (July 9, 2014).
1108:Saxelby, Ruth (December 20, 2012).
518: – producer, mixing
54:"Phuture Jacks", "Your Only Friend"
13:
964:from the original on April 7, 2019
346:
14:
1224:
1129:Saxelby, Ruth (August 4, 2014).
995:
866:
485:
377:Problems playing this file? See
362:
1110:"The Dummy Guide to Acid House"
1021:Glazer, Joshua (May 18, 2017).
897:
872:
787:
760:
956:Arnold, Jacob (May 18, 2015).
259:
1:
855:Brewster & Broughton 2014
843:Brewster & Broughton 2014
831:Brewster & Broughton 2014
819:Brewster & Broughton 2014
728:Brewster & Broughton 2014
655:Brewster & Broughton 2014
585:Brewster & Broughton 2014
534:
442:Last Night a DJ Saved My Life
309:
264:
256:track in the United Kingdom.
958:"Ron Hardy at The Music Box"
539:
456:. Matt Black, British DJ of
7:
1025:. Insomniac. Archived from
237:, who released the popular
10:
1229:
960:. Red Bull Music Academy.
949:
910:. No. 50. p. 86.
879:Mulholland, Garry (2002).
771:. AllMusic. Archived from
506:
334:lysergic acid diethylamide
524: – writer
502:"Your Only Friend" – 4:48
154:
146:
132:
113:
101:
85:
73:
58:
46:
35:
26:
21:
340:Re-recording and release
291:Farley "Jackmaster" Funk
1112:. Dummy. Archived from
1091:Oxford University Press
1085:Salkind, Micah (2018).
1023:"Phuture "Acid Tracks""
998:"Acid Tracks - Phuture"
127:Earl "Spanky" Smith Jr.
1066:Red Bull Music Academy
1042:Lawrence, Tim (2005).
499:"Phuture Jacks" – 7:48
454:electronic dance music
351:
274:
16:1987 single by Phuture
496:"Acid Tracks" – 12:16
350:
272:
1208:Trax Records singles
1116:on November 21, 2013
1060:(December 5, 2012).
413:Reception and legacy
1008:on October 29, 2020
933:cite AV media notes
769:"Phuture Biography"
233:, then working for
1198:1987 debut singles
1143:on August 23, 2014
1029:on August 12, 2020
516:Marshall Jefferson
491:12" single (TX142)
388:Marshall Jefferson
352:
275:
231:Marshall Jefferson
195:Marshall Jefferson
150:singles chronology
141:Marshall Jefferson
1052:. SJR LP111 VOL1.
1050:Soul Jazz Records
367:
180:
179:
176:
175:
170:"We Are Phuture"
1220:
1179:
1177:
1175:
1170:on July 14, 2014
1166:. Archived from
1152:
1150:
1148:
1139:. Archived from
1125:
1123:
1121:
1104:
1081:
1079:
1077:
1053:
1038:
1036:
1034:
1017:
1015:
1013:
1004:. Archived from
992:
973:
971:
969:
943:
942:
936:
928:
921:
912:
911:
901:
895:
894:
876:
870:
864:
858:
852:
846:
840:
834:
828:
822:
816:
807:
806:
804:
802:
795:"We Are Phuture"
791:
785:
784:
782:
780:
764:
758:
752:
746:
740:
731:
725:
719:
713:
696:
690:
677:
671:
658:
652:
625:
619:
613:
607:
588:
582:
567:
561:
369:
368:
349:
247:beats per minute
197:and released by
156:
155:
137:
118:
97:
96:
92:
69:
67:
51:
31:
19:
18:
1228:
1227:
1223:
1222:
1221:
1219:
1218:
1217:
1183:
1182:
1173:
1171:
1146:
1144:
1119:
1117:
1101:
1075:
1073:
1048:(liner notes).
1032:
1030:
1011:
1009:
989:
967:
965:
952:
947:
946:
930:
929:
923:
922:
915:
902:
898:
891:
877:
873:
865:
861:
853:
849:
841:
837:
829:
825:
817:
810:
800:
798:
793:
792:
788:
778:
776:
765:
761:
755:Whitehurst 2014
753:
749:
741:
734:
726:
722:
714:
699:
691:
680:
672:
661:
653:
628:
620:
616:
608:
591:
583:
570:
562:
547:
542:
537:
509:
488:
415:
384:
383:
375:
373:
372:
371:
370:
363:
360:
353:
347:
342:
312:
283:University Park
267:
262:
229:connected with
171:
166:
133:
114:
94:
90:
89:
65:
63:
47:
17:
12:
11:
5:
1226:
1216:
1215:
1210:
1205:
1200:
1195:
1181:
1180:
1153:
1126:
1105:
1100:978-0190698430
1099:
1082:
1054:
1039:
1018:
993:
988:978-0802146106
987:
974:
951:
948:
945:
944:
913:
896:
889:
871:
859:
857:, p. 402.
847:
845:, p. 401.
835:
833:, p. 400.
823:
821:, p. 399.
808:
786:
775:on May 9, 2021
759:
747:
745:, p. 131.
732:
730:, p. 339.
720:
697:
678:
659:
657:, p. 336.
626:
614:
610:DJ Pierre 2012
589:
587:, p. 335.
568:
544:
543:
541:
538:
536:
533:
532:
531:
528:
525:
519:
508:
505:
504:
503:
500:
497:
487:
484:
414:
411:
403:Vince Lawrence
392:Move Your Body
374:
361:
356:
355:
354:
345:
344:
343:
341:
338:
311:
308:
266:
263:
261:
258:
243:Move Your Body
178:
177:
174:
173:
168:
159:
152:
151:
144:
143:
138:
130:
129:
119:
111:
110:
105:
99:
98:
87:
83:
82:
77:
71:
70:
60:
56:
55:
52:
44:
43:
33:
32:
24:
23:
15:
9:
6:
4:
3:
2:
1225:
1214:
1211:
1209:
1206:
1204:
1203:Phuture songs
1201:
1199:
1196:
1194:
1191:
1190:
1188:
1169:
1165:
1164:
1159:
1154:
1142:
1138:
1137:
1132:
1127:
1115:
1111:
1106:
1102:
1096:
1092:
1088:
1083:
1071:
1067:
1063:
1059:
1055:
1051:
1047:
1046:
1040:
1028:
1024:
1019:
1007:
1003:
999:
994:
990:
984:
980:
975:
963:
959:
954:
953:
940:
934:
926:
920:
918:
909:
908:
900:
892:
890:0-304-36186-0
886:
882:
875:
868:
863:
856:
851:
844:
839:
832:
827:
820:
815:
813:
796:
790:
774:
770:
763:
756:
751:
744:
739:
737:
729:
724:
717:
712:
710:
708:
706:
704:
702:
694:
689:
687:
685:
683:
675:
670:
668:
666:
664:
656:
651:
649:
647:
645:
643:
641:
639:
637:
635:
633:
631:
623:
622:Lawrence 2005
618:
611:
606:
604:
602:
600:
598:
596:
594:
586:
581:
579:
577:
575:
573:
565:
560:
558:
556:
554:
552:
550:
545:
529:
526:
523:
520:
517:
514:
513:
512:
501:
498:
495:
494:
493:
492:
486:Track listing
483:
481:
480:
475:
470:
465:
463:
459:
455:
451:
447:
443:
439:
435:
431:
426:
424:
423:Roland TB-303
420:
410:
406:
404:
400:
395:
393:
389:
382:
380:
359:
337:
335:
330:
329:microcassette
324:
321:
316:
307:
305:
304:Roland TB-303
299:
296:
292:
288:
284:
280:
271:
257:
255:
250:
248:
244:
240:
236:
232:
227:
222:
220:
219:Roland TB-303
216:
212:
208:
207:Earl Smith Jr
204:
200:
196:
192:
188:
184:
183:"Acid Tracks"
169:
164:
160:
158:
157:
153:
149:
145:
142:
139:
136:
131:
128:
124:
120:
117:
116:Songwriter(s)
112:
109:
106:
104:
100:
88:
84:
81:
78:
76:
72:
61:
57:
53:
50:
45:
42:
38:
34:
30:
25:
22:"Acid Tracks"
20:
1172:. Retrieved
1168:the original
1161:
1145:. Retrieved
1141:the original
1134:
1118:. Retrieved
1114:the original
1086:
1074:. Retrieved
1043:
1031:. Retrieved
1027:the original
1010:. Retrieved
1006:the original
996:Bush, John.
978:
966:. Retrieved
924:
905:
899:
880:
874:
862:
850:
838:
826:
799:. Retrieved
789:
777:. Retrieved
773:the original
767:Bush, John.
762:
750:
743:Salkind 2018
723:
693:Saxelby 2014
676:, p. 4.
624:, p. 3.
617:
510:
490:
489:
477:
473:
466:
441:
434:The Haçienda
427:
416:
407:
399:Trax Records
396:
385:
376:
325:
317:
313:
300:
276:
251:
235:Trax Records
223:
199:Trax Records
193:produced by
182:
181:
162:
925:Acid Tracks
716:Glazer 2017
674:Arnold 2015
564:Arnold 2015
462:Derrick May
446:house music
260:Development
239:house music
211:house music
163:Acid Tracks
135:Producer(s)
121:Herbert J,
1193:1987 songs
1187:Categories
1174:August 13,
1147:August 12,
1120:August 12,
1076:August 12,
1033:August 12,
1012:August 12,
968:August 12,
801:August 13,
797:. AllMusic
779:August 12,
535:References
438:rave scene
419:acid house
401:following
379:media help
310:Production
265:Background
254:acid house
187:acid house
185:is a 1987
80:Acid house
1136:The Fader
1058:DJ Pierre
540:Footnotes
522:DJ Pierre
320:Ron Hardy
295:Ron Hardy
287:Hot Mix 5
279:DJ Pierre
226:Ron Hardy
215:Ron Hardy
203:DJ Pierre
123:DJ Pierre
1070:Archived
1002:AllMusic
962:Archived
469:AllMusic
189:song by
59:Released
950:Sources
507:Credits
458:Coldcut
191:Phuture
172:(1988)
167:(1987)
148:Phuture
64: (
41:Phuture
1163:DJ Mag
1097:
985:
887:
450:techno
241:song "
86:Length
49:B-side
37:Single
907:Muzik
479:Muzik
430:Shoom
103:Label
75:Genre
1176:2020
1149:2020
1122:2020
1095:ISBN
1078:2020
1035:2020
1014:2020
983:ISBN
970:2020
939:link
885:ISBN
867:Bush
803:2020
781:2020
448:and
432:and
108:Trax
66:1987
62:1987
39:by
1189::
1160:.
1133:.
1093:.
1089:.
1068:.
1064:.
1000:.
935:}}
931:{{
916:^
811:^
735:^
700:^
681:^
662:^
629:^
592:^
571:^
548:^
205:,
165:"
125:,
95:15
91:12
1178:.
1151:.
1124:.
1103:.
1080:.
1037:.
1016:.
991:.
972:.
941:)
893:.
869:.
805:.
783:.
757:.
718:.
695:.
612:.
566:.
381:.
161:"
93::
68:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
