The whole idea for C+C Music Factory was that Clivillés and Cole would be the only consistent members and that they’d work with different vocalists. When Seduction hit, Clivillés and Cole started up a new project that they called C+C Music Factory, and they signed a multi-album deal with Columbia. Those Jock Jams compilations were totally dominated by house music. Jock Jams collected tracks so mainstream that they were defined, in the popular imagination, by how often they got played at football and basketball games to hype up crowds.
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At sporting events, those crossover hits became utterly inescapable - to the point where Tommy Boy, in 1995, released the first volume of a compilation series called Jock Jams. Most of America experienced those songs as silly, reliable energy-bursts. Tracks like “Pump Up The Jam” and “The Power” hit the radio with all context removed. Instead, this music seemed like fun, disposable European shit, music for middle-school dances and teen-movie montages where people get ready for parties. In 1990, for instance, the Belgian group Technotronic reached #2 with the hypnotic “ Pump Up The Jam.” (It’s a 10.) Later that year, Snap!, from Germany, hit that same #2 peak with “ The Power.” (It’s a 9.) At the time, the vast majority of Americans had no idea that this was a whole genre of music that was born in gay Black clubs in the Midwest, that it represented a whole culture. The other crossover house hits of the early ’90s came from production teams with interchangeable names and often-uncredited guest vocalists. But “Vogue,” in a lot of ways, was an outlier. In 1990, Madonna’s “ Vogue” became the first real house song to reach #1 on the Hot 100. (You could hear some of that European take on house in Milli Vanilli, a group who’s been in this column a bunch of times.) At the dawn of the ’90s, house music truly broke out in the US, and something strange happened to it. Through Europe, more and more producers started using the basic building blocks of house and adding more and more sweeteners - howl-it-out choruses, clumsy but authoritative rap verses - and transforming it into a new kind of dance-pop.
There, house and Detroit techno - basically an offshoot of Chicago house - merged with a new drug culture and became a straight-up mainstream pop phenomenon. House music spread through underground scenes in the Midwest, but it really caught on in the UK in the late ’80s. That’s the nutshell version of how house music - short for Warehouse music - was born in the ’80s.
Instead, Knuckles played hard records, driven by drum machines and keyboards, and local producers eventually started making music that fed into that style. Knuckles wasn’t playing commercial disco records, so the whole backlash didn’t matter to him. At the Warehouse, Disco Demolition Night didn’t mean shit. Frankie Knuckles, a club DJ from New York, moved to Chicago in 1977 and started spinning records at a gay Black club called the Warehouse. It’s also the same city where house music started. Chicago is city where the infamous Disco Demolition Night provided a symbol and catalyst for the big backlash. In The Number Ones, I’m reviewing every single #1 single in the history of the Billboard Hot 100, starting with the chart’s beginning, in 1958, and working my way up into the present.ĭisco didn’t die it just went (back) underground.
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