Rave songs list

Rave songs list DEFAULT

The greatest hardcore rave tracks – ranked!

25. Bug Khan and Plastic Jam – Made in Two Minutes (1991)

If hardcore rave was rooted in house and techno, the prosaically titled Made in Two Minutes makes explicit another major influence, hip-hop. This is a largely forgotten strain of British rap inspired by the sound of Public Enemy’s producers the Bomb Squad, with the tempo pushed up and one eye fixed firmly on the post-acid-house dancefloor.

24. Ragga Twins – Mixed Truth (1992)

Pirate radio classics Spliffhead and Wipe the Needle are better known, but Mixed Truth is the Ragga Twins’ greatest moment, a particularly crazed example of the London duo Shut Up and Dance’s confrontational approach to production: potent, noisy electronics and immediately recognisable, obviously uncleared samples (in this case, from 808 State’s Pacific State).

23. Altern-8 – E-Vapour-8 (1992)

Hardcore’s goofy sense of humour attracted opprobrium, but no artist grasped that particular nettle like Altern-8. Detroit techno heads who became what Simon Reynolds called “the Slade of rave”, they dealt in pranks, blatant drug references and five-year-old MCs. It palled quickly, but E-Vapour-8’s Strings of Life sample and PP Arnold vocal overrides the jokey title.

22. A Homeboy, A Hippie and A Funki Dredd – Total Confusion (1990)

Another example of how Bomb Squad-inspired UK rap fed into rave, Total Confusion was the work of a trio including the late Casper Pound, who went on to found the celebrated techno label Rising High. On one level, it is very of its time; on another, its sheer exuberance still cuts through.

21. Edge 1 – Compnded (1992)

The work of trumpet-playing producer Gordon Matthewman, Compnded stole its riff from M1’s US house track Feel the Drums, pitching it up and placing it between bursts of fizzing electronics and tiny slivers of vocal. It’s a track that is constantly moving and shifting: the sound of 4am rave delirium.

20. Blame – Music Takes You (1991)

Dozens of hardcore producers fell foul of their cavalier attitude to sampling. Blame’s debut single is a case in point: you want the original version with the snatch of The Beginning by Seal – who apparently offered to re-sing it, before his label vetoed the idea – weaving through the dramatic synth stabs and warped vocal samples.

19. Foul Play – Ricochet (1992)

In truth, any track from Foul Play’s first two EPs could have made this list – so could 1993’s more jungle-facing Finest Illusion – but personal preference, and an abiding love for the delirium-inducing moment at 2min 41sec where a sample from Xena’s electro classic On the Upside suddenly appears, means Ricochet clinches it.

18. Nightmares on Wax – Aftermath (1990)

A pivotal track in the shift from techno to hardcore, Aftermath sounded noticeably different to the other big “Yorkshire bleep” singles released by Warp in the early 90s. The beat clattered away from a straightforward techno pulse, bass was even more overwhelming than that on LFO’s incredible LFO, the mood was weirder: simultaneously celebratory and unsettling.

17. Zero B – Lock Up (1991)

Lock Up ended up sampled on Dr Spin’s appalling 1992 novelty hit Tetris, a grim fate for such a great track. Only included on Zero B’s debut EP because he left the DAT of the intended track at home, it’s a perfect confection of funk guitar, Sheffield techno-inspired bleeps and exultant, hands-in-the-air breakdown.

16. Prodigy – Charly (1991)

Charly inadvertently spawned a wave of rotten kiddie-rave novelty hits, but the original is fantastic: tense and atmospheric, its sample wasn’t a kids TV theme but a cartoon public information film warning about paedophiles. It’s closer in spirit to Bam Bam’s terrifying acid house classic Where’s Your Child? than the tracks it inspired.

15. Shut Up and Dance – The Green Man (1991)

Shut Up and Dance were a law unto themselves: anti-drugs, even anti-rave – their biggest hit, the infamous Raving I’m Raving, was a sly dig at ecstasy users – their music never quite like anyone else’s. Named after a Hackney pub notorious for crack dealing, The Green Man was a gripping, disorienting swirl of orchestral samples.

14. Rufige Kru/Metalheads – Terminator (1992)

Goldie’s early releases exist in a liminal space where “dark” hardcore begins mutating into drum’n’bass. At the time, Terminator’s groundbreaking explosion of beats subjected to time-stretching – a key sound in the drum’n’bass arsenal – sounded utterly extraordinary, as if the world had suddenly spun off its axis.

13. Bizarre Inc – Playing With Knives (Quadrant Mix) (1991)

With the title of its mix referencing the Liverpool club Quadrant Park, Bizarre Inc’s Playing With Knives was a distinctly north-west twist on hardcore, brazenly stirring the area’s penchant for Italian house – replete with piano and screaming diva vocals – into the mix. A perfect confection of commerciality and punch, it made the Top 5.

12. Human Resource – Dominator (1991)

Inescapable in 1991, Dominator offered the sound of the Mentasm “hoover” (see No 3) gone feral, relentlessly surging and diving behind a couple of snappy hip-hop samples. Joey Beltram’s breakbeat-laden remix is the killer all-out-assault, although the moment when the original version deploys an old-fashioned burglar alarm on top of everything else is pretty bracing.

11. SL2 – DJs Take Control (1991)

Rave producers often seemed to gleefully ransack the past, ripping out samples they then warped and twisted to their own chaotic ends. DJs Take Control is still exciting, but more reverential in its approach: its repurposing of the Nightwriters’ Chicago house anthem Let The Music Use You is a respectful tip of the hat to hardcore’s roots.

10. Genaside II – Narra Mine (1991)

A London collective beloved of the Prodigy’s Liam Howlett, blessed with some extraordinary pseudonyms – take a bow Fragile Scotty and James Da Shit – Genaside II’s masterpiece leavened its claustrophobic atmosphere and raw dancehall MCing with a sweet female street soul vocal. The awesome Narra Mine may be hardcore’s answer to Massive Attack’s Unfinished Sympathy.

9. Urban Shakedown – Some Justice (1991)

Ce Ce Roger’s early house anthem Someday spawned two rave anthems. Liquid’s Sweet Harmony warped the track’s piano riff and a snatch of vocal into a Top 20 hit; Some Justice turned its intro into one of hardcore’s most glorious hands-in-the-air breakdowns, surrounded by explosive breakbeats and weirdly ominous synth stabs.

8. 4 Hero – Burning (1992)

Rightly credited with dragging rave into weirder, darker territory, 4 Hero’s hardcore tracks weren’t always straightforwardly nightmarish. The fantastic Burning flips between blissful female vocals and Loleatta Holloway samples and brain-scrambling chaos, capturing the moment when hedonism turns queasy and out-of-control.

7. Nasty Habits – Here Comes the Drumz (1992)

At the time, tracks like the Doc Scott-produced Here Come the Drumz seemed to divide the rave scene: some people embraced them, others didn’t want their high spoiled by something so intense and wilfully un-euphoric. Thirty years later, it just sounds awesome, a brutal wall of rhythm, car-alarm synths and Public Enemy samples.

6. Outlander – Vamp (1991)

Outlander was Marcos Salon, who began his career as a producer on Belgium’s New Beat scene. His biggest track, Vamp, was both hugely influential and, with its roots in Detroit techno still audible, relatively restrained by Belgian hardcore standards. The exhilarating but off-kilter lurch of its main riff is a simulacrum of the ecstasy user’s unsteady ascent.

5. Prodigy – Your Love (1991)

This year, XL Recordings’ Richard Russell said he knew from the start that the Prodigy would be the rave scene’s biggest stars. Certainly, Your Love is a superb and remarkably assured debut single: a collage of uplifting house piano, soul samples and electronic noise, commercial without a hint of cheese.

4. House Crew – Euphoria (Nino’s Dream Mix) (1993)

Financed by 80s soul star Phil Fearon and best known for Baby D’s No 1 Let Me Be Your Fantasy, the Production House label released a string of underground classics, but this mix of Euphoria – an overload of samples and blissful electronics over a rhythm on the cusp of hardcore’s transformation into jungle – is the best, a pure, shiver-inducing delight.

3. Second Phase – Mentasm (1991)

Possibly the most influential dance track of its era, Mentasm stood out for its “hoover” noise. It was a product of the producer Joey Beltram’slove of heavy metal; he tried to recreate its mood using a Juno synth. The sound – thrilling or terrifying, according to your mood – went on to consume hardcore itself: umpteen tracks used it in Mentasm’s wake.

2. Acen – Trip II The Moon (1992)

In snootier quarters, hardcore was viewed as house music’s gurning idiot younger brother: unsophisticated, predicated on novelty. Acen’s Trip to the Moon series gave the lie to that idea: his productions were complex, stitching samples from Rakim, John Barry, the Doors and forgotten UK soul band Tongue ’N’ Cheek into an utterly thrilling rush of sound.

1. 2 Bad Mice – Bombscare (1991)

Three decades on, and with a clearer head, you can see why rave or hardcore was so reviled at the time by critics and house and techno connoisseurs. Populist rather than elitist, it was seldom subtle: the sped-up helium vocals, the blatant drug references, the jokes. Equally, who could dismiss a genre that birthed a track as flat-out great as Bombscare? It’s a masterpiece of minimalism – there’s nothing to it beyond a breakbeat, a nagging riff and sub-bass – but it works, effortlessly, perfectly. YouTube comments under hardcore tracks tend to defiant reminiscences of the “if you were there, you know” variety, which is true, but Bombscare doesn’t require a nostalgic glow to appreciate. And the flipside, Hold It Down, is amazing, too.

Sours: https://www.theguardian.com/music/2020/aug/27/the-greatest-hardcore-rave-tracks-ranked

10 great lost rave anthems

Before we get down to a Top 10 of rave, let’s define it. For the purpose of this list let’s consider rave to be music created in the UK from 1991 to 1994, after the acid house boom that burnt out around 1989, but before jungle swept through in 1994 and permanently fractured the scene.

This was a crazy, intense time for British music. New technology was coming out monthly, and producers were caught in an arms race to see who could squeeze the weirdest, freshest sounds from their gear. Tempos were rocketing up to speeds faster than limbs could flail, breakbeats were being mutilated and re-stitched, and a generation of DJs who’d learnt their craft playing imports from America and Europe were suddenly packing their sets full of homegrown bangers.

There are obvious omissions from this Top 10, mostly because they’re already so well known – pick up any Back To The Old Skool comp and you’re going to hear Sweet Harmony, Out Of Space, Let Me Be Your Fantasy, Trip II The Moon or On a Ragga Tip. If you think you don’t know any of those tunes, Google them now – and realise you’ve heard snatches of them playing from car radios and shopping centre Tannoys your whole life.

Instead, here’s 10 tracks that mostly didn’t make it into the pop charts, but got wheeled up for thousands of ravers week in week out. Whether UK dance music has ever sounded as crazy as this since is open to debate. But these tunes, mocked at the time as throwaway crap made by the musically illiterate, still sound like they’ve come from the future even 20-odd years on.

Listen to a Fireside Chat with acid house heroes Junior Boy's Own on Red Bull Radio.

1. Hyper On Experience – Lord Of The Null Lines (1994)

Joining the dots between ‘93 rave and the first stirrings of jungle, the thing that stands up out of Hyper-On Experience productions is the amount of ideas they’d try and pack into a single song. Lords Of The Null Lines journeys from neo-classical piano to sci-fi soundscapes, pausing to take in deep bobbles of bass energy, the sounds of pools being splashed into, and menacing samples lifted from Predator 2 (the classic “fucking voodoo magic” line). After a couple of minutes a vocal drops in, and you realise this is actually a song, written in a bizarre structure they’ve invented on the spot.

2. Bass Selective – Blow Out Part 2 (1992)

A sing-a-long classic ’92 caned by every single DJ in the scene, this was the first release from Marc Royal, who would later go on to find fame as long standing Shy FX partner T Power. Blow Out makes simplicity work for it – it’s made from a handful of elements; a great Korg piano line, some tough breaks, a soulful vocal that sits sweetly on top, and the occasional burst of nutty synth mayhem.

3. The Moog – Rush Hour (1992)

In terms of truly shameless drug anthems, this one takes the biscuit. Half of the track consists of frantic synths and a hooligan MC shouting "make some noise" with barely discernable rhythm. And every now and then it drops into politicians talking about MDMA in a way that’s clearly not meant to discourage listeners. It’s the kind of gleefully irresponsible rave banger that got the genre outlawed, and there’s little surprise that this one still rarely makes the kind of old-skool compilations they flog in Tescos.

4. Sound Entity – A2 (1993)

A classic from the darkside era. Produced by Alex Reece – later famous for his Metalheadz classic Pulp Fiction – and Jack Smooth, a one man production factory who has worked on upwards of a thousand hardcore and drum'n'bass cuts, this EP is something of a rave holy grail. No one knows the proper track titles – the 12” was printed with the wrong labels – and it’s never been officially reissued, with copies selling online for £100 upwards. In keeping with the general feeling of paranoia that swept through raves in 1993, the break down on stand-out track A2 is a wash of sinister strings and a booming vocal proclaiming this "This is the voice of ecstasy… don’t let me take control." It’s probably the most effective anti-drugs message committed to wax.

5. Rachel Wallace – Tell Me Why (1992)

A bittersweet hardcore ballad to broken hearts. It’s often surprising to note how many rave anthems were built around heartbreak lyrics – and Why is surely one of the greatest. In a parallel universe this would have been a huge hit. It has the simplicity and hookiness of a pop classic, combined with beats hard enough to carry a warehouse into euphoric bedlam.

6. Blame – Music Takes You (Original Vocal Mix) (1992)

The original version of this ethereal banger was withdrawn from sale after occasional rave vocalist Seal launched a copyright claim. A tiny snippet of his vocals singing "music takes you round and round" had been sampled, giving the track its name – and a plaintive, soulful sheen. Blame re-released the tune with the Seal vocal removed and it went on to become a huge hit, but the original still keeps a special place in the hearts of rave OGs.

7. Jimmy J & Cru-L-T – Six Days (1994)

6 Days may be the last tune to unite the jungle and hardcore scenes. Released in 1994, it had a huge piano led breakdown that was cheesy enough for the happy hardcore massive, alongside hammering breakbeats hard enough to keep the junglists raving. It was set to become a huge chart success, only to have fame and fortune snatched away at the last minute – a Dutch producer called Paul Elstak ripped off the main sample after Jimmi J and Cru-L-T turned down his attempt to license 6 Days to his own label. Whilst they were still negotiating a deal with Pete Tong’s FFRR label, Elstak’s version became a smash across Europe and, as a result, the negotiations with FFRR collapsed.

8. Brothers Grimm – Exodus (The Lion Awakens) (1992)

Every single record released on the Production House label from 1992 to 1993 is a stone cold classic. The label was set up by Phil Fearon, a former UK chart topper whose Brit soul with the band Galaxy had given him the funds to set up an independent production studio. Phil gathered a set of young musicians around him and allowed them to produce hardcore epics with no constraints. The result were long tracks of serious musical complexity – the closest rave had to a label making prog rock. Exodus from the Brothers Grimm is a three-part beast, opening with a sample taken from The Exorcist, dropping into a sub bass heavy mid-section, before finishing up with a hands-aloft dancehall singalong. Timeless.

9. Nookie – Gonna Be Alright (Cloud 9 Remix) (1993)

Released on the hugely influential Reinforced Records on the Return Of Nookie EP, this track, tucked away on the B-side, became an anthem. Ravers knew it as "The Sound Of Music", thanks to its pitched-up, discordant vocal sample. It’s the interplay of that sample with euphoric pianos, ultra-fast breakbeats and sub-rattling basslines, all teetering on the point of falling apart that keeps this as a career high for Nookie to this day, and keeps buyers on Discogs forking out £40 a copy.

10. One Tribe – What Have You Done (1992)

A beautiful piece of melancholic dance music, this track resurfaced as a deep favourite of London’s 2-step DJs. Anyone tuning into to garage pirate radio in the late 90s would stand a fair chance of hearing this 1992 hit getting wheeled up. It’s built from a longing vocal, with a halfway bridge given over to a rap – and in fact it’s ripe for a remake. It’d be no surprise at all if DJ SKT pulled out a shufflers' version in 2018…

Now listen to Oneman b2b L U C Y with Sgt Pokes on the mic, live on Red Bull Radio from Refractions.

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Sours: https://www.redbull.com/gb-en/10-lost-rave-classics
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The 50 greatest rave anthems of all time

Altern 8 is back in town for yet another legendary show with Techno & Cans. With the venue closing its doors shortly the collective are going back to back with the legendary rave icon that is Mark Archer this Friday. With that in mind, there’s no real better excuse for us to thrall through our collection of rave tapes to find the top 50 rave tracks of all time. 

While of course we could just do a track list of Altern 8’s legendary Boiler Room set from Nottingham we’ve decided to actually dig deep in the crates and maybe find some of the forgotten anthems that were lost in the annals of time.

It was hard to quantify how exactly we rated each tune, but the basic parameters revolved around how legendary each track was, the rave influences it held and how good each one would sound in a warehouse at 2.50am with your hands loosely aimed towards the ceiling. If you can figure out how to scroll and press play on each one with your arms in the sky then this list should make for ample viewing and listening.

50. Sonz Of a Loop Da Loop Era – Far Out

A solid number to kick off with and somewhat a blank canvas when it comes to raw rave tracks.

49. Leftfield – Phat Planet

A staple big beat track from one of the legends of the post rave era.

48. Cybersonik – Technarchy 

The first of many tracks from Altern 8’s Boiler Room that makes the list and a well deserved dance floor driven banger.


47. Soul Central – Strings Of Life

This one doesn’t rank as highly as we expected due to its reliance on the piano rather than the ravey synth that drops in and out, but a solid rave banger at that.

46. Speedy J – Something For Your Mind

Given that Altern 8 is going back to back with Techno & Cans we made sure to include some tracks that hinge a little more so on the techno side of things rather than strictly break beat rave.

45. Origin Unknown – Valley of Shadows

Despite being a Drum n’Bass classic, the place of jungle and dn’b is a little overlooked in terms of the formation of Rave and Hardcore, given the importance of breaks in the iconic sound. The use of samples and acid here and there make it a transcendent rave classic.

44. Bryan Zentz – D Clash

That synth just screams cheesy rave despite the pulsating kicks throughout.

43. Second Phase – Mentasm

Easy choice really, the synth does all the talking.

42. New Atlantic – I Know 

Proper tear off pants, bleach your hair in the bathroom music.

41. The Prodigy – Full Throttle

The first of many Prodigy tunes and a great crossover track in terms of the Altern 8 X Techno & Cans link.

40. Channel X – Rave The Rhythm

Massive techno kicks alongside a classic rave synth that shows the darker sound of an era renowned for positive vibes.

39. Tony De Vit – The Dawn

This wouldn’t make sense without hard house. Sorry.

38. SL2 –  On a Ragga Tip

The first of many that make you go, ‘Oh I know that one!’

37. Sharpside – Space Cruising

Crunchy 90s techno equipped with orgasm samples because of course it is.

36. Ignition Technician – Throw Your Hands

As the song suggests, hands in the air for this one. Comically raw synths are reinforced by a unapologetic kick drums.

35. Human Resource – Dominator

The remix credits on this are enough to know it’s deserving of a place on the list. That synth and rap sample combo make sure it keeps its place.

34. Olive – You’re Not Alone

We weren’t sure whether to include this or not, but it got in on ‘One more tune’ factor, along with its underrated breakbeat element that really channels the raw rave sound of the 90s.

33. The Future Sound Of London – Papa New Guinea

While the mash up with Dax J managed to push this one into techno circles this is most definitely an iconic rave banger.

32. Kicks Like a Mule – The Bouncer 

No need to explain this one. Press play.

31. N-Joi – Anthem

N-Joi are one of the biggest acts to emerge from the rave era and this is arguably their biggest track. It doesn’t rank as highly as expected as the keys seems a tad more suitable for daytime TV than peak time warehouse.


30. Massive Attack – Unfinished Sympathy

We had a tricky time including this one, similar to ‘You’re Not Alone’ however its defining breakbeat gets it over the line, as well as the fact that it’s one of the most important dance music tracks ever.

29. Bizarre Inc. – Playing With Knives

Not going to lie, I hit the high note in this out loud when it came on in the office.

28. Subliminal Cuts – Le Voie Le Soleil 

Piano. Kicks. Breaks and an overzealous filter.

27. The Shamen – Ebeneezer Goode

The sneaky allusion to ecstasy that seen this track go as far as radio is a signature of the tongue in cheek nature of the music and we’d be stupid to leave it off.

26. Daft Punk – Rollin’ and Scratchin’

An unmistakably hefty techno number but this got in on peak time warehouse factor. The distortion doesn’t necessarily scream bleached hair and breakbeat dancing but it swings us right back to bodies mindlessly pumping to dance music.


25. The Prodigy – Charly


24. Awesome 3 – Don’t Go

High pitch vocals and more piano. Give the people what they want!

23. T99 – Anasthasia

The synths in this are a little more sinister and bump the track up the list past some of the more predictable tracks. Perc and Truss’ jaw dropping edit also shows the track’s effectiveness in a modern setting too.

22. Josh Wink – Higher State of Consciousness

No question a seriously important track when it comes to the grand scheme of things and one with an A+ score in the hands in the air category.

21. Baby D – Let Me Be Your Fantasy

Another big radio hit that makes the list but an easy inclusion at that. The seamless marriage of dreamy keys, breaks and catchy vocals had this destined to be a huge hit. Not to mention the crowd noises too, because a track isn’t really a rave anthem without crowd noises is it?

20. Moby – Go

A Moby track had to be in here somewhere and we went with ‘Go’, maybe because Archer smashes it out in his Boiler Room or maybe because it’s one of the biggest dance music tracks of all time, you’ll never know.

19. Aphex Twin – Polynomial C

Similar to Moby, we had to include some Aphex in here somewhere, and nothing beats his work on R&S in terms of rave and techno. Polynomial C is one of those euphoric tracks that also carries the misty elements that are only found on Aphex records.

18. The Prodigy – Wind It Up

Another hyperspeed offering from the Prodigy and one that is destined to send any venue into utter chaos the minute it comes through the speakers.

17. Quadrophonia – Quadrophonia

The organ in this is fit for a cathedral anywhere across the globe and then the break beats and horns come in making it an unmistakable dance floor filler.

16. LFO – LFO (Leeds Warehouse Mix)

Warp is a genre defying label and like many others on the list it was instrumental in shaping the current sound of electronic music, with LFO being one of the leading lights in their pursuit.

15. The Prodigy – Everybody in the Place (Fairground Mix)

Choosing this or the 155 and Rising version proved to be the toughest decision of the lot but we think the big beat version wins out, at least because of the video.

14. CJ Bolland – The Prophet 

The definitive closing track from one of the original purveyors of rave.

13. Mix Factory – Take Me Away (XTC Come Hard Mix)

‘XTC Come Hard Mix’ is enough to show that this needs a spot high up on the list.

12. Altern 8 – E-Vapor-8

The first Altern 8 track on the list just about misses the top 10 but with more to come their omission is not in vein.

11. 808 State – Pacific State

A more relaxed number to ease into the top ten but again another classic and massive track due to their pioneering use of instrumentation, all bundled together by huge breaks.

10. Liquid – Sweet Harmony

The minute the piano kicks in on this track it’s almost as if everything in life makes sense. Couple that with the undeniable vocals and you have yourself one of the most easily recognisable tunes of all time.

9. Praga Khan – Injected With A Poison

We wondered whether this one was too cringeworthy or not to include it, but once we hear that ‘INJECTED WITH A POISON’ sample it’s too good to omit.

8. Outlander – Vamp

Needs no description, arguably the most iconic stabs ever.

7. CJ Bolland – Camargue

Bolland’s final appearance on the list but easily his best contribution to electronic music.

6. Jaydee – Plastic Dreams 

A more chilled marriage of organs with breaks and like the vast number of tracks on the list, is a pretty important track in the grand scheme of things.

5. Joey Beltram – Energy Flash

The minute a classics night is announced in any club anywhere, you can guarantee the DJs are itching to get this one out of their system. There’s something about the track that allows it to truck along within any set but also allows it to stick out so much on its own that is totally unique.

4. 2 Bad Mice – Bombscare

The sounds on this track most definitely come across as cheap to the modern listener, but this really embodies the ethos of the rave era; intuitive sounds to put smiles on people’s faces.

3. Altern 8 – Frequency

Watch Mark Archer drop this in his Boiler Room and immediately silence any inner questions you had about this track’s placement on the list.

2. The Prodigy – Out Of Space

The Prodigy’s last hurrah on our definitive rave collection, but most definitely their best track. The reggae infusion alongside everything from big beat and hardcore makes this one of the most frantic and best peak time tracks ever.


1. Underworld – Born Slippy

The unmistakable theme song from ‘Trainspotting’, the film that incorporates the rave era the most, and without a doubt one of the most timeless pieces of music in existence, this was an easy choice for number one.



Techno & Cans and Altern 8 go back to back as part of Hangar’s closing series of parties, you can join their Facebook event here.

Sours: https://fourfourmag.com/50-greatest-rave-anthems-time/
Martin Garrix - Animals (Official Video)

These classic rave tracks will send you back to the 90s

  • The Prodigy - No Good (Start The Dance)

    Fronted by the late, great Keith Flint, The Prodigy’s early works are classic rave anthems.

  • Utah Saints - Something Good

    Leeds lads Jez Willis and Tim Garbutt met at the Mix club in Harrogate and carved a niche by featuring audacious samples on their tunes. This 1992 hit clips the distinctive hook from Cloudbusting by Kate Bush.

  • Kicks Like A Mule - The Bouncer

    “Your name’s not down, you’re not coming in.” Later covered by the Klaxons, this early breakbeat classic sums up the frustration of the club blagger. “Not tonight. Not tonight.”

  • Altern 8 - E-Vapor-8

    Mark Archer and Chris Peat made a splash by rocking up with chemical hazard suits and facemasks and covering their tunes with the sound of raving crowds. This track samples the house classic Strings Of Life and the video includes a Boglin - remember those? The 90s!

  • The Shamen - Move Any Mountain

    AKA Pro>Gen. Forget Ebeneezer Goode, this is pure Shamen. The band started life as a politically-charged indie guitar outfit, but found house in the Second Summer Of Love and never looked back. The track was so deep, it inspired Super Hans’ wedding vows in Peep Show.

    SuperHans "Move Any Mountain"

    shamen: peepshow (reprise) Some pps said they couldn’t see SuperHans wedding vows manipulation of "Move any mountain" prose on the Gregory's beard S9 Ep2 of Peep Show so heres a taste.....

    Posted by The Shamen on Friday, 26 October 2018
  • Opus III - It’s A Fine Day

    Blissed-out tune featuring vocals from Kirsty Hawkshaw, the daughter of the bloke who wrote the Grange Hill theme. Her vocal was later sampled by Orbital for Halcyon + On + On.

  • The Future Sound Of London - Papua New Guinea

    Brian Dougans was the brain behind the 1988 Brit House act Stakker Humanoid and later formed The Future Sound Of London. When Dougans’ Amorphous Androgynous project worked with Noel Gallagher, the former Oasis man was floored when he realised he was in the same studio with the man behind these rave classics!

  • Together - Hardcore Uproar

    Hacienda regulars Suddi Raval and Jon Donaghy created a white label to play in the Manchester club which sampled John Carpenter’s theme for Assault On Precinct 13 and Obi Wan Kenobi saying “More powerful than you can possibly imagine.” The 12” became a huge tune on its commercial release in 1990.

  • LFO - LFO (Leeds Warehouse Mix)

    House turned to techno in Leeds in 1990, with Gez Varley and Mark Bell releasing their self-titled debut single that summer. A huge club hit, the track was released by influential Sheffield label Warp. Wait until 0.51 for the bass to drop.

  • SL2 - On A Ragga Tip

    Matt "Slipmatt" Nelson, John "Lime" Fernandez and vocalist Jason "Jay-J" James made their name at the Raindance rave events and issued this ragga/breakbeat mash up in 1992.

  • Sours: https://www.radiox.co.uk/features/x-lists/best-90s-rave-tracks/

    List rave songs

    The 20 best US rave anthems of the '90s

    Star-spangled bangers - it's the Mixmag rundown of the 20 greatest rave anthems of the 1990s

    • Cameron Holbrook
    • 29 July 2019

    What criteria does a track need to meet to be considered a rave anthem? Perhaps it's the tune's historical significance in regards to the scene's development or the number of records it sold.

    But in reality, the diverse and far-reaching geography of clubland has evolved in such a way over the past 30 odd years that it's somewhat futile order to give the accolade to just a handful of tracks.

    Rave anthems are intimate and subjective, varying in size, sound and popularity. It's safe to say that hundreds are produced, reinterpreted, lost and rediscovered with each passing year.

    For us, we look at a rave anthem as being the kind of tune that is met with a blatant and recognized roar when it hits the floor. The type of song that makes you shoot up from your disco sit and run full speed into the crowd. It's a track that turns revelers into a linked unit of hedonistic behavior and drives the memories you bring home with you that night.

    While a colossal share of the world's most recognized rave anthems from the '90s come from Europe, we decided to narrow our search and concentrate on those that were born and bred in the USA. From NYC's Twisted America Records to LA's City Of Angels imprint, Chicago's Relief Records, Detroit's Transmat and Philadelphia's Ovum Recordings, from sea to shining sea... there are plenty of bangers in the running.

    We asked '90s ravers from San Francisco, Los Angeles, Chicago and New York to tell us their favorite underground anthems. With over 400 tracks submitted, these are the 20 that Mixmag connected with the most.

    Check out our choices below.

    Joey Beltram 'Energy Flash' (1990)

    Joey Beltram's 'Energy Flash' is a brooding and rebellious anthem that altered the face of dance music forever. It's aggressive nature and dark minimalism redefined what house could be, bringing about a heavier "techno" style with a sound that had not been fully been realized yet. Originally released on R&S, it was later licensed for a subsequent release through Derrick May's Detroit label, Transmat.

    Moby 'Go' (1990)

    First released in 1990 as the b-side to Moby's debut single 'Mobility' in 1990 on Instinct Records, this is the track that first put the electronic music powerhouse on the map. 'Go' samples both '80s rock Tones on Tali's song of the same name, as well as soul singer Jocelyn Brown's r'n'b Hit Factory single from 1985, 'Love's Gonna Get You'. To this day, the track remains a somber dancefloor staple.

    Mission Control Outta Limits (Shelter Mix) (1992)

    Deep and murky to its core, Mission Control's 'Outta Limits', released on Atlantic Records, is as timeless as deep house tracks come. The distinguished tune features the sampled voice of Timothy Leary over a throbbing and druggy manner that was lightyears ahead of its time.

    Cajmere 'Percolator' (1992)

    Released on his Chicago imprint Cajual Records, the imprint that eventually gave birth to Circuit Records and Relief Records, Cajmere (aka Green Velvet) released the globally renowned 'Percolator' in 1992. It's a track that has been reimagined by countless artists, including: Major Lazer, Eats Everything, Gant Man, Claude VonStroke and Derrick Carter (the list goes on).

    Underground Resistance (Jeff Mills) 'The Seawolf' (1992)

    Released via Underground Resistance's now defunct World Power Alliance label in 1992, 'The Seawolf' is a trailblazing Detroit techno slammer produced by Jeff Mills that was named after the German u-boats which preyed on allied merchant ships during World War II. The track's frantic sonar-infused sound shows us the dawning of an aggressive techno style that would soon engulf the collective's industrious and mechanical city.

    LaTour 'Blue' (1992)

    Perhaps best known from its role in the bathroom club scene in the movie Basic Instinct, 'Blue' by Chicago artist William LaTour is a track that played a pivotal role in bringing dance-pop and new wave elements into early house sounds. It was a track that was rinsed in underground raves all over the country and opened up new avenues for all kinds of dance music.

    Hardrive 'Deep Inside' (1993)

    'Deep Inside' is a perfect house tune that has solidified itself as a timeless clubland anthem through and through. Pure and true to its core, Louie Vega’s track ‘Deep Inside’ (produced under his Hardrive moniker) reminds us that deep down inside, all we ever really need... is love.

    The Bucketheads 'The Bomb! (These Sounds Fall Into My Mind)' (1994)

    The Bucketheads is a disco-sampling solo project from NYC dance music legend Kenny "Dope" Gonzalez who is also revered for his work as one half of Masters At Work alongside Louie Vega. Sampling the band Chicago's 1979 track 'Street Player', Kenny Dope created a slick piece of house that forces hands in the air everywhere.

    Fun fact: The famous line "These sounds fall into my mind" actually reads "Street sounds swirling through my mind".

    Electroliners 'Loose Caboose' (1995)

    This heavy concoction of breakbeat and acid thought up by DJ Dan and Jim Hopkins (aka Electroliners) was one of the biggest tunes in the LA scene back in 1995. The track samples the late actor Gene Wilder in his iconic roll as Willy Wonka in Charlie and the Chocolate Factory. Yum!

    Sarah McLachlan 'Possession' (Rabbit in the Moon Remix) (1995)

    On the cover of this 1995 remix 12" of Sarah McLachlan's 'Possession' by the diverse Tampa-based electronic outfit Rabbit in the Moon, the group used a quote from MixmagUpdate which reads "Truly inspired... will still sound great in 10 years time."

    23 years later... we still feel the same.

    Josh Wink 'Higher State of Consciousness' (Tweekin Acid Funk) (1995)

    Man oh man did this tune cause a ruckus. Released on NYC label Strictly Rhythm in 1995 and recorded at his Ovum Sound Studios in Philadelphia, Josh Wink's hard house meets acidbreaks belter 'Higher State of Consciousness' came into the scene as an extraterrestrial invader and nearly blew the heads off of everyone. The track is commended for taking on some seriously uncharted frequency limits and was a record that everybody wanted to get their hands on.

    Find out how Wink made the track by going here.

    Winx 'Don't Laugh' (1995)

    Some might scoff at posting two tracks by the same artist in a row, but as one user put it on Discogs, "1995 was the year you couldn't get away from Josh Wink." We have no issue with it.

    Released under Josh Wink's Winx moniker, this unsettling underground staple is a track that has seared itself into the brains of numerous '90s ravers (for better or for worse). It may not be your preferred tune while coming up on an acid trip, but none the less, it's a intensely minimal and well paced burn that builds from the bassline up with a sinister perfection.

    Green Velvet 'Flash' (1995)

    Released on his Relief Records imprint in 1995, the sheer influence of Green Velvet's 'Flash' can be best understood by looking at the immense number of underground icons who have remixed the song. These artists include DJ Sneak, Boo Williams, Paul Johnson, Eats Everything, Latmun, The Advent and more. There is no understating how essential this song was to the midwest rave scene in the mid-90s and it solidified the green haired maestro's place as a dance music kingpin.

    DJ Icey 'Low Down Good Girl' (1996)

    Released on his Orlando, Florida-based imprint Zone Records, DJ Icey's prolific breakbeat sound came into its own with his 12" 'Low Down Good Girl / All Beautiful'. He is credited with single handedly creating and maintaining Florida breaks culture with his funky and naturally creative synthesis and drum patterns. Must give props where props are due. DJ Icey is the don.

    Funky Green Dogs 'Fired Up' (Murk's Original Groove) (1996)

    Released on Twisted America Records in 1996, the US house duo Murk join with vocalist Tamara Wallace as Funky Green Dog for 'Fired Up' - an early tribal house tune that's catchy, uplifting and the right choice for leading you into a long night.

    The Crystal Method Busy Child (1997)

    In the late '90s, while the UK was enjoying the genius of acts such as The Chemical Brothers, Fatboy Slim and The Prodigy, the US was beginning to throw its full weight behind the rave pioneers that are The Crystal Method. Released in 1997, the Las Vegas duo's single 'Get Busy Child' on the west coast imprint City of Angles solidified their signature breakbeat style with memorable vocal samples from DJ Pierre’s 'Summertime (Is Get Busy Time)' and Eric B. & Rakim’s 'Know the Ledge'. The track even found its way into films such as Gone in Sixty Seconds, Daria and the soundtrack for the 1998 edition of the EA Sports game 'FIFA 98: Road To World Cup'.

    Danny Tenaglia 'Music Is The Answer (Dancin' And Prancin')' (1998)

    Released on Twisted America Records in 1998, New York City house hero Danny Tenaglia does us the favor of reminding us what we all should already know:

    Music is the answer
    To your problems
    Keep on movin'
    Then you can solve them

    David Morales 'Needin You' (1998)

    David Morales' infectious 'Needin You' was released on NYC imprint Definity Records back in 1998, but Morales actually originally made the tune a few years earlier as a DJ tool. Due to the great reactions he was getting from the crowd, he decided to make it into a full fledged track that stormed the beaches of Ibiza and beyond that year.

    The System 'You're In My System' (Atmospheric Vocal) (1998)

    'You're In My System' from The System (aka Jerome Sydenham and Kerri Chandler) was released in 1998 via the New York-based imprint, Ibadan Records. With its sultry male vocals, pristine beats and deep arrangement, it's far and away the most sought after record on the label's catalog. After putting out the original and his spiffy 'Atmosphere Dub' of the track, Kerri Chandler rode this conquering deep house classic all the way to the realms of dance music stardom.

    The Aztec Mystic (aka DJ Rolando) 'Jaguar' (1999)

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