49ers - Got To Be Free - 4th & Broadway - US House
Track ListingA1 Got To Be Free (Night Dreams Club Mix) (6:27)
Mixed By - Roberto Arduini Recorded By - Andrea Puntillo , Pagany , Roberto Arduini
A2 Got To Be Free (E-Smoove's Groovy Mix) (6:23)
Engineer [Remix] - Larry Sturm Keyboards [Additional] - Chanté Savage* Producer [Additional], Remix - E-Smoove
A3 Got To Be Free (After Hours Mix) (4:05)
Mixed By - Roberto Arduini Recorded By - Andrea Puntillo , Pagany
B1 Got To Be Free (Maurice's Underground Mix) (6:41)
Engineer [Remix] - Larry Sturm Producer [Additional], Remix - Maurice Joshua
B2 Got To Be Free (Gradualundergrounddub Mix) (6:59)
Recorded By, Mixed By - Andrea Gemolotto , Sergio Portaluri
B3 Got To Be Free (Rhythm Mix) (5:56)
Mixed By - Roberto Arduini Recorded By - DJ Professor
Media Condition » Near Mint (NM or M-)
Sleeve Condition » Near Mint (NM or M-)
|Title||Got To Be Free|
|Label||4th & Broadway|
|Catalogue||12 BRW 255|
|Format||Vinyl 12 Inch|
Other Titles by 49ers
Information on the US House GenreThis Genre includes house releases on US record labels from the early 80's to present
US: late 1980s – early 1990s
Back in America the scene had still not progressed beyond a small number of clubs in Chicago, Detroit, New York, and New Jersey. Paradise Garage in New York City was still a top club, although they now had Todd Terry, 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. While hip-hop had made it onto radio play-lists, the only other choices were Rock, Country & Western or R&B.
Other influences from New York came from the hip-hop, reggae, and Latin community, and many of the New York City super producers/DJs began surfacing for the first time (Erick Morillo, Roger Sanchez, Junior Vasquez, Danny Tenaglia, Jonathan Peters) with unique sounds that would evolve into other genres (tribal house, progressive house, funky house). Producers such as Masters At Work and Kerri Chandler also started pioneering a richer Garage sound that was picked up on by 'outsiders' from the worlds of jazz, hip-hop and downbeat as much as it was by house aficionados.
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 Registford 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.
Influential gospel/R&B-influenced Aly-us released "Time Passes On" in 1993 (Strictly Rhythm), then later, "Follow Me" which received radio airplay as well as being played in clubs. Another U.S. hit which received radio play was the single "Time for the Perculator" by Cajmere, which became the prototype of ghetto house sub-genre. Cajmere started the Cajual and Relief labels (amongst others). By the early 1990s artists such as Cajmere himself (under that name as well as Green Velvet and as producer for Dajae), DJ Sneak, Glenn Underground and others did many recordings. The 1990s saw new Chicago house artists emerge such as DJ Funk, who operates a Chicago house record label called Dance Mania, which primarily distributes ghetto house. Ghetto house, along with acid house, were house music styles that were started in Chicago.