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"Acid Tracks" is an instrumental track created in 1985 by three friends from Chicago, DJ Pierre, Herb, and Spanky, who would release the track under the name Phuture as a 12" single on the Trax record label in 1987. The track was created spontaneously during a jamming session while the trio were experimenting with the settings of a Roland TB-303 synthesizer. They took a tape of the track to Ron Hardy, the DJ at Chicago's Music Box nightclub, one of the earliest clubs to play house music. The tape of the track quickly became popular in Chicago club scene, and when it was pressed up and released as a 12" vinyl record in 1987, its popularity spread to other clubs across the world. "Acid Tracks" is now widely regarded as one of the earliest acid house records and one of the most influential records in the history of electronic dance music.

History

"Acid Tracks" was created by three friends from Chicago, Nathaniel Pierre Jones (aka DJ Pierre), Herb Jackson and Earl "Spanky" Smith. According to an interview that DJ Pierre gave to DJ Mag in 2014, he was first alerted to the possibilities of the TB-303 when he heard a friend using one. Pierre In late 1985 had purchased a Roland TB-303 synthesizer and were playing around with it to discover what sounds it could make. The synthesizer had been created to provide a bassline for rock guitarists, but by turning the controls beyond the normal limits, they found that the synthesizer would produce a "squelching" sound. The trio added a beat to the squelching rhythm pattern and recorded it to a tape, provisionally titling the resulting track "In My Mind".

, which was originally designed as a bass accompaniment for rock bands, and came up with The resulting "squelching" sound , but it ended up as a favorite among Chicago and Detroit electronic-music producers in the late 1980s.

Legacy

The influence and importance of "Acid Tracks" on dance music has been noted by many publications over the years. In 1996, Mixmag placed the song at number 31 in their list of "The Best Dance Singles of All Time". In a feature on Phuture for The Wire in April 1998, Mike Shallcross stated that "Acid Tracks" was "the 12" single [...] that launched the most significant youth movement in the last 20 years" and that "seldom has a single record impacted so heavily on popular culture." It was included as one of "The 50 Most Influential Records of All Time" in dance music in a list published in Muzik in July 1999. In Altered State: The Story of Ecstasy Culture and Acid House, Matthew Collin said that the record "would make the 303 a revered icon of dance culture and create house music's first sub-genre: acid house". Music journalist Garry Mulholland included the track in his 2002 book This Is Uncool: The 500 Greatest Singles Since Punk and Disco, noting that it "gave birth to everything good and bad about clubbing, drug-taking and fashion in the '90s". In 2014, Jim Poe of The Guardian said the record "is high on any list of the greatest house music singles of all time".

Fails WP:MUSICBIO. The article is lengthy, but basically consists of "he released a record, he announced a new production company, he produced a song, he put together a new band, he released another record"... it's really just a long resumé and list of publicity announcements, and short of any actual evidence of notability. Once you strip out the sources relating to the artist's social media, his companies, and record listings on Discogs and iTunes, there's almost nothing here. The AllMusic entry for Baalet is empty. The Billboard article was an publicity announcement exclusive to the website, simply linking to the video for the single and announcing there would be an album soon. The two Vibe sources are "watch the video below" announcements, and don't mention the subject. The MTV source is an artist page, featuring a biography provided by the band and links to two videos, and nothing else. The Alternative Press source is one quote taken from the interview given to PropertyofZack (also mentioned in the sources) which is a blog. The Grammy source is a video of a roundtable discussion about award nominees in which the subject took part, and makes no reference to the subject or his music. The DIY Musician blog doesn't mention the subject. The earMILK source is another introduction to watch a video. American Pancake is also a one-man blog, and I can't find a copy of the Crazy Animal Face source, but it's a primary source interview anyway. In short, I can't find a single reliable independent source discussing any of his work after Hey Monday. I'm not sure what to do with this article – it doesn't stand up to passing notability by itself, but a redirect or merge to Hey Monday is possible, which is really the only notable thing the subject has been involved in, even if it was for just one album... I just don't know whether there is anything to merge, or it should just be redirected. And if the decision is one of those options rather than to delete, then there are already some redirects to this article for various solo releases, which will have to be discussed as they are not relevant to be double redirects to that band... hence asking for a discussion here to determine the best solution for this article.

Test

Bohemian Rhapsody

Chart	Peak position
songid field is MANDATORY FOR GERMAN CHARTS	7
Invalid chart entered Germany2	7

A Night at the Opera

Chart	Peak position
German Albums (Offizielle Top 100)	5
Illegal chart entered Germany2	5
German Albums (Offizielle Top 100)	5
German Albums (Offizielle Top 100)	5

Daddy Cool

Chart	Peak position
songid field is MANDATORY FOR GERMAN CHARTS	1
Invalid chart entered Germany2	1

Smokie - Greatest Hits

Chart	Peak position
German Albums (Offizielle Top 100)	1
Illegal chart entered Germany2	1
German Albums (Offizielle Top 100)	1
German Albums (Offizielle Top 100)	1

One Dance

Chart	Peak position
songid field is MANDATORY FOR GERMAN CHARTS	1
Invalid chart entered Germany2	1

Views

Chart	Peak position
German Albums (Offizielle Top 100)	11
Illegal chart entered Germany2	11
German Albums (Offizielle Top 100)	11
German Albums (Offizielle Top 100)	11

Colombia articles for improvement

General

• Colombia
• Colombians
• Flora of Colombia
• Fauna of Colombia

History

• Policarpa Salavarrieta
• Simón Bolívar
• Francisco de Paula Santander
• José María Obando
• Gran Colombia
• Jorge Eliécer Gaitán
• Bogotazo
• La Violencia
• Colombian conflict
• FARC
• ELN
• Luis Carlos Galán
• Pablo Escobar
• Álvaro Uribe
• Colombia–United States relations

Politics

• President of Colombia
• Colombian presidential election, all years

• Government of Colombia
• Congress of Colombia
• Senate of Colombia
• Chamber of Representatives of Colombia

• Politics of Colombia
• Alternative Democratic Pole (Polo Democrático Alternativo)
• Colombian Conservative Party (Partido Conservador)
• Colombian Liberal Party (Partido Liberal)
• Democratic Center (Centro Democrático)
• Radical Change (Cambio Radical)
• Social Party of National Unity (Partido de la U)

Cities

• Barranquilla
• Bogotá
• Cali
• Cartagena
• Cúcuta
• Medellín

Business and economy

• Economy of Colombia
• Agriculture in Colombia
• Coffee production in Colombia
• Mineral industry of Colombia

Arts

• Fernando Botero
• Nina García
• Jaime Garzón
• Jorge Isaacs
• Juanes
• Alejandro Obregón
• One Hundred Years of Solitude
• Love in the Time of Cholera
• Shakira
• Sofia Vergara
• Carlos Vives

Sport

• Faustino Asprilla
• Radamel Falcao
• Caterine Ibargüen
• Juan Pablo Montoya
• Mariana Pajón
• Nairo Quintana
• James Rodríguez
• Carlos Valderrama
• Camilo Villegas

Social cleansing

The Pamphlet Scandal is an astonishing occurrence in Colombia, in which social cleansing pamphlets are being distributed through various cities of this country.

Origins

In the 1980s, "social cleansing" groups started to be created. Some of them were Mano Negra, etc. Their main mission was "to make justice" by killing all non-appropriate people in social terms, like prostitutes, street-living people, transvestites, and drug addicts. By the mid-nineties, most of these organizations had been ripped off.

2009 threat

In early 2009, pamphlets proclaiming a return of social cleansing appeared in various important cities of Colombia, including Cali and Bogotá. Panic spread through much of the population, forcing president Álvaro Uribe to broadcast about the fake papers and to ignore them. Still, fear was planted in millions of people, especially amongst those of a lower-class level.

De-pamphlets

Short after the distribution of the pamphlets, a new government program was created in search for unification against these killing groups.

San Agustin

www.amazon.com/Las-Estatuas-Pueblo-Escultor-Statues/dp/9584616013 www.amazon.com/mundo-arte-Agustin-Arqueologia-Spanish/dp/9588306701

Other articles for improvement

Tubular Bells

Oldfield was not in a sound state of mind when he was recording Tubular Bells: Newman noted his lack of social skills, and Oldfield himself admitted that he was "in a very insecure frame of mind" due to the problems within his family. "I remembered how unhappy and terrified I was of life at the time"

Maxinquaye

Accolades:

"Smashing Bumpkin!: NME Writers' Top 50 LPs", NME, pages 22-23, 23/30 December 1995 – no. 1 album

"Ryder's Number One Cup: NME Writers' Top 50 Singles", pages 24-25, same issue – "Black Steel" no. 11 single

"Albums of the Year", Melody Maker, pages 66-67, 23/30 December 1995 – joint no. 1 album

"Singles of the Year", page 68, same issue – "Black Steel" no. 5 single, "Hell Is Round the Corner" no. 27

"Critics' Poll 1996", Rolling Stone, issue 726, page 41, 25 January 1996 – no. 3 album

Articles:

Claims to have written all the music and most of the lyrics for "Karmacoma" (later became "Overcome" on Maxinquaye).

Wrote "Daydreaming" on Blue Lines and asked Massive Attack if Shara Nelson could sing it, because he felt a woman would give his raps more meaning.

Allegedly met Martina when she was a schoolgirl sat on a wall outside her house.

He recorded "Aftermath" with her and took it to Massive Attack but they weren't interested, which spurred him into leaving the group and going solo.

Ted Kessler, "Tricky Up Your Ears", NME, pages 12-13, 14 January 1995

Called Tricky Kid "because I was known for not turning up, and then coming in later."

"The album was such a fucking blur, all done in different places at different times... I'd say it was an album from someone who thinks very quickly, and changes, who doesn't stay on one feeling for very long, and moves on."

On Martina: "Basically, I wanted a singer because I didn't want to become known as a rapper. There may be better quality singers but she's the first female singer with her own style of this generation. She's very hardcore, no nonsense."

Martin Aston, "Just Like That", Q, issue 105, pages 24-25, June 1995

Denying the journalist's suggestion that all the songs on the album were about sex: "It's to do with a moment in time. I'm trying to be three-dimensional. It's about the world. I suppose there is a lot of sex and violence in the world... We're documentarians. That's what we do. We document the situations around us. Violence. Death. Sex. Money. Deviousness."

David Bennun, "Tricky Kid", pages 24-25, Melody Maker, 4 February 1995

On the track "Suffocated Love": "I wanted her to be the cruel woman, the bitch. Everybody wants to be macho, but I like playing the weak role, the person who's upset, the person who's used."

John Mulvey, "Get Your Kicks on Route 666", NME, pages 32-34, 1 April 1995

Stone Roses

Reviews:

"This record is godlike."

"By the time 'Resurrection' has taken off for Cloud Nine and you go to put side one on again, the feeling is who wouldn't like this record? A song-psychle that even allows room for the relatively trad rock 'Made of Stone', this is simply the best debut LP I've heard in my record buying lifetime. Forget everybody else. Forget work tomorrow. Forget the football on the telly. Leave it all behind and listen to The Stone Roses. Once. Twice. Then you’ll know why I've made such a fuss. You'll understand. This is the one, this is the one, this is the one...”

Bob Stanley, "Love Resurrection", Melody Maker, page 33, 29 April 1989

"After five years Manchester's mute pop masters, The Stone Roses, have finally slogged their way to fruition and given birth to a masterful debut album. Who'd have guessed that a gang of scruffy kids thudding away in a freezing rehearsal room could have ended up clawing together something this magnificent, beautiful and confident? In guitar pop terms this is a masterpiece."

"The Stone Roses sets the blueprint for the next generation of Manchester rockers in freezing rehearsal rooms. Guitar pop reinvents itself – again."

John Robb, "Painting It Black", Sounds, page 37, 29 April 1989 – 4 stars out of 5

"In a year that has already witnessed several blatantly premature introductory long players, the Stone Roses have come up trumps – no problem. Straight in with 'I Wanna Be Adored', the intentions are clear. These boys have a self importance and confidence you can almost smell. Not only that but John Squire may one day be credited with redefining independent guitar bands' sound. His is a fat, strutting beast that's never heard of the phrase 'jangly'."

"'Bye Bye Badman', '(Song for My (Sugar Spun Sister)' and 'She Bangs the Drums' show the Stone Roses possess more merry melodies than Warner Brothers' cartoon department and are the only young band around at the moment with the potential and the balls to go all the way."

Andy Strickland, Record Mirror, page 31, 13 May 1989 – 4 out of 5

"This is quite good. Just."

"There is, it must be admitted, something that elevates Stone Roses above simple guitar blasts."

"Despite the fact that they can't be bothered or can't afford to explore the possibilities for psychic disintegration made available by the new technology, there is still something charming about Stone Roses – their complete obnoxiousness."

Jack Barron, "Rock Follies", NME, page 33, 29 April 1989 – 7 out of 10

"Their first album finds their heads filled with harmonies and a whole cluster of highly-accessible acid-etched tunes... The opening 'I Wanna Be Adored' with its colourwash of shifting guitars clearly establishes their ambition; a desire that is thwarted only by the strangely monotone production. What could have been great instead merely bulges with promise."

Peter Kane, Q, issue 32, page 100, May 1989 – 3 out of 5

Accolades:

"Select Guide to the 50 Albums of 89", NME, pages 52-53, 23-30 December 1989 – No. 2 album

"Singles of the Year", page 55, same issue – "She Bangs the Drums" no. 1 single, "Fools Gold" no. 2, "Made of Stone" no. 4

"Albums of the Year", Melody Maker, pages 60-61, 23-30 December 1989 – No. 4 album

"Singles of the Year", page 59, same issue – "She Bangs the Drums" no. 7 single

"Albums of the Year", Sounds, pages 34-36, 23-30 December 1989 – No. 1 album

In a public poll of the 100 Greatest Albums of All Time, organised by NME and British Hit Singles & Albums and published in the 19th edition of BHSA in 2006, the album was placed at number 7. (David Roberts (ed), British Hit Singles & Albums (2006), Guinness World Records, pages 400–401 ISBN 978-1-90499-410-7). I believe there were something like 10,000 votes entered, so we can say that the album's appeal certainly extended beyond the odd critic, as a certain editor was arguing on the article's talk page.

Article:

Ian Brown: "We're all into jet fighters. We went to Rockfield to record some of the LP because they’ve got a RAF training ground there."

Brown on the album cover: "The story behind the lemons on the cover is that when we were in Paris we met this 65-year-old man who told us that if you suck a lemon it cancels out the effects of CS gas. He still thought that the government in France could be overthrown one day, he’d been there in '68 and everything. So he always carried a lemon with him so he could help out at the front."

Bob Stanley, "Bad Loon Rising", Melody Maker, page 40, 8 April 1989

Vienna

Russell Mulcahy on the video for "Vienna": "I just wanted to see a girl follow a white horse down a street".

The Wrens

In an interview with John Earls for the UK's Teletext music magazine Planet Sound on December 5, 2007, Charles Bissell noted that "it's taken a lot of time to set things up and take care of really old business, mundane small business stuff, the website, real prosaic stuff. But we’ve also been setting stuff up like getting Kevin and Greg recording programmes and home computers. Technology has moved along so quickly that with this next record is radically different from when we started doing The Meadowlands in '99."

In January 2009, issue #4 of Melbourne-based magazine The Lifted Brow included a new song from the Wrens, "In Turkish Waters". Kevin Whelan told the magazine that it was "a Wrens demo that I worked up for the band in our kitchen in our New Jersey band house. Eventually another Wrens version will see the light of day".

The Blue Nile

"For all I know, we could have scrapped our best tracks during that process, but it doesn't seem that way to me... Our criteria is fairly simple: if it moves you, it's on and if it doesn't move you, it's off." He also defended the slow recording process as "There have been days, and indeed weeks or months, when we haven't done anything because one of us just isn't in sync with the others. That becomes more of an element as you get older and other things come into your life and you lose that certainty of youth. It's important to keep the unit together to ensure the same chemistry, because we're found that three heads are better than one. At the same time, all three heads have to be operating at the same time."

The Associates

In an interview a couple of years later he claimed that it was because the musicians and the stage set did not meet his exacting standards: Rankine believed that Mackenzie had panicked at the thought of touring with an unfamiliar and under-rehearsed nine-piece band and how big the Associates had become in such a short space of time. Rankine was upset at what he saw as a wasted opportunity to break the Associates big in the US, and quit the band. Mackenzie later claimed that it had been his decision to get rid of Rankine and that the differences between them had been that Rankine "was more for the money side of things while I was for the adventure of things".

One-Test wonders

No.	Name	Country	Dates of Test match	Location	Opposition	Batting		Bowling
						1st inns	2nd inns	1st inns	2nd inns
1	Bransby Cooper	Australia	15–19 March 1877	Melbourne, Australia	England	15	3	—	—
2	Ned Gregory	Australia	15–19 March 1877	Melbourne, Australia	England	0	11	—	—
3	A J Webbe	England	2–4 January 1879	Melbourne, Australia	Australia	4	0	—	—
4	Vernon Royle	England	2–4 January 1879	Melbourne, Australia	Australia	3	18	0–6	—
5	Francis MacKinnon	England	2–4 January 1879	Melbourne, Australia	Australia	0	5	—	—
6	Charlie Absolom	England	2–4 January 1879	Melbourne, Australia	Australia	52	6	—	—
7	Leland Hone	England	2–4 January 1879	Melbourne, Australia	Australia	7	6	—	—
8	Sandford Schultz	England	2–4 January 1879	Melbourne, Australia	Australia	0*	20	1–16	0–10
9	Frank Allan	Australia	2–4 January 1879	Melbourne, Australia	England	5	—	2–30	2–50
10	E. M. Grace	England	6–8 September 1880	Kennington Oval, London, England	Australia	36	0	—	—
11	Frank Penn	England	6–8 September 1880	Kennington Oval, London, England	Australia	23	27*	—	0–2
12	Fred Grace	England	6–8 September 1880	Kennington Oval, London, England	Australia	0	0	—	—
13	Thomas Groube	Australia	6–8 September 1880	Kennington Oval, London, England	England	11	0	—	—
14	James Slight	Australia	6–8 September 1880	Kennington Oval, London, England	England	11	0	—	—
15	William Moule	Australia	6–8 September 1880	Kennington Oval, London, England	England	6	34	3–23	—