Marshall Jefferson ‎– The House Music Anthem

Label:
Trax Records ‎– TX117
Format:
Vinyl, 12", 33 ⅓ RPM, Red Label
Country:
Released:
Genre:
Style:

Tracklist

Companies, etc.

Credits

Notes

Sanlar Publ. BMI
P 1986 Trax Records
Distributed by Precision Records

This issue has red labels, also available with black labels and with green labels.
There also exist copies where same side center labels are attached to both sides.

Pressed by Precision Records Labs., Ltd., Chicago.

Initial runs where released in white sleeves (or some other alternative). Later runs were released in the Trax company sleeve.

Barcode and Other Identifiers

  • Matrix / Runout (Side A Label): TX117A
  • Matrix / Runout (Side B Label): TX117B
  • Matrix / Runout (Side A runout): O̶S̶ ̶2̶ ̶A̶ - TX -117 PM PRL 8620 A
  • Matrix / Runout (Side B runout): TX- 117 PM O̶T̶S̶ ̶2̶ ̶B̶ PRL 8620 B

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markusruiz15

markusruiz15

April 10, 2018
I love this song so much I listen to it everyday
Traxus

Traxus

October 17, 2015

FYI, this is the release with the piano intro; I bought the DJ International version first and was bummed as this was the one I was looking for
littlemartin

littlemartin

September 19, 2014
No Way Back, Dub Can't Turn Around & this right here changed my life. No question. Still does for me 28 years later what it did in 1986. So powerful, so intense, so wonderful, so exhilarating... Those feckin' hi hats coming at you like a ton of bricks.

The back story is fascinating, thank you Ian.
ian_s

ian_s

August 20, 2013
More info: This was meant to have been released on Marshall's own Other Side label, but at the last minute Larry Sherman scratched out the Other Side label number on the mothers and replaced it with a Trax number. If you own a release with a scratched out Other Side number you know it's an original release. Larry also didn't bother too re-master or re-cut it. Also the release was meant to be credited as On The House, as Curtis McClain, Thomas Carr & Rudy Forbes had helped write the tune. Larry just credited it to Marshall Jefferson, which caused a lot of friction between Marshall and the other people involved. They came around his house to confront him, Marshall telling them it was Larry's fault, which they didn't believe. They only believed him when they confronted Sherman, who told them to piss off. A friend of Curtis called Norman David got Marshall to sign an affadavit stating that they had sang the vocals on the record. They took this to Larry who claimed that he had given Marshall $150,000 and that he had put Marshall's name on the song as that was required in the contract. They went back to Marshall demanding their cut only for Marshall to tell them that he ad not received a penny from Sherman and had, in fact, paid HIM $1,500 to press up the release, which they didn't believe, even after he had showed them the receipt. They then said that Sherman had offered them a contract, which they were going to sign and get rich, a course of action which Jefferson tried to stop. They later had 2 releases, but got paid nothing from Sherman.
ian_s

ian_s

August 20, 2013
Marshall had this song in his head whilst working at the post office. He figured out all the parts , then got fellow PO workers and friends Curtis MCClain, Thomas Carr & Rudy Forbes to join him at Lito Manlucu's studio. They recorded a version, but his 3 friends thought that it sucked. That night he took the tune to the Sheba Baby club and played it to the DJs Mike Dunn, Tyree Cooper and Hugo Hutchinson. They loved it, but wouldn't play because of the piano, which they thought wasn't "House music". He then drove to the Music Box to play it to Ron Hardy. In his car he played it to K.Alexi Shelby who was also not impressed, also thinking that it wasn't House music.
In the club he gave it to Hardy, who played it straight away, then played it back-to-back 5 times. It became the biggest tune in Chicago and Hardy asked him not to give it to other DJs. Eventually Marshall couldn't stifle demand from other DJs anymore and he gave it to Frankie Knuckles to play. He also took it to Larry Sherman at Trax. He also hated it and said it wasn't House because of the piano. Marshall didn't care and paid Larry to press it up....which finally happened 13 months later. The version on DJ International came about because Marshall thought he could record a superior version in a bigger studio. He went to Paragon studios to record it.