is a tribute to the late Dutch dj, remixer and
music producer Peter Slaghuis, also known
It's a work in progress, 'cause -as you will
see- there aren't many infos on the man... not
even on the Internet, so I apologize for any
errors that thispage may contain.
* Very Special Thanks to Marco Slaghuis and to
M.Terlouw (Leon IceT) * Greetings and thanks
Erik Gander for help and for supplying the
VideoKids sound sample. :) ,
(for the excellent pics!!),
Inbar (for the info about the VideoKids
Dexter/Dmitriy Loza (for that "Hi
everyone..." real audiofile); also to Kern
Taylor and Luiz Tresso.And of course
for design and HTML.
If you have any comments, corrections,
suggestions etc., feel free to e-mailme (Dj
P.S. if you were directly connected to Hithouse
in any way (friend,relative, record label etc.)
contact me: I'd love to make this one the
official home page of Hithouse on the web, and
maybe officially reprint full tracks in digital
format through the Internet.
One of worlds BEST producer
and remixer during his short life
Peter Slaghuis was a meteor
in the world of dance music in mid and late
Based in Holland, Slaghuis gets
known in the world of underground djs for his 13
albums of "Disco Breaks", and builds a
credibility with a series of remixes, like
Abba's "Lay all your love on me", Maria Vidal's
"Body rock" and especially the million selling
Nu Shooz hit "I can't wait", in 1986. In 1984 he
is also involved in dance act The Video Kids,
releasing the single "Woodpeckers from
When the house music phenomenon
reaches Europe, not only Slaghuis is one of the
first Dutch deejays to spin house (at the
Bluetiek-In in Rotterdam) but also one of the
pioneers of sampling, with a couple of 1988/89
hits made under the name Hithouse. His first hit
record is "Jack to the sound of the underground"
(the term "jack" comes from Chicago house slang
and recalls the act of frenetically dancing to a
house beat - see US titles like Steve "Silk"
Hurley's "Jack your body") and at the beginning
it lifts some samples from Coldcut's "Say kids
what time is it". The track goes to no.14 in the
UK charts. "Jack to the sound..." also is one of
the first records to have an "acid" remix
treatment, and finally the track itself gets
sampled on Italian underground dance hit
"Judicta" by Mod n.4.
The sequel ("Move your feet
to the rhythm of the beat") isn't equally lucky.
The formula is basically the same (a catchy
hi-energy loop covered with a collection of
samples) but it lacks of those catchy hook lines
that were present in the first one. One of these
was a large excerpt of Kelly Charles' "You're no
good for me".
After these two singles and
a bunch of some other minor productions (like a
weird remix of Lynn Collins' version of the
classic Isley Brothers-penned "Shout", obscure
dj-only mixes like a DMC remix of Madonna's "La
Isla Bonita" and the Holy Noise project with his
dj friend Paul Elstak, later known as the
godfather of gabber and owner of Rotterdam
Records), Hithouse mixes one of the versions of
the Technotronic mega hit "Pump up the jam"
(both acts were on the same Benelux label, Ars)
before disappearing into legend.
Slaghuis sadly dies in a car accident a couple
of years later (5-sep-1991), but honest
historians of dance music will never be able to
deny that he gave a small -but essential-
contribution to the birth of sampling and
electronic scene. The Kelly Charles sample
resurfaces in 1994, as the vocal hook on a major
international hit: "No good" - by none else than
Thanks to Nicola "Dj
Batman" Battista and Peter Sanders ( Dutch Mix
History ) for the biography
(MixMag Jan. 1989)
Slaghuis Story !
last two months, Peter ''Hithouse'' Slaghuis's
career has been given the biggest boost so far
owing to the massive success of the single
''Jack To The Sound Of The Underground''. But
unknown to many people, Peter's success in
Europe started way before the Hithouse project.
It all started
in 1979 when he started DJing in a local club.
Whilst he was jocking he heard an illegal
bootleg American megamix wich inspired him to
try and copy the style. He was already mixing in
the club whilst at home he was experimenting
with the legendary cassette pause button editing
technique. Using this he created his first
remix, a 3/4 hr long remix of Abba's ''Dancing
the record so much that I wanted to make it
longer !'' he recalls. He saved some money and
bought two completely different fixed speed
decks and a receiver. By wiring these up he was
able to hear one deck out of the left and one
out of the right. This was the primitive
beginnings of the Hithouse studio. All the time
he was djing , Peter was saving money. (PS)''The
only thing I was spending money on was records.
I was an addict, and I wasn't satisfied if I
didn't have everything available.''
purchases including a cheap mixing console, two
vari speed decks and a Pioneer reel to reel wich
had ''horrible sound quality''.
He had secured
connections with the Dutch ''Discobreaks''
bootleg label and started creating megamixes and
remixes for them. Some of the earlier mixes were
actually created on cassette including the rare
''Dutch Mix'' of ''Lay All Your Love On Me'' by
equipment piled into his studio at his parents
home, he became more certain of his future. He
was always playing his mixes in the club with
great reactions from the crowds. (PS)''I was one
of the first dj's to do this, along with Ben
Then came the
first big break. A Dutch record label called him
to ask him to create a remix of a track called
''I can't wait'' by Nu Shooz. (PS)''I hated the
song so I just decided to put a hook over it,
change some sounds, add a few samples and that
would be it. No more !'' The hook he put on it
probably made the single sell in the enormous
quantities that it did. Peter was very surprised
at it's success. (PS)''They offered me royalties
or money, and as I didn't rate the track I took
the money, (about 150 pounds) which was my first
mistake I guess !''.
The next break
was in the form of the Video Kids project.
(Remember "Woodpeckers From Space'' ?) However,
Peter wasn't producing this time, he was singing
! The Video Kids were massive in Europe and led
to PA's and two albums. But all this time, the
studio kept growing and in 1985 he bought his
first Akai S900 sampler. (PS)''I was one of the
first people to have one'' he recalls, ''so I
had to find out everything myself. One night I
had spent hours getting my first real programme
together when my sister walked in and pulled the
plug out ! Can you imagine that ?''
He than began
to realize that Dutch bootlegs weren't the right
way to go about getting a name for yoursellf, so
he began to send mixes to DMC. He finally began
talking to Susan McLintock and his first mix for
DMC: ''Slag It Off'' was put onto vinyl.
commitments were getting heavier and heavier and
included Wistles ''Just Buggin'', Spencer Jones
''How To Win Your Love'' and a mammoth "Evelyn
Thomas Megamix''. In December 1986 he created
the first ever sample record for DMC and named
it "Samplification''. He also started on his
firts ever full-production for the "Milk Shake
Rap'' by Extince. (PS)'' This 17 year old kid
came op to me at a disco and told me he had
rapped a record called ''Rap Around The Clock''.
it was a terrible track but I thought I could do
something with his voice''. The Extince project
was heavily influenced by the Mantronik sound
ande the McDonalds melody was also used.
(PS)''McDonalds were going to sue me, can you
believe that ?''.
In the months
following he was involved in numerous European
projects and was also taken to America by
Atlantic to rebuild some Nu Shooz tracks for
their album, only one of which was used.
(PS)''The songs I was given were terrible and
they expected me to perform miracles. They
thought my production was to heavy as I
incorporated a lot of tricky edits in the mixes.
I think it would be safe to say that I was ahead
of my time in that department.'' Then he created
the 1987 year mix for Dutch Radio 3, more as a
contrast rather than competition to Ben
Liebrands similar year mix for Veronica Radio.
both his remix of ''Second Time Around'' by
Shalamar and a new version of ''Samplification''
sold in their millions. At this point he decided
it was time to move into an apartment of his
own, to house his rapidly building studio. The
idea behind his biggest project to date
Hithouse, came from doing a DMC mix. (PS)''I was
remixing ''Pink Cadillac'' for DMC and I just
loved the bassline but hated the drums, so I
just changed the percussion, put some samples
over it and added another 4 basslines. I was
really crazy about it''. A Belgium record
company was instantly interested in it and then
Supreme Records in Britain became excited enough
to release it. Despite some slating from the
music press, Hithouse steamed into most of the
World Dance Charts. He directed and edited the
video himself which was entirely shot in a
disused gas factory in Holland which with the
help of some graffiti artists looked like the
Hithouse is only half of his current success.
His '88 remix of Petula Clarks ''Downtown'' is
already in the charts even though Peter is still
negotiating for a far deal with the record
company. (PS)''In the meantime it's a great
feeling that everyone is playing and buying my
So, to the
future. Where will Peter venture next ? (PS)''We
have a Hithouse album and a tour planned for
1989. The album will contain every style of
music including Acid, Latin, HiNrg, House and
Hip Hop. The new single called ''Everybody'' is
like a Todd Terry type Acid track. I have a
female singer called Crystal P singing on the
album and on the PA's. I am in Britain soon to
do a 48 track remix of a track by Sadie Nine and
between all of this I am overwhelmed by tv,
interviews and magazines !''
is at last getting the recognition he has worked
so hard for in the last 10 years. From here on,
the only way is up !
to Sjeng Stokkink for sending me this DMC