Please help me identify da missing tracks from this Dj Baker brutal makina set, which is really close to my heart :)

https://on.soundcloud.com/XL9bu

drop da names if you have em!!!!

Da Traxxlist thus far:

1. Diana's - All I Need is Love (Fabio Cozzi Remix)
2. Fanny Cadeo - I Want your Love (M2 Summer Mix)
3. Aqua - In The Name of Love
4. Interave - Reborn
5. ????? (11:00)
6. Virtual Tracks - Hey D.J.! (Original Mix)
7. Toni Flash - Cocoom (Party Version)
8. ???!?!??!!!?? (18:05)
9. ¿?¿?¿? (20:30)
10. Good Bytes - Only You
11. Bass X - Bass X
12. ¿??!!?!!??¿ (26:48)
13. ???!¿!??? (29:30)
14. Kuantize - Overflow (Attack Mix)
15. ¿¿?!!¿!!?¿¿ - (33:34)
16. Web - Lovin' Times (Mythos N' DJ Cosmo Remix)
17. ???!!¿!¿!!??? (39:25)
18. !!?????!! (41:40)
19. !!!???????!!!
20. ¿¿¿¿¿¿!!!!!!
21. ¿¿???¿¿
22. ¿?¿?!!!!?¿?¿

Thank you great peoplezz!!! ***Really hope I got the number of tracks right so it won't be too confusing!!

Yo! This is a shot in the dark but does anyone know any good record shops in SF/The bay that has HHC or Hardcore? The only place i really know is amoeba and even then its not a lot, if anyone has recommendations id love to hear or if you are just willing to sell some hit me up!

I've just seen the latest ravers reunited line up and it's underwhelming. Has there been some kind of falling out with dj's? The last two line ups have not been as good as about a year ago when I first went. I went to religion and rave escape in the last month and both of those nights were packed with headliners from start to finish. Having said that I am surprised not to see Fracus and Darwin at either religion or rave escape? Ravers reunited have about 4 headliners which is a surprise for a 360 type thing and I'm yet to see them book Gammer, Joey riot spyro, Mike reverie jakka b I hardly see Al storm anymore he was on the first few I went to. What's the deal do these guys only play for some promoters or have they all fallen out is it the music? I have only seen Spyro at boomtown and no other nights yet. I'm used to drum and bass where you kind of see everyone everywhere at some point through the year with exceptions where there have been fallings out but I am not privy to that information first hand, haha

I freaking adore Miracle Tone's Fantasy by Kohu, and there's also a few tracks I've heard from The Quick Brown Fox that kinda fits this description.

But I need more! Sugary-sweet happy hardcore with chiptune synths sounds like a combination that goes together like peanut butter and chocolate, but sadly I don't have enough of this in my life. 😔

Do you have any recs for awesome happy hardcore with 8-Bit bleeps and bloops?

Smudg-e with another mix. Representing Equinox collective. Any DJs into their 170+ and want regular slots for an online radio collective and community, please get at me smudgerselects@gmail.com

https://www.mixcloud.com/EquinoxCollective/smudg-e-uk-hardcoregabber-lose-ya-head-equinox-collective/

One love one unity keep it hardcore!

I found some of my old, old cassettes, took a trip down memory lane on message boards and learned there was a movie/documentary about the Hulla parties. Any advice would be helpful!

e: I checked the Hullabaloo website and YT channel but didn't find anything

Listen to Anabolic Frolic - Live at Hullabaloo! Birthday Funtopia 2 (1999) by Anabolic Frolic on #SoundCloud https://on.soundcloud.com/cr7izgmJ6EeP8SBn9

🔥🔥🔥

Disclaimer: The following article explains the fall of the UK happy hardcore scene.

I absolutely promise that this information doesn’t come with any negative intention. It hasn’t been communicated to harm or mentally injure anybody in any way, shape or form.

Why would you cancel an extremely popular genre of music that's nearly going mainstream, and would have made Britain the most elevated country on Earth, due to the substantial spiritual nature of euphoric UK happy hardcore, from 1994 until around 2005?

The quality of the music sadly transitioned from being OK to incredibly worse during and after 1998, and probably won't be missed by most ravers.

However, there were many belters amongst a backdrop of lacklustre productions.

For example, Liquid Nights by DJ Fade, Timebomb by Jon Doe and Lisa Abbot and Ultimate High by Stargazer.

They rocked the dance floors, living rooms and bedrooms across Britain and further afield for a considerable length of time.

The same is also true for many hundreds of other excellent UK hardcore productions, created from 1993 onwards.

The number of timeless happy hardcore tracks decreased sharply and continuously until the count reached zero.

Happy hardcore is a music scene that never died. This may be due to a high number of timeless productions that altered (and alters) many thousands of lives for the better.

The main reason behind one’s energy and elevated mood increase is due to the supreme listenability, genius creativity, and euphoria level of hundreds of tracks that may link you to your natural soul frequency.

The kickdrum and other percussive elements of most UK happy hardcore was surreptitiously reduced in volume from 1997 onwards. This made the music a little flat compared to how stomp-worthy it used to sound. The mandatory bounce from a previous time was lowered by a significant degree.

At the same time, elements were added to English and Scottish happy hardcore that enhanced its listenability and level of happiness.

Pop music with a kickdrum wasn’t the best course of action for a rave scene that thrived on its underground success.

However, with these new measures in place, the UK hardcore sound that amassed legendary status across Britain and multiple countries for its stomping danceability, high tempo and unbridled dance energy was castaway to the doldrums of yesteryear.

The music was replaced with a brand new sound that was mostly different to the year before, 1996, arguably the most successful year for banging kickdrum based UK hardcore.

The happy hardcore sound of 1997 and beyond was heavily influenced by highly uplifting female vocals. Much of the music from 97 and beyond was produced in a way that might encourage you to sing-along.

The dominant nature of euphoric female vocals alongside a weaker sounding percussion for most new tracks didn’t appear to be as popular as the hardcore of previous years.

Depressingly, a high percentage of UK hardcore ravers chose to leave the scene in 1998 through to the year 2000, when it unexpectedly experienced sudden death.

At around the Y2K mark, Hard House was added to a happy hardcore line-up of a multi-genre large scale event.

This unkind and deliberate action noticeably eroded the popularity of UK hardcore in London and beyond.

The music became unrecognisable from its former brilliance.

The scene appeared to fall apart at the seams after Helter Skelter organised its last ever event on new years eve, in the year 2000.

The great majority of the UK happy hardcore scene crumbled at that same moment in time, on or around new years day 2001.

The deliberate degradation of the UK hardcore sound that previously made it highly popular on a national and international scale, had a dramatic knock-on effect with the rest of the scene.

Out of nowhere, all major and smaller events concluded their operations.

From 98-Y2K, the music quality was lowered by a substantial degree, and the number of high quality bangers that commanded the dance-floor, almost reduced to zero by the year 2000.

I wonder why the incredibly popular and uplifting happy hardcore sound of 1996 wasn't given a chance to flourish, and almost vanished from existence after such a short run?

There were many tracks before and beyond 1996 that had the same vibe and were engineered to a higher standard, or a considerably higher standard.

1996-style UK hardcore should have remained in place for a further 10 years at least, or perhaps this genre should have been allowed to continue on a permanent basis.

This approach works for pop music, and a few other musical genres, like Jazz and Reggae, for example.

I see no reason why this approach wouldn’t have worked for happy hardcore too, especially after the production quality universally increased from 1997 and beyond.

Long-term 1996 to 1999-style happy hardcore may have elevated the energy and happiness level of Britain and further afield for a considerable length of time.

The popularity of 1996-style UK hardcore may evidence something extremely substantial, it confirms that UK happy hardcore could return in an incredible way if enough HQ music was produced in a 1996-style format.

Imagine if you will, creative and uplifting 1996 UK hardcore, produced with the technology of the current day.

A few of my favourites from 1996:

Eruption - Surrender

DJ Fade - Sky High (Remix)

Bang the Future - Body Slam

Hixxy & Sunset Regime – Peoples Party Remix

DJ Demo - '96 Style (DJ Ham Remix)

Triple J - Eternity

Supreme & UFO - Broken Wings

Stu J & UFO - We're Flying

Force & Styles - Shining Down

DJ Ham - Most Uplifting

DJ Ham - Is Anybody Out There?

DJ Brisk - Airhead

Billy Bunter & D-Zyne – Ride Like The Wind

Force & Styles - Pretty Green Eyes

DJ Vibes - Oxygen

Force & Styles - Paradise and Dreams

DJ Vibes – Techno Wonderland

Happymen – Love Is You (Happy Version)

Eruption - Let The Music

My Little Fantasy - 4 Tune Fairytales

DJ Ham, Derno & Justin Time - Here I Am

Slipmatt - After Dark