В то время как чикагские Dj экспериментировали с драм-машиной нью-йоркские Dj в стенах клуба Paradise Garage под руководством Larry Levan родили другое, не уступающее в популярности на танц-поле House направление - Garage (по названию клуба). Большой вклад в дело строительства гаража внесли также музыканты из Нью-Джерси. На дворе стояла середина восьмидесятых. Garage - это глубокая клубная музыка с корнями в rhythm-n-blues. Зачастую музыка Garage строится по следующей схеме: на вторую и четвертую четверть идет clap, hat на восьмые ноты и аккорды либо экспрессивные темы на пианино, а также свинговый или вокал для эмоциональности.
Наиболее яркие представители: Rosie Gaines , Ce Ce Peniston, а также примадонна британского отделения Garage - Ultra Nate. Speed Garage 1996 год, а особенно 1997 стали временем рождения и активного разрастания Speed Garage в музыкальном мире. Сначала Соединенные Штаты, затем Страна техно-андерграунда - Англия, и вскоре весь мир стал двигаться под ритмы Speed Garage. Здесь стоит пояснить, что Speed Garage уже в начале стали ассоциировать с новым рождением американской традиционной House-музыки. Такие музыканты и ремиксеры, как Todd Terry, Mousse T, Mood II Swing, Boris Dlugosch, Todd Edwards, принесли новое звучание музыке Garage, которое любят называть Speed Garage. Однако есть еще одна ветвь и гораздо более конкретная и интересная нам - это стиль, пионером которого, считают старого доброго Armand Van Helden.
Холодная весна 1997 года подарила нам ремикс на Sneaker Pimps "Spin Spin Sugar". Это стало началом специфического экспериментального House, который из экспериментального быстро перерос в мощное танцевальное движение, по праву названное модным словечком Speed Garage. Характеризующие черта - бас-линия, буквально оккупирующая передний план музыкальной картинки и задающая энергичную подкачку ритма и атмосферы на танц-поле, и именно благодаря этой черте Speed Garage стремительно популяризуется по всему миру. Кстати, наверное, поэтому некоторые называют Speed Garage "танцевальной смесью House и Jungle". Вокал более электронный, чем в Garage (обработан вокодерами и другими фильтрами). Еще одна черта Speed Garage - это многочисленные и/или продолжительные участки на которых отсутствует бит и которые иногда служат прелюдией ко второй части композиции, заставляя танцующих взбодриться нарастающей волной перебивки и накалением атмосферы на танц-поле). Speed Garage является отличным клубным танцевальным гибридом старого и нового и уже сейчас понемногу штурмует отечественные танц-полы, но очень вяло из-за самой характерной черты нашего народа - чрезмерного консерватизма к танцевальной музыке.
2-Step-British Garage
Этот стиль был создан на базе убыстренных элементов сладкозвучного Garage Techno плюс резкие вокальные партии, постоянные повторы и скретч в сочетании с судорожными ритмами Drum'n'Bass. British Garage ворвался на клубные сцены Лондона в 1996 г., мгновенно завоевав статус хорошего способа расслабиться в выходные, вытесняя направление Jungle/Drum'n'Bass, как "перченый" танцевальный стиль конца 90-х. В разные этапы своего развития этот стиль был известен как Speed Garage, Underground Garage и 2-Step. Стиль попал под влияние американских музыкантов, таких как Todd Edwards, Armand Van Helden и Romanthony. Стиль развивался с помощью таких команд, как Tuff Jam, Dream Team и RIP, - они записывали значительные клубные хиты, некоторые их которых затем перешли поп-чарты. К 1998 стиль, который ранее был известен как Speed Garage, трансформировался в новое событие на музыкально сцене. Теперь он отличался склонностью к сладкоголосым попсовым звукам R&B и активно использовал Break-Beats. Среди множества отличных музыкантов (новички MJ Cole, Zed Bias, Wookie и Sunship, а также зарекомендовавшие себя фигуры, такие как Tuff Jam, Dream Team и Artful Dodger) и крупных звукозаписывающие компании (Locked On, Nice'N'Ripe, Quench, Grand Theft Audio, Naughty), - стиль оказался удивительно устойчивы к новым веяниям в профессиональном Dance. Даже в то время, такие хиты как "Destiny" (Dem 2) и "Movin" "Too Fast" (Artful Dodger) занимали верхние строки в хит-парадах, а сборники продавались большими тиражами, десятки пиратских радиостанций продолжали развивать резкую и тяжелую концепцию стиля.
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