The implied separation between Classic House and Acid House is largely non-existent. Besides a tendency to stretch tracks out to longer runtimes and up the pitch on the Roland TB-303 (a tactic first employed by Chicago-based DJ Pierre on the eponymous Acid Tracks), the two labels are nearly indistinguishable to all but the most ardent devotees of late-80s and early-90s dance music.
The term ‘Acid House’ is more often used to connote the role played by drugs in the creation of/consumption of the music. Despite its title, however, acid (or LSD) was never acid-house enthusiasts’ drug of choice. LSD had been the drug of the previous generation, the hippies and beatniks who’d settled down and bought property once the Thatcher years rolled in.
Ecstasy, on the other hand, was perceived as being brand new (it wasn’t: the US Army had genuinely injected monkeys with it back in the 50s). Ecstasy, also known as MDMA, releases serotonin to inspire boundless energy in the user, allowing them to repeat the same dance patterns for hours on end without getting bored or tired. It is also an extreme oliguric that can leave the user feeling excessively dehydrated.
The mid-90s saw several widely reported fatalities among teenagers who drank too much water and died of hyponatremia. The most famous of these was the case of Leah Betts in 1995, which sparked a panic amongst parents and lawmakers alike and led to the same Public Entertainments Licences (Drug Misuse) Act that was used to shut down the London club Fabric last year.