EDM Lovers and Edm makers
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In the early 1980s, electro emerged as a fusion of funk and New York boogie. Also called electro-boogie, but later shortened to electro, cited pioneers include Zapp,[13] D.Train,[14] Sinnamon.[14] Early hip hop and rap combined with German and Japanese electropop influences such as Kraftwerk and Yellow Magic Orchestra (YMO) inspired the birth of electro.[15] As the electronic sound developed, instruments such as the bass guitar and drums were replaced by synthesizers and most notably by iconic drum machines, particularly the Roland TR-808. Early uses of the TR-808 include several Yellow Magic Orchestra tracks in 1980-1981, the 1982 track "Planet Rock" by Afrikaa Bambaataa, and the 1982 song "Sexual Healing" by Marvin Gaye.[16] In 1982, producer Arthur Baker with Afrika Bambaataa released the seminal "Planet Rock" which was influenced by the Yellow Magic Orchestra using Kraftwerk samples and drum beats supplied by the TR-808. Planet Rock was followed later that year by another breakthrough electro record, Nunk by Warp 9. In 1983, Hashim created an electro funk sound which influenced Herbie Hancock, resulting in his hit single "Rockit". The early 1980s were electro's mainstream peak.
"On and On" is sometimes cited as the 'first house record',[21][22] though other examples from around that time, such as J.M. Silk's "Music is the Key" (1985), have also been cited.[23] House music quickly spread to other American cities such as Detroit, New York City, and Newark—all of which developed their own regional scenes. In the mid-to-late 1980s, house music became popular in Europe as well as major cities in South America, and Australia.[24] Chicago House experienced some commercial success in Europe with releases such as "House Nation" by House Master Boyz and the Rude Boy of House (1987). Following this, a number House inspired c releases such as "Pump Up The Volume" by MARRS (1987), "Theme from S'Express" by S'Express (1988), and "Doctorin' the House" by Coldcut (1988) entered the pop charts.
However, House music was thriving on the small Balearic Island of Ibiza, Spain. The Balearic sound was the spirit of the music emerging from the island in the mid 1980s; the combination of old vinyl rock, pop, reggae, and disco records paired with an “Anything goes” attitude made Ibiza a hub of drug-induced musical experimentation.[25] The true beating heart of Ibiza was a farmhouse turned club named Amnesia. This is where House music culture emerged. Owner Antonio Eschotado longed to create a place where people could party until after the sun rises. And he did, but it was a joint effort. A creator of Balearic sound, DJ Alfredo, was the forerunner of house music.[26] He was the residing DJ at Amnesia who pioneered the sound of Ibiza. Soon Amnesia was the hottest house party in Europe by the mid to late 1980’s drawing in people from all over the continent. In addition to catalysing the growth of Ibiza and the popularisation of House music, this was also the precursor of capital and tourist industries in the EDM market.[27]
In the mid 80s house music thrived on the small Balearic Island of Ibiza, Spain. The Balearic sound was the spirit of the music emerging from the island at that time; the combination of old vinyl rock, pop, reggae, and disco records paired with an “anything goes” attitude made Ibiza a hub of drug-induced musical experimentation.[25] The scene was mainly centered around a club called Amnesia where its resident DJ, Alfredo Fiorito, pioneered Balearic house.[26] Amnesia became known across Europe and by the mid to late 1980’s it was drawing people from all over the continent.[27] By 1988, house music had become the most popular form of club music in Europe, with acid house developing as a notable trend in the UK and Germany in the same year.[29] In the UK an established warehouse party subculture, centered on the British African-Caribbean sound system scene fueled underground after-parties that featured dance music exclusively. Also in 1988, the Balearic party vibe associated with Ibiza's DJ Alfredo was transported to London, when Danny Rampling and Paul Oakenfold opened the clubs Shoom and Spectrum, respectively. Both places became synonymous with acid house, and it was during this period that MDMA gained prominence as a party drug. Other important UK clubs included Back to Basics in Leeds, Sheffield's Leadmill and Music Factory, and The Haçienda in Manchester, where Mike Pickering and Graeme Park's spot, Nude, was an important proving ground for American underground dance music.[Note 1][30] The success of house and acid house paved the way for Detroit Techno, a style that was initially supported by a handful of house music clubs in Chicago, New York, and Northern England, with Detroit clubs catching up later.[31] The term Techno first came into use after a release of a 10 Records/Virgin Records compilation titled Techno: The Dance Sound of Detroit in 1988.[32]
One of the first Detroit productions to receive wider attention was Derrick May's "Strings of Life" (1987), which, together with May's previous release, "Nude Photo" (1987), helped raise techno's profile in Europe, especially the UK and Germany, during the 1987-1988 house music boom (see Second Summer of Love).[33] It became May's best known track, which, according to Frankie Knuckles, "just exploded. It was like something you can't imagine, the kind of power and energy people got off that record when it was first heard. Mike Dunn says he has no idea how people can accept a record that doesn't have a bassline."[34] According to British DJ Mark Moore, "Strings of Life" led London club goers to accept house: "because most people hated house music and it was all rare groove and hip hop...I'd play 'Strings of Life' at the Mudd Club and clear the floor".[35][Note 2] By the late 1980s interest in house, acid house and techno escalated in the club scene and MDMA-fueled club goers, who were faced with a 2 a.m. closing time in the UK, started to seek after-hours refuge at all-night warehouse parties. Within a year, in summer 1989, up to 10,000 people at a time were attending commercially organised underground parties called raves.[1]
By the early 1990s, a style of music developed within the rave scene that had an identity distinct from American house and techno. This music, much like hip-hop before it, combined sampled syncopated beats or break beats, other samples from a wide range of different musical genres and, occasionally, samples of music, dialogue and effects from films and television programmes. Relative to earlier styles of dance music such as house and techno so called 'rave music' tended to emphasise bass sounds and use faster tempos, or beats per minute (BPM). This sub genre was known as "hardcore" rave, but from as early as 1991, some musical tracks made up of these high-tempo break beats, with heavy basslines and samples of older Jamaican music, were referred to as "jungle techno", a genre influenced by Jack Smooth and Basement Records, and later just "jungle", which became recognized as a separate musical genre popular at raves and on pirate radio in Britain. It is important to note when discussing the history of drum & bass that prior to jungle, rave music was getting faster and more experimental.
By 1994, jungle had begun to gain mainstream popularity and fans of the music (often referred to as junglists) became a more recognisable part of youth subculture. The genre further developed, incorporating and fusing elements from a wide range of existing musical genres, including the raggamuffin sound, dancehall, MC chants, dub basslines, and increasingly complex, heavily edited breakbeat percussion. Despite the affiliation with the ecstasy-fuelled rave scene, Jungle also inherited some associations with violence and criminal activity, both from the gang culture that had affected the UK's hip-hop scene and as a consequence of jungle's often aggressive or menacing sound and themes of violence (usually reflected in the choice of samples). However, this developed in tandem with the often positive reputation of the music as part of the wider rave scene and dance hall-based Jamaican music culture prevalent in London. By 1995, whether as a reaction to, or independently of this cultural schism, some jungle producers began to move away from the ragga-influenced style and create what would become collectively labelled, for convenience, as drum and bass.[37]
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Post-disco[edit]
source wikipedia
Main article: Post-disco
See also: Boogie (genre)
During the post-disco era that followed the backlash against "disco" which began in the mid to late 1979, which in the United States lead to civil unrest and a riot in Chicago known as the Disco Demolition Night,[13] an underground movement of "stripped-down" disco inspired music featuring "radically different sounds"[14] started to emerge on the East Coast.[15][Note 1] This new scene was seen primarily in the New York metropolitan area and was initially led by the urban contemporary artists that were responding to the over-commercialisation and subsequent demise of disco culture. The sound that emerged originated from P-Funk[18] the electronic side of disco, dub music, and other genres. Much of the music produced during this time was, like disco, catering to a singles-driven market.[14] At this time creative control started shifting to independent record companies, less established producers, and club DJs.[14] Other dance styles that began to become popular during the post-disco era include dance-pop,[19][20] boogie,[14] electro, Italo disco, house,[19][21][22][23] and techno.[22][24][25][26][27]Electro[edit]
Main article: Electro (music)
House music[edit]
Main article: House music
See also: Chicago house and Deep house
In the early 1980s, Chicago radio jocks The Hot Mix 5 and club DJs Ron Hardy and Frankie Knuckles played various styles of dance music, including older disco records (mostly Philly disco and Salsoul[17] tracks), electro funk tracks by artists such as Afrika Bambaataa,[18] newer Italo disco, B-Boy hip hop music by Man Parrish, Jellybean Benitez, Arthur Baker, and John Robie, and electronic pop music by Kraftwerk and Yellow Magic Orchestra. Some made and played their own edits of their favorite songs on reel-to-reel tape, and sometimes mixed in effects, drum machines, and other rhythmic electronic instrumentation. The hypnotic electronic dance song "On and On", produced in 1984 by Chicago DJ Jesse Saunders and co-written by Vince Lawrence, had elements that became staples of the early house sound, such as the Roland TB-303 bass synthesizer and minimal vocals as well as a Roland (specifically TR-808) drum machine and Korg (specifically Poly-61) synthesizer. It also utilized the bassline from Player One's disco record "Space Invaders" (1979).[19][20] |  |
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However, House music was thriving on the small Balearic Island of Ibiza, Spain. The Balearic sound was the spirit of the music emerging from the island in the mid 1980s; the combination of old vinyl rock, pop, reggae, and disco records paired with an “Anything goes” attitude made Ibiza a hub of drug-induced musical experimentation.[25] The true beating heart of Ibiza was a farmhouse turned club named Amnesia. This is where House music culture emerged. Owner Antonio Eschotado longed to create a place where people could party until after the sun rises. And he did, but it was a joint effort. A creator of Balearic sound, DJ Alfredo, was the forerunner of house music.[26] He was the residing DJ at Amnesia who pioneered the sound of Ibiza. Soon Amnesia was the hottest house party in Europe by the mid to late 1980’s drawing in people from all over the continent. In addition to catalysing the growth of Ibiza and the popularisation of House music, this was also the precursor of capital and tourist industries in the EDM market.[27]
Acid house, techno, rave[edit]
See also: Balearic house and Second Summer of Love
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"Strings of Life" (1987) by Rhythim is Rhythim (Derrick May) was a seminal Detroit techno track.
"Techno Music" by Juan Atkins was the title track of Techno! The New Dance Sound of Detroit (1988).
The album also included "Big Fun" (1988) by Inner City (Kevin Saunderson and Paris Grey), a track that achieved significant commercial success as a single release in fall 1988.[28]
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One of the first Detroit productions to receive wider attention was Derrick May's "Strings of Life" (1987), which, together with May's previous release, "Nude Photo" (1987), helped raise techno's profile in Europe, especially the UK and Germany, during the 1987-1988 house music boom (see Second Summer of Love).[33] It became May's best known track, which, according to Frankie Knuckles, "just exploded. It was like something you can't imagine, the kind of power and energy people got off that record when it was first heard. Mike Dunn says he has no idea how people can accept a record that doesn't have a bassline."[34] According to British DJ Mark Moore, "Strings of Life" led London club goers to accept house: "because most people hated house music and it was all rare groove and hip hop...I'd play 'Strings of Life' at the Mudd Club and clear the floor".[35][Note 2] By the late 1980s interest in house, acid house and techno escalated in the club scene and MDMA-fueled club goers, who were faced with a 2 a.m. closing time in the UK, started to seek after-hours refuge at all-night warehouse parties. Within a year, in summer 1989, up to 10,000 people at a time were attending commercially organised underground parties called raves.[1]
Breakbeat hardcore, jungle, drum & bass[edit]
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2 minute sample. This clip contains 4 tracks ranging from proto-jungle "Tribal Bass" (1991) to jungle track "Here I Come" (1995) to an ominous early drum and bass remix (1995) to Aphrodite's modern drum and bass remix (in a jump-up style), "Tribal Natty" (2005), all of which contain the same vocals from Barrington Levy (originally contained in the title song of his album Here I Come). Listen and compare the sounds.
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By 1994, jungle had begun to gain mainstream popularity and fans of the music (often referred to as junglists) became a more recognisable part of youth subculture. The genre further developed, incorporating and fusing elements from a wide range of existing musical genres, including the raggamuffin sound, dancehall, MC chants, dub basslines, and increasingly complex, heavily edited breakbeat percussion. Despite the affiliation with the ecstasy-fuelled rave scene, Jungle also inherited some associations with violence and criminal activity, both from the gang culture that had affected the UK's hip-hop scene and as a consequence of jungle's often aggressive or menacing sound and themes of violence (usually reflected in the choice of samples). However, this developed in tandem with the often positive reputation of the music as part of the wider rave scene and dance hall-based Jamaican music culture prevalent in London. By 1995, whether as a reaction to, or independently of this cultural schism, some jungle producers began to move away from the ragga-influenced style and create what would become collectively labelled, for convenience, as drum and bass.[37]
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