Boogie (genre) – Wikipedia

Music music genre
Boogie ( sometimes called post-disco [ 1 ] [ 2 ] [ 3 ] and electro-funk ) [ 3 ] is a rhythm method of birth control and blues genre of electronic dance music with close ties to the post-disco style, that foremost emerged in the United States during the late 1970s to mid-1980s. The healthy of boogie defined by bridging acoustic and electronic musical instruments with emphasis on vocals and assorted effects late evolved into electro and house music. [ 4 ] [ 5 ] [ 6 ] [ 7 ] [ 8 ]

Characteristics [edit ]

Boogie, following the exercise of post-disco, generally lacks the four-on-the-floor beat, the “ traditional ” [ 9 ] rhythm of disco music ; alternatively has a strong accent on the moment and fourth beats, and tempo generally in the 110 to 116 beats-per-minute range. [ 2 ] aside from applying certain technical and promotional aspects of new wave music and having been reasonably exposed to its subgenre synthpop, boogie is, however, R & B -rooted [ 10 ] and predominantly draws from funk music. other influences from a completely different music landscape include wind. [ 6 ] Typical boogie path can be characterized by mid-tempo rhythm method of birth control, big use of slap bass ( electric —in the early 1980s—and/or celluloid —mid-1980s onwards ), loud clapping phone, melodious chords and, obviously, synthesizers. [ 4 ] [ 5 ] [ 11 ] [ 12 ] The terminus, coined by british DJs Norman Jay and Dez Parkes, had been used on eBay to refer a specific form of early-1980s dance music of african-american origin. [ 4 ]

history [edit ]

1920s–1930s : etymology [edit ]

The first documented manipulation of the word boogie is dated back to 1929. [ niobium 1 ] Boogie, as defined by Merriam-Webster Dictionary, is an occasion for dancing to the powerfully rhythmical rock music that encourages people to dance. [ 13 ] Earliest association of the word boogie was with blues and belated rock and hustle and rockabilly genres .

1970s–1980s : current mean [edit ]

In the 1970s, the term was revitalized for disco and late post-disco subcultures. The term “ boogie ” was used in London to describe a form of african-american dance / funk music from the 1980s. The name boogie tended to be used as, although basically used to describe disco records, the son disco had gained bad connotations by the early 1980s. primitively the word boogie could be found in 1970s funk and disco records, most notably “ Boogie Nights “ by Heatwave, “ Blame It on the Boogie “ by The Jacksons, “ Boogie Oogie Oogie “ by A taste of Honey and “ Boogie Wonderland “ by Earth Wind and Fire. [ 2 ] Kashif called to be one of the pioneers of the music genre. [ 14 ] His individual “ I Just Got tantalum Have You ( Lover Turn Me On ) “ from the 1983 debut album Kashif helped to define the early 1980s boogie sound. [ 14 ] besides such 1980s tracks like “ Give Me the Night “ ( George Benson, 1980 ), “ Boogie ‘s Gon na Get Ya ” ( Rafael Cameron, 1981 ), “ If You Want My Lovin ‘ “ ( Evelyn King, 1981 ), “ You ‘re the one for Me “ ( D. Train, 1981 ), “ Do n’t Make maine Wait ” ( Peech Boys, 1982 ) or “ Break Dancin ‘ – Electric Boogie ” ( West Street Mob, 1984 ) helped define the melodious vogue of boogie. [ 3 ] [ 4 ] Throughout the 1980s, diverse New York City-based boogie groups began experimenting with the knight -infused bass which anticipated the sounds of house. One of these groups was Peech Boys, followed by D. Train, Vicky D, and Sharon Redd. While some commemorate producers, such as François Kevorkian and Larry Levan, were polishing and extending the limits of urban-oriented boogie, others like Arthur Baker and John “ Jellybean ” Benitez drew their influences from european and japanese technopop music. The latter approach paved the way for electro, and subsequently, freestyle music. [ 15 ] Boogie had a popular following within London ‘s metro setting, frequently based around nightclubs and club DJs due to a lack of mainstream radio receiver support. Boogie records were largely imported from the U.S. and were sometimes labeled as “ electro-funk ” or “ disco-funk. ” [ 3 ]

2010s : revival [edit ]

much later in the 2000s and early 2010s, indietronica groups and artists such as James Pants, Juice Aleem, Sa-Ra Creative Partners had been influenced by the sounds of boogie and 1980s electronic music in cosmopolitan. [ 16 ] [ 17 ] [ 18 ] Chromeo, a canadian couple, published a boogie-oriented album called She’s in Control in 2004. [ 19 ] Dâm-Funk, another boogie-influenced artist hailing from Los Angeles, California, published an album Toeachizown in 2009. [ 20 ] During the mid to late 2010s, boogie was part of the nu-disco and future funk rebirth, the former a chiefly european artists-led EDM phenomenon, fusing french house with american 1970s disco and 1980s boogie, and 1980s european electronic dance music styles, [ 8 ] the latter connected to the vaporwave scene. Bruno Mars ( “ Uptown Funk “ ) was one of the more mainstream 2010s artists influenced by boogie. [ 21 ]

Electro [edit ]

Among electro-boogie ( subsequently shortened to electro ) pioneers include Zapp, [ 22 ] D. Train, [ 23 ] Sinnamon and early post-disco/boogie musicians ; particularly those influenced by new brandish and synthpop acts like Human League or Gary Numan, combined with the R & B sound of Herbie Hancock and George Clinton. [ 23 ] As the electronic progress continued, acoustic instruments such as bass guitar were replaced by Japanese-made synthesizers and most notably by iconic drum machines like Roland TR-808. early uses of this brake drum machine include respective Yellow Magic Orchestra tracks in 1980–1981, the 1982 track “ Planet Rock “ by Afrikaa Bambaataa, and the 1982 birdcall “ sexual Healing “ by Marvin Gaye. [ 24 ]

About electro origins, Greg Wilson argues :

It was all about stretching the boundaries that had begun to stifle total darkness music, and its influences lay not lone with german technopop wizards Kraftwerk, the acknowledged forefathers of arrant electro, plus british fantast acts like the Human League and Gary Numan, but besides with a number of pioneering total darkness musicians. major artists like Miles Davis, Sly Stone, Herbie Hancock, Stevie Wonder, fabled producer Norman Whitfield and, of naturally, George Clinton and his P Funk brigade, would all play their part in shaping this new sound via their advanced habit of electronic instruments during the [ 1970s ] ( and equally early as the former [ 1960s ] in Miles Davis ‘s case ). [ 23 ]

Notes [edit ]

  1. ^Oxford English Dictionary states that the term was used as early as 1913.

References [edit ]

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