Boogie (genre)
| Boogie | |
|---|---|
| Stylistic origins | electropop, urban R&B[1], funk, new wave, jazz[2], synthpop, post-disco |
| Cultural origins | Late 1970s; United States and United Kingdom |
| Typical instruments | drums (or drum machine) • synthesizers • keyboards • percussion • bass guitar (or bass synthesizer) • sampler |
| Fusion genres | |
| Italo-disco •Electro • House • Chicago house • Nu-disco | |
| Other topics | |
| Artists & Songs | |
Boogie[3] (or electro-funk[4][5][unreliable source?], electro boogie[5][unreliable source?], post-disco) is a electronic-influenced genre of post-disco era[2]. The term was used in London to describe a form of African-American dance/funk music from early 1980s[4]. Because black music was marginalized in the UK, it became popular in underground scene[5][unreliable source?]. These records, mostly U.S. imports, were sometimes regarded as "electro-funk" or "disco-funk".[4] Originally the word boogie could be found in 1970s funk and disco records, but tracks like "Boogie's Gonna Get Ya" (Rafael Cameron, 1981), "Don't Make Me Wait" (Peech Boys, 1981), "Break Dancin' - Electric Boogie" (West Street Mob, 1984), "I'm in Love" (Evelyn "Champagne" King, 1981) or "You're the One for Me" (D. Train, 1981) helped define the musical style of boogie.[4][5] [unreliable source?]
Boogie record labels include Prelude[5],[unreliable source?] West End[5],[unreliable source?] Sam[2][4] as well as mainstream disco labels like SalSoul, Radar or Vanguard[2], among with Profile, Tommy Boy, Streetwise, Sugar Hill, Emergency[5].[unreliable source?]
About electro-funk origins, Greg Wilson claims:
[sic] and its influences lay not only with German technopop wizards Kraftwerk, the acknowledged forefathers of pure electro, plus British futurist acts like the Human League and Gary Numan, but also with a number of pioneering black musicians. Major artists like Miles Davis, Sly Stone, Herbie Hancock, Stevie Wonder, legendary producer Norman Whitfield and, of course, George Clinton and his P Funk brigade, would all play their part in shaping this new sound via their innovative use of electronic instruments during the 70’s (and as early as the late 60’s in Miles Davis’s case).[5][unreliable source?]
The better-known 1980s performers in this post-disco movement include Patrice Rushen, Mtume, Kashif, Nick Straker Band, Skyy, D. Train[6], Unlimited Touch[7], and also Kurtis Blow.[8]
More artists
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References
- ^ "Explore music…Genre: Post-disco". Allmusic. Retrieved 2009-04-11.
- ^ a b c d Depuydt, Francis. "Boogie, Funk & Modern Soul from the 80s". Danceclassics.net. Retrieved 2009-08-11.
- ^ Soul Brother Records, The Record Label Online: VARIOUS ARTISTS - GROOVE ON DOWN. "Over time and through constant experimentation this music would evolve, and by the early 80's it became what is now known as 'Boogie' - typified by a slightly slower groove carried on a heavier back beat." Retrieved on December 18 2009
- ^ a b c d e "Electro Funk Roots: The Building Blocks of Boogie (history)". electrofunkroots.co.uk. Retrieved August 11, 2009.
- ^ a b c d e f g h "Electro-funk history". Greg Wilson on jahsonic.com. Retrieved 2009-23-12.
{{cite web}}: Check date values in:|accessdate=(help) - ^ "Explore music…Top Artists (under Post-disco)". Allmusic. Retrieved 2009-04-11.
- ^ Bogdanov, Vladimir (2003), All Music Guide to Soul: The Definitive Guide to R&B and Soul, p. 709, ISBN 9780879307448,
[Unlimited Touch] weren't disco, and they weren't exactly straight-up R&B; like their Prelude labelmates D Train, Unlimited Touch combined the two forms into what is often referred to as post-disco.
- ^ Toop, David (1984), The Rap Attack: African Jive to New York Hip-Hop, Pluto Press, p. 93,
Kurtis Blow may not have been 100 per cent proof Bronx hip hop, but his early records helped set the style in post-disco dance music.