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Eurodance

From Wikipedia, the free encyclopedia
Not to be confused withEurobeat,Eurodisco,orEuropop.

Eurodance
Other names
  • Euro-NRG
  • dancefloor
Stylistic origins
Cultural origins1980s, Belgium, Italy, Netherlands, France, Sweden, Denmark, United Kingdom, Germany[4]
Derivative forms
Fusion genres
Regional scenes
  • Europe
  • Italy
  • Belgium
  • Germany
  • France
  • Denmark
  • Netherlands
  • Sweden
  • United Kingdom
  • United States
Other topics

Eurodance(sometimes referred to asEuro-NRG) is a genre ofelectronic dance musicthat originated in the late 1980s in Europe. It combines many elements ofrap,technoandEurodisco.[2]This genre of music is heavily influenced by the use of rich vocals, sometimes withrappedverses. This, combined with cutting-edge synthesizers, strongbassrhythmand melodichooks,establishes the core foundation of Eurodance music.[2]

History

[edit]

Background

[edit]

Eurodance music originated in the late 1980s in central Europe, especially in Germany, whereraveparties were becoming popular. By 1987, a German party scene was started, based on the well establishedChicago housesound and Belgiannew beat.The following year sawacid housemaking a significant impact on popular consciousness in Germany and central Europe as it had in England.[6]In 1989, German DJsWestbamand Dr. Motte established theUfo Club,an illegal party venue, and co-founded theLove Parade.[7]The parade first occurred in July 1989, when 150 people took to the streets inBerlin.[8]It was conceived as a political demonstration for peace and international understanding through love and music.[8]On 19 July 1989,Black Box's single "Ride on Time"was released. The song spent six weeks at No. 1 in the United Kingdom and it was the UK's best-selling single of 1989.[9]It contained theKorg M1's "house piano"[10]which can be found in many Eurodance releases. On 27 September 1989,Technotronic's single "Pump Up the Jam"was released. It reached number one in Belgium[11][12]and Spain,[13]and it popularised the house variant calledhip housein Europe.[14]On 9 November 1989, theBerlin Wallfell; free underground techno parties mushroomed in East Berlin, and a rave scene comparable to that in the UK was established.[7]East German DJPaul van Dykhas remarked that the techno-based rave scene was a major force in re-establishing social connections between East and West Germany during the unification period.[15]In the same year, German producers Michael Münzing and Luca Anzilotti (under the pseudonyms Benito Benites and John "Virgo" Garrett III) formed theSnap!project in Frankfurt. Snap! songs combined importedhip hopandsoulvocals adding rhythm by using computer technology and mi xing electronic sounds, bass and drums, mainlyhouse music.By doing so a new genre was born: Eurodance.[16]

Rise and fall

[edit]

Snap!'s first single, "The Power",released in 1990, reached number one in the Netherlands,[17][18]Spain, Switzerland[19]and the United Kingdom,[20]and it helped to raise awareness of the genre within Europe. In the following years, other Eurodance acts formed in Frankfurt, includingJam and Spoon,IntermissionandCulture Beat.After the breakthrough single "Rhythm is a Dancer"bySnap!in 1992 (number 1 in 12 countries),[21][22][23][24][25][26][27][28][29]new groups started to appear all over Europe, mainly in Belgium, the Netherlands and Italy. From 1992 until the genre's decline in popularity after 1995, the sound became increasingly NRG-oriented, leading to songs raising in B.P.M. up to 150. Some of the genre's defining songs in this period, dubbed as the "golden era" of Eurodance, are "It's My Life"byDr. Albanin 1992 (number 1 in 8 countries),[30]"No Limit"by Dutch group2 Unlimitedin 1993 (number 1 in 14 countries, it was Europe's biggest-selling song for 1993),[31][32][33]"What Is Love"byHaddawayin the same year (number 1 in 13 countries),[34][35][36][13][37]"Mr. Vain"byCulture Beatalso in the same year (number 1 in 13 countries),[38][39][37]"Cotton Eye Joe"byRednexin 1994 (number 1 in 12 countries)[40][41][42][43]and "Scatman (Ski-Ba-Bop-Ba-Dop-Bop)"byScatman Johnin the same year (number 1 in 9 countries).[44][45][46][47][48]In the same period, the genre's popularity also expanded further to East Asia, in nations such as Japan, South Korea and Taiwan; towards the end of the golden era also in Russia.[citation needed]

By 1995, Eurodance dominated European charts with 5 singles in the top 10 of the singles charts. Despite its success, many observers within the music industry said that the Eurodance sound had to change or die, and Eurodance producers and singers started to follow different paths and different sounds, such ashappy hardcoreand house music,[49]but not all the groups followed this trend immediately. Notably, the group2 Unlimitedwanted to remain within Eurodance sounds in order to remain chartbusters, although the producer De Coster predicted a retreat from a pop-like to a moreclub-likesound.[50]After a string of successful Eurodance hits, the producerNosie Katzmanncalled angrily the record label because one of the songs dropped at number 26 in the German charts.[51]Therefore, in the second half of the decade the popularity of Eurodance started to decline. "Scatman's World"byScatman Johnwas the last major hit of the original Eurodance sound in theEurochart Hot 100,being number 1 for 3 weeks between late August and early September 1995.[citation needed]Just before that,La Bouchereleased "Be My Lover",which has sold six million copies worldwide to date.

In the late 1990s, the classic Eurodance sound gradually morphed intoprogressive house.[5]Notable examples of successful Eurodance songs of this era are "Coco Jamboo"by German bandMr. Presidentin 1996,[52][53]"Freed from Desire"and"Let a Boy Cry"by Italian singerGala,"This is Your Night"byAmberand "Bailando"byParadisioin the same year,[54][55][56]"Barbie Girl"by Danish-Norwegian groupAquain 1997,[57][58]"Boom, Boom, Boom, Boom!!"by Dutch groupVengaboysin 1998,[59][60][61]"Blue (Da Ba Dee)"by Italian groupEiffel 65in 1999[62][63]and "Around the World (La La La La La)"by German groupATCin 2000.[64][65][66]Basshunter,ScooterandCascadasaw significant success during the 2000s,[67][68][69]however, by the early 2010s, popularity waned, and by about 2012, Eurodance music disappeared almost completely from the majority of European radio airplay.[citation needed]

Definition

[edit]

The term "Eurodance" gradually became associated with a specific style of European dance music. During its golden years in the mid-1990s, it was referred as "Euro-NRG"; in Europe it was often called "dancefloor".[70]

While some use a much broader definition of what is considered "Eurodance",[1]over time, the term particularly came to refer to an NRG-based genre from the 1990s which included a solo vocalist or a rapper/vocalist duet.[71]

Characteristics of the music

[edit]

Most Eurodance is characterized by synthesizer riffs, one or more vocals with simple chorus, one or more rap parts,samplingand a drum machine clap beat.[2][72]Sometimes non-rap vocals are used.[72]

Eurodance often carries a positive, upbeat attitude; the lyrics usually involve issues of love and peace, dancing and partying, or expressing and overcoming difficult emotions. The early to mid-1990s Eurodance vocals were frequently done by a solo vocalist or a mixed rapper-vocalist duet such as the male–female duets of2 Unlimited,La BoucheandMagic Affair.[72][73]

Many groups used variations of the rapper-vocalist theme, such as a German rapper with American singers (Real McCoy), or the use ofreggaerap as inIce MCandFun Factory,or combination of rapper and reggae vocalist like in theLife in the Streetsalbum, orscat singingas inScatman John.[72]Solo singing artists such asAlexia,WhigfieldandDJ BoBoalso contributed to the genre. Some acts like the Swedishdance-poporiginated groupAce of Baseuse more pop vocals rather than rap/soul vocals along with Eurodance sound.[74][75]Pop vocals were particularly popular in the late 1990s Eurodance productions. The Swedish groupRednexalso introduced Americancountry musicelements into the sound.[76]

Eurodance lyrics are almost always sung in English, regardless of the artist's nationalities.[72]However, there are cases like in the Belgian group'sParadisiowhere Spanish lyrics are used along withlatin musicelements.[77][78]

Almost all Eurodance emphasizes percussion and rhythm. The tempo is typically around 140beats per minute,but may vary from 110 to 150.[72][79]

Most Eurodance is verymelody-driven. Most Eurodance songs are inminor keys,similarly totechno.This, along with positive lyrics, helps contribute to the overall powerful and emotional sound of Eurodance.[2]Besides the contribution of the female or male vocals, there is often a noticeable use of rapid synthesizerarpeggios.[2]

Music videos

[edit]

Eurodancemusic videoswere often seen with dance acts by the main vocals of the songs (or models ad-libbing), often dancing in bright-colouredinfinity covestudios or wide, urban spaces (stations, parking garages) with high visual contrast, or in empty nature scenes.

Electronicbeats describes the cliché Eurodance music video as having "strobe-lit rave scenes, pixelated ‘90s computer graphics and, of course, an urban montage: cue the subway stations, streetlights and business commuters".Pump up the Jam's music video is described as having a "colour scheme of brilliant reds, greens and purples in a staggering array of chequered backdrops [...] [It is] a great insight tot the power of music videos on party wardrobes".[80]Bright, sometimes over-saturated colour schemes were used, with contemporary party clothing or outfits referring tospace-age,with videos that were fully or in part usingcomputer-generated imageryelements and effects. Large, sometimes digitally multiplied,dance troupesalso frequently featured.

As the music is largely electronically generated, shots of artists in studios or playing at concerts, frequent in videos of other genres, were infrequent.

Popularity

[edit]

In Europe

[edit]
PandorainKarlstad,Sweden, in 2004

From the early to mid-1990s, Eurodance was popular in Europe; the style received extensive airplay on radio stations and television shows, resulting in many singles appearing in the charts. For example, in Italy there were seven singles in the top ten of the chart at the end of May 1995. Technotronic from Belgium had hits with "Pump Up the Jam" and "Get Up" (featuring Ya Kid K).[81]

By 1996, the popularity of this genre had started to decline. From then, the classic Eurodance sound gradually morphed intoprogressive house.[5]By 1997 and towards the end of the millenniumhouseandtrancemusic increased popularity over Eurodance in Europe's commercial, chart-oriented dance records.[82][83][84]In the early 2000s, the mainstream music industry in Europe moved away from Eurodance in favour of other styles of dance music such asnu-disco,electro house,dance-popandR&B.[85][86]

United Kingdom

[edit]

AfterCappella'sGianfranco Bortolottiset up Media Records in Brescia, northern Italy[87][88][89]to release his 'commercial European dance music' (a set-up which included fifteen studios featuring various production teams working almost non-stop on a huge number of records) he decided to take the label into other markets and set up a UK office in the UK. Run by Peter Pritchard and featuring many records byStu Allan'sBritish Eurodance actClock,[90]this record company would eventually turn into hard house labelNukleuz(known for its DJ Nation releases).[91][92]

As Media turned into Nukleuz, it would fall toAll Around the World Productionsto be the label in the 21st Century which was more likely to release Eurodance tracks in the UK than other, with itsClubland TVmusic channel still having regular blocks of Eurodance videos in 2020[93][94](though extending its scope to include hits by David Guetta as well asCascadaandScooter)

North America

[edit]

Canada

[edit]

During the 1990s, Eurodance became popular in Canada, which produced its own variant called Candance (although it was mostly referred to as "Eurodance" or "dance music" ).[95]Eurodance received significant airplay on radio stations in theGreater Toronto Areasuch asPower 88.5,Energy 108andHot 103.5.Montreal was also a major Eurodance market, withMC Mario's famous radio show onMix 96,called "Party Mix" andBouge de là,a popular TV show onMusiquePlus.Eurodance featured prominently onElectric Circus,a dance-party TV show broadcast nationally in English and French versions.[96]Beginning in mid-1992, Eurodance began to dominate theRPMdance chartin Canada, with acts such as2 Unlimited,Snap!,Captain Hollywood Project,Culture Beat,Haddaway,Whigfield,each reaching number-one.

From approximately 1992 to 2000, Canadian acts such asCapital Sound,Love Inc.,JacyntheandEmjayhad success with the Eurodance sound. The Toronto sound was more pop-oriented, while the Montreal one was more house-oriented.

United States

[edit]

While Eurodance is well known in major metropolitan areas such as New York City, Los Angeles, Chicago, and Miami, Eurodance did not make as big of an impact in the rest of the country. Exemplifying this is the Eurodance classic "Scatman (Ski-Ba-Bop-Ba-Dop-Bop)",byScatman John,an American artist; despite topping the charts in multiple European countries and reaching number 3 in the United Kingdom, it only reached as high as "number 60" on the USHot 100.[97]Another notable example is theLife in the Streetsalbum, a combined Eurodance music project from American rapperMarky Markand Caribbean reggae vocalistPrince Ital Joe,which was not released in the United States, but was a huge success in several European countries including singles like "Happy People" and "United"that topped the German charts.[98][99]

A few Eurodance artists including2 Unlimited,Haddaway,La BoucheandAce of Basemade theRhythmic Top 40,Top 40 Mainstreamand theBillboardHot 100during the early to mid-1990s. However, the sound tended to be more house and the rap-oriented artists received airplay. For instance, the Germanhip-houseprojectSnap!,the Belgian hip-house projectTechnotronicand the Dutchtechnodance projectL.A. Stylereceived quite a bit of airplay early on.[100]

The moreHi-NRG-oriented artists were typically played only during special "mix" shows, and it was often necessary to go to a club to hear Eurodance music. While Eurodance did become popular with club DJs in the United States, radio stations were cautious about playing anything that sounded too much like disco during most of the 1980s and 1990s. By the end of the 1990s, however, some of the later acts such as Italian groupEiffel 65and Danish groupAquadid receive extensive airplay.

Despite lack of widespread radio play, many Hi-NRG and Eurodance songs are popular at professional sporting events in the United States, especiallyice hockeyand basketball.[101][102]

Compilation albums, such as theDMA Dance: Eurodanceseries of compilation albums (1995–1997) from Interhit Records andDance Music Authoritymagazine, were popular and helped to define the genre as well as to make it accessible in the U.S. and Canada.[103]

Hands up

[edit]

Hands up(also known ashandz up!(stylized as HandzUp!) ordancecoreinEastern Europe) is a style oftrance music,and a derivation of Eurodance. The genre comes from its name, meaning music that requires listeners to "put their hands up", as well as fitness and danceability.

The genre developed in Germany in the mid- to late 1990s as part of the emerging trance music scene. Representatives of Eurodance such as Starsplash andMark 'Ohare sometimes regarded as forerunners of hands up. The biggest commercial success was the music until the mid-2000s.[clarification needed]

The synthesizer melodies are often catchy and simple. Often the vocal melody is accompanied by a synthesizer. In contrast to techno, short, high-pitched synthesizer tones are used. Hands up does not rely on the structure of tension build-up, but rather is based on the typical verse-chorus pop music scheme. The main elements are thebassline,drums and a catchy lead sound. A typical stylistic device of hands up is pitched female or resulting feminine vocals, but male vocals are also common. In addition, distorted, autotuned, chopped and repeated spoken phrases are common characteristics.

DJs such asManian,Rob Mayth, Rocco & Bass-T, DJ Gollum,Scooter,ItaloBrothers,Klubbingman,Discotronic,Ma.Bra., and Megastylez etc. are representative figures of this subgenre in both Germany and around the world.

See also

[edit]

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