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The breakbeat is, literally, the percussion-only segment of a funk or disco track, where the dancers would cut loose. Finding that this was often the segment they most wanted to play, disco DJs would cut between two copies of the same record to create a funky drummer mélange. In the mid-1970s, too, Kool Herc invented ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

I can’t dance, it’s not my revolution.’ Emma Goldman, American feminist writer Styles Disco House Acid House Tribal/Progressive House Hardcore Happy Hardcore Trance Jungle Drum’n’Bass Techno Gabba Breakbeat Big Beat UK Garage US Garage Tech-House Dance Style As it is made for dancing to, dance music is characterized by a strong, steady drum beat. It is ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

(The Chemical Brothers) DJ’d across the board, Balearic-style. There was already a rich history of dance music to plunder by the early 1990s, from old-skool hip hop to breakbeat house, through indie dance or northern soul, but Tom and Ed wanted to make their own mark. Their ‘Chemical Beats’ track is considered to be the first 1990s ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

verbally. Some have argued that drum’n’bass is the UK’s equivalent to hip hop, and as such, this distinction mirrors the hip hop/trip hop raison d’être. Still immersed in breakbeat manipulation, some producers began experimenting with sound textures or female vocals, speeding up the breaks so much that they ceased to be visceral triggers for dancing limbs and ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

DJ Smurf Agent Orange Sperminator Gabba Style An extremely fast version of hardcore/techno, with a frantic drum line and sequenced synth bass. Introduction | Dance Styles & Forms | Breakbeat | Dance ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

In the UK, hardcore split into two camps in the early 1990s. One half would lead to jungle, but within breakbeat hardcore, a faction of DJs and ravers felt that the music was getting too gloomy. Producers and DJs such as Slipmatt, Seduction, Vibes, Brisk and Dougal effectively led an exodus of white ravers away ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

pop-rave of N-Joi and K-Klass; Belgian (and German) brutalist outfits such as T99, with their Hoover noises and ‘Mentasm’ stabs; and, by 1993, the proto-jungle sound of breakbeat hardcore. In the more segregated USA, the hip hop and house scenes were poles apart. In the UK, however, they were more or less part of the ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

Unknown’s ‘Valley Of The Shadows’ (Ram), reflected the mood of a scene riven with drug casualties and near-death experiences. DJs such as Fabio and Grooverider would increase the tempo on breakbeat house tracks by pitching up the speed on the record decks. In a mutually beneficial synergy of DJ/producer development, producers began creating more of a mutated, Jamaican ragamuffin/dancehall ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

Jungle and UK garage are often cited as the only real British contributions to electronic music, but the slow motion beats of trip hop are also steeped in the multi-cultural sounds of UK music. Influenced by 1980s dub acts like On-U-Sound, Adrian Sherwood and African Headcharge and their own sound system backgrounds, Bristol based acts like Smith & ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

, soon had its own UK garage show, hosted by The Dreem Teem. Although varying musical styles would develop – from MJ Cole’s smooth, soulful dubs to the breakbeat garage of Dee Kline or DJ Zinc, and from bassline-heavy bits by Wookie or DJ Narrows, to the gangsta-rap stylings of So Solid Crew – it was the ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

Although the 1960s Golden Age established soul as the foundation of Afro-American pop, the 1970s and 1980s saw soul’s supremacy challenged and ultimately ended by, in turn, funk, disco, electro, dance-rock, hip hop and house. In hindsight, the soul music of the 1980s went into a form of stasis, waiting for a ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

In the mid-1980s, the Chicago DJ Pierre was fiddling around with a new piece of technology, the Roland TB 303 machine. Tampering with its bass sound produced all sorts of squiggly, complex patterns. Pierre and the DJ/producer Marshall Jefferson gave a 12-minute tape of these doodlings to a local DJ, Ron Hardy, who played it at ...

Source: The Illustrated Encyclopedia of Music, general editor Paul Du Noyer

(DJ/rap artist, b. 1960) As a DJ, Bambaataa (b. Kevin Donovan) was at the forefront of the rise of hip hop in the late 1970s. In 1982, he released ‘Planet Rock’, which borrowed from Kraftwerk’s ‘Trans-Europe Express’, and essentially invented electro. In the mid-1980s he collaborated with both John Lydon and James Brown. His debut album, Beware ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

(Producer, vocals, b. 1965) Clifford Price a.k.a. Goldie was the most significant and visual exponent of the dance style known as jungle that emerged out of drum’n’bass in the UK in 1993. Early Angel EP (1993) and ‘Inner City Life’ single (1995) were masterful and his major label debut album Timeless (1995) confirmed his talent. A highly ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley

(DJ/turntablist, b. 1958) Born Joseph Saddler in Barbados, Flash was the inventor of turntablism – the use of a DJ’s equipment as a musical instrument. He started out in the Bronx in the early 1970s becoming the first DJ to manipulate records by hand, cutting and mixing songs into each other. Blondie’s ‘Rapture’ opines ‘Flash is fast, ...

Source: The Definitive Illustrated Encyclopedia of Rock, general editor Michael Heatley
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