6 Sep 2024

September 2024 – Get Up And Dance To The Music! Part II

by Tony Drew | posted in: History, Introduction, News, Observations, Opinion | 0

Prelude

Hello there plentiful peaceful people. Welcome to autumn 2024, with the sultry summer sunsets fading behind us into hazy reminiscence once again. As the American band Earth, Wind & Fire celebrated in 1978, here we are in, ‘September’. “Hey, hey, hey! Ba‑dee‑ya, say do you remember?” Once it’s gone, it’s gone and all we have left is in the here and now. Make the most of now, I suggest. What we will be in the future is what we do now. As one sage dude put it much better than I can…

“The past is already gone, the future is not yet here. There’s only one moment for you to live, and that is the present moment” – Buddha (Siddhārtha Gautama – c.480‑400BCE)

Furthermore, a message to all the immoral hegemonic oppressors intent on senseless conflict and unnecessary destruction out there, here is another titbit (NB. tidbit in the US – from 17^th Century English ‘tyd bit’) of astute advice from the sagacious spiritual leader.

“Better than a thousand hollow words is one word that brings peace” – Buddha

This month’s article is a little different. Firstly, it is Part II of a longer piece and I didn’t want to leave a long break between the parts. Then, secondly (NB. ‘secondly’ usually comes after ‘firstly’, after all, so the numbering is essentially superfluous) because I want to make some time and space for something else (to be announced in due course). This means that Part II is being published in early September, rather than the usual distribution deadline at the end of the month.

As I mentioned at the conclusion of last month’s article, I felt it was better to split this genre article on dance and dance music into two articles which are easier to digest and, together, form a coherent whole. The first part covered a period from pre‑history to the 1950s. This article picks up directly where the last one left off, from the 1950s onward. To cap the article off, there is a casually speculative look into the future of dance and dance music.

If you want to reprise or access Part I of this article for the first time, you can read it here (opens in a new tab):

August 2024 – Get Up And Dance To The Music!: Part I

Rather than go for a protracted preamble, as is my usual wont, pointlessly reiterating material from Part I, let’s get straight down to business. Time to get your Funk on!

Night Clubbing (courtesy Leif Bergerson)

Modern Dance and Dance Music

By this heading, I mean the underground, mainstream and popular dance music scene in whatever form, from the birth of Rock & Roll to the current day. These seven decades represent the main section of the article.

The rest of this article will concentrate on sixteen modern dance music ‘genres’ in an attempt to encompass the majority of popular styles. The approach I’ve taken is unorthodox and arbitrary but some structure is needed. Each genre could probably deserve an article in itself, so substantial omissions have been necessary to condense the remaining material into Part II. Where subjective generalities and assumptions have been made, they inevitably lead to some factual errors/inaccuracies, as well as omissions. Sorry ‘bout that. So… without further ado, let’s jump in with two left feet and Rock & Roll…

“We should consider every day lost on which we have not danced at least once” – Friedrich Nietzsche (1844‑1900)

Rock & Roll (1954‑1964 – Peak 1958):

Rock & Roll is popular dance music originating in the 1950s, recognisable with its heavy beat and simple melodies. Song structures were usually based around the established twelve‑bar blues format and usually played on guitar, double bass, and drums (and occasionally piano) to produce catchy danceable tunes.

Rock & Roll emerged from a fusion of Jazz, Blues and Country influences in the mid‑1950s. Black Rhythm & Blues (R&B) and white Country music were cited as key components, including a splash of Gospel and Folk for good measure. It is perhaps surprising that the watershed of modern popular music that rock & roll represented arrived so late into the 20^th Century.

Rock & Roll saw the emergence of the previously ‘invisible’ teen culture, which included fashion, music, language and attitudes. The cultural influences of early Rock & Roll songs dealt with youth‑related issues such as cars, school, dating, hairstyles and clothes. For the first time, teens were demanding to be listened to and to be taken seriously, rather than condemned as juvenile delinquents by typically conservative moral guardians.

While the origins of Rock & Roll date back to earlier decades, as far back as the 1920s, and the term ‘rock and roll’ had been used before, it is widely thought that American radio DJ Alan Freed promoted the popularity of African/American R&B music, calling it ‘rock and roll’. This time the name stuck.

Two key songs triggered the Rock & Roll era, ‘That’s All Right’ by Elvis Presley and ‘Rock Around The Clock’ by Bill Haley & His Comets, both recorded in 1954, the latter used in the film, ‘Blackboard Jungle (1955). The rest, as ‘they’ say, is history.

Several other American films portrayed the Rock & Roll zeitgeist including, ‘Concrete Jungle’ and Rock Around the Clock (1956). In addition, the film, ‘American Graffiti’ (1973) encapsulated the coming‑of‑age scene, set in 1962. Other films set about demonstrating the insubordinate side of youth culture during the 1950s including, ‘The Wild One’ (1951) and ‘Rebel Without a Cause’ (1955). All reflecting and, in turn, contributing to societal change.

On 3 February 1959, Buddy Holly, Ritchie Valens and The Big Bopper were killed in a plane crash near Clear Lake, Iowa. The tragic event was nicknamed ‘The Day the Music Died’. After that seismic shock, Rock & Roll declined and other genres emerged such as Surf, Soul, Pop, Folk Revival, Garage Rock and Psychedelic Rock.

Dance styles inherited by Rock & Roll included east coast swing, west coast swing, the jive and the jitterbug. ‘New’ dances that came with Rock & Roll included the twist and the hand jive.

Rockabilly was a sub‑genre used to describe predominantly white singers adopting black vocal styles with lighter, often acoustic instrumentation including Jerry Lee Lewis, Carl Perkins, Bill Haley, Elvis Presley and Buddy Holly.

Related genres: Jazz, Blues, Country, Folk, Gospel, Rhythm & Blues, Pop, Doo Wop, Surf, Skiffle, Rockabilly, Soul, Folk Revival, Garage Rock, Psychedelic Rock

Artist examples: Bill Haley and His Comets, Elvis Presley, Chubby Checker, Carl Perkins, Jerry Lee Lewis, Little Richard, Chuck Berry, Fats Domino, Duane Eddy, Eddie Cochran, Ricky Nelson. Gene Vincent & His Bluecaps, Jackie Wilson, Pat Boone, Big Bopper, The Everly Brothers, Dion, Bobby Vee, Richie Valens, Del Shannon, The Platters, Lonnie Donegan, Buddy Holly, Cliff Richard, Connie Francis, The Coasters, Marty Wilde, Neil Sedaka, Billy Fury, Bert Weedon, Bobby Darin, Roy Orbison, The Ventures, Brian Hyland, Sam Cooke, The Shadows, The Drifters, Booker T & The MG’s, Gene Pitney, The Swinging Blue Jeans, the Chiffons, The Beach Boys, Tommy Steele

Soul (1960‑1982 – Peak 1968)

Soul is a music genre that originated in the African/American communities across the USA in the late 1950s and early 1960s. Its earliest roots lie in traditions associated with enslaved people working in the cotton fields. Soul’s formative influences lay in Gospel, Jazz and Rhythm & Blues and became popular as a form of lively dance music. Soul made good use of prominent horn and rhythm sections, accompanied by powerfully emotional vocal delivery. During the Civil Rights Movement era, predominantly black Soul artists were sought after and promoted by famous record labels such as Motown (Detroit), Stax (Memphis) and Atlantic (New York). Segregation issues firmly connected music with radical societal change. Soul therefore reflects and promotes the importance of African/American culture in the US at the time. Many Soul songs were about love and relationships while others focused on political black consciousness.

The Stax record label (‘Soulsville USA’) led the way in promoting multi‑racial music at a time of tension, protest and segregation. The Motown record label came to define the sub‑genre of Pop Soul. Soul dominated the US R&B singles chart in the 1960s, with many singles crossing over into American and British Pop charts. Song writers and producers such as Holland‑Dozier‑Holland made the ‘three minute’ Pop song such a positive and commercially successful phenomenon. Atlantic Records promoted and popularised Soul, signing up legendary artists like Aretha Franklin and Ray Charles.

As Soul began to decline by the end of the 1960s, it was superseded by Psychedelic Soul and Progressive Soul, then by Funk and, later on, by Disco. Soul, though, didn’t disappear, it diversified into regional variants of Soul that adapted to local geographical tastes, including Memphis Soul, New Orleans Soul, Chicago Soul and Philadelphia Soul, the latter becoming known as the ‘Philly Sound’.

A key performance platform for Soul artists was the American TV programme, ‘Soul Train’, which promoted many popular African/American Soul, Funk and Disco dance music acts. Soul Train aired for 35 years from 1971 to 2006 with an impressive total of 903 episodes. In 1985, there was a short‑lived UK version, also called Soul Train. Producers, artists and audiences alike made dancing an important part of the programme.

Dance styles associated with 1960s Soul include the Harlem shuffle, the boogaloo (NB. the dance, not the extremist political movement) and the perennial west coast swing.

During the 1970s, slick production and commercially‑oriented Pop saw so‑called Blue‑Eyed Soul (i.e. white) artists come to the fore in both the US and the UK. Another popular and enduring working class Soul trend from the UK is Northern Soul, along with the dance that went with it, stomping.

Contemporary R&B tended to take on the mantle of many Soul artists in the 1980s and thereafter. Soul saw another major rejuvenation in the 1990s with a sub‑genre called Neo‑Soul, which fused retro traditional Soul and Contemporary R&B with Hip‑Hop, making use of modern digital studio production techniques.

Related genres: Gospel, Motown, Rhythm & Blues, Jazz, Big Band, Contemporary R&B, Neo‑Soul, Hip‑Hop, Pop, Psychedelic Soul, Progressive Soul, Funk, Disco, Deep Soul, Southern Soul, Blue‑Eyed Soul, Pop Soul, Samba Soul, Memphis Soul, New Orleans Soul, Chicago Soul, Philadelphia Soul

Artist examples: Sly & the Family Stone, James Brown, Aretha Franklin, Ike & Tina Turner, Whitney Houston, Joe Tex, Three Degrees, The Jacksons, Otis Redding, Michael Jackson, Barry White, Stevie Wonder, Marvin Gaye, Gladys Knight, Ray Charles, Diana Ross & The Supremes, Al Green, Hot Chocolate, Quincy Jones, Teddy Pendergrass, Isaac Hayes, Same & Dave, Lou Rawls, Gil Scott‑Heron, Smokey Robinson, Luther Vandross, Edwin Starr, Amii Stewart, Jimmy Ruffin, Lou Rawls, Curtis Mayfield, Labelle, The O’Jays, Martha Reeves & the Vandellas, Four Tops, The Temptations, Billy Preston, The Chi‑Lites, Sade, Thelma Houston, Ben E. King, Wilson Pickett, Ann Peebles, War, Hall & Oates

Funk (1968‑1988 – Peak 1976)

Funk is a dance music genre that originated in African/American communities in the mid‑late 1960s. Funk developed from Soul as well as Black R&B and Jazz influences. Musically, Funk refers to a style of aggressive urban dance music that rose to popularity, coinciding with the splintering of Soul.

The main focus of Funk musicians was to create a rhythmic, danceable musical style. The traditional elements of song writing, lyrical melody and standard chord progressions were replaced by a strong rhythmic groove provided by bass and percussion, giving tracks a hypnotic, danceable ‘feel’. Funk embraced many jazz traditions including the use of extended guitar chords, brass sections and intricate, syncopated drum patterns.

Funk, especially when performed live, makes extensive use of collective improvisation by jamming and ‘getting down with the groove’ based on strong basslines and groovy ‘chicken scratch’ guitar riffs. Funk created an insistent, locked‑in hook, on which dance moves were easily co‑ordinated. Rhythm was king. Percussion, often influenced by Afro‑Cuban styles plays a big part in creating and embellishing the groove, with an emphasis on the first beat of the bar (‘The One’), developed by James Brown (the ‘Godfather of Soul’) with his band The Famous Flames.

While Sly Stone introduced a psychedelic element to Funk, George Clinton and his bands Parliament and Funkadelic defined a whole sub‑genre called P‑Funk, which relied on psychedelic and whimsical elements with elaborate stage shows featuring extravagant otherworldly themes.

In the 1980s, Funk diversified and, like other forms of dance music, was heavily influenced by the use of analogue synthesizers, resulting in a sub‑genre known as Synth Funk. In the 1980s, the sexually expressive aspects of Funk were popularised by the likes of Rick James and Prince, attracting some notoriety. Funk heavily influenced Hip‑Hop, which often sampled Funk songs of the 1970s.

Dances associated with Funk include the robot, the funky chicken, tutting, popping & locking, the camel walk, the mashed potato and the good foot.

Pioneering instrumental records rooted in New Orleans R&B helped define the Deep Funk sub‑genre. Ghetto Funk is a modern take on the original Funk era of the late 1970s and early 1980s. Ghetto Funk fuses the rhythms of classic Funk with modern electronic beats and digital studio production. Like its ancestor, Ghetto Funk is about getting down and groovy, featuring funky basslines, soulful samples and an up‑beat, up‑tempo vibe. Ghetto funk artists combine retro funk samples with modern electronic beats, creating something that is both nostalgic while being fresh and contemporary. Funk remains a popular dance genre today.

Related genres: Soul, Psychedelic Soul, Afro Funk, Jazz Funk, P‑Funk, Synth Funk, Disco, Pop, Dance Pop, Rock, Metal, Acid Jazz, Ghetto Funk, Nu Funk, Funk Rock, Funktronica, Avant‑Funk, Funk Metal, Hip‑Hop, G‑Funk, New Orleans R&B, Deep Funk

Artist examples: Funkadelic, Parliament, George Clinton, Bootsy Collins, Rick James, Prince, Average White Band, Brand New Heavies, The Brothers Johnson, Cameo, Commodores, Curtis Mayfield, Miles Davis, Fat Larry’s Band, The Gap Band, Isaac Hayes, The Isley Brothers, The Meters, Tina Turner, Tower of Power, Mtume, Shakatak, Vulfpeck, War, Jamiroquai, Grace Jones, S.O.S. Band, Aaron Neville, Roy Ayres, Herbie Hancock, Fatback Band, Kool & The Gang, Earth Wind & Fire, Bruno Mars, Ohio Players

Disco (1975‑1989 – Peak 1979)

Disco is a dance music genre that emerged in inner‑city America in the late 1960s and the thriving, vibrant urban nightlife scene of New York City, particularly the borough of Brooklyn. Simultaneously, Disco was also flourished in Philadelphia. Disco’s sound is simpler than Funk, typified by four‑on‑the‑floor 4/4 time signatures providing a strong beat, syncopated basslines, lush string and horn sections, analogue synthesizers, and staccato rhythm guitars.

Disco is an abbreviation of Discothèque (NB. a French word meaning, ‘library of phonograph records’), which were the nightclub venues playing this new form of dance music. One such nightclub on Broadway in midtown Manhattan, NYC became (in)famous for its celebrity Disco scene, Studio 54, which opened in 1977 in a former theatre and opera house dating back to 1927.

Discothèques weren’t a new thing by the 1970s. The first discothèques mostly played swing music in the 1940s. In 1953 the ‘Whisky à Go‑Go’ in Paris, France incorporated a dance floor with coloured lights and two turntables so records could be played continuously without having a gap in the music. It wouldn’t be until the early 1970s that the modern Disco scene emerged from the underground to widespread mainstream success between 1974 and 1977.

Disco nightclubs used powerful, bass‑heavy, sound systems, which became a key component in the Disco club experience, as were disc jockeys (DJs) that seamlessly mixed the music for eager audiences. Fashion included sequined dresses for girls and bell‑bottom flares for boys. The iconic and ubiquitous mirror ball (or ‘disco ball’) is forever entwined with the Disco scene, usually mounted on the ceilings of Disco venues. NB. Mirror balls were not a new thing to 1970s’ discos; they were patented in 1917 and were widely used in nightclubs during the 1920s.

Disco (courtesy Edoardo Tommasini)

The Disco subculture of the 1970s experienced a significant drug problem, particularly ‘party’ drugs like cocaine (blow) amyl nitrite (poppers), amphetamines (speed) and Quaaludes (a hypnotic sedative known as ‘disco biscuits’).

Disco was seen as a reaction to, and a rejection of, west coast hippie counterculture and the prominence of blue collar American Rock music. It was also seen by some as a symbol of liberal permissive gay culture and a hotbed of recreational substance misuse.

The film, ‘Saturday Night Fever’ (1977) cemented Disco music, fashion and subculture into the public consciousness. This classic was supplemented by other major films, including ‘Car Wash’ (1976), ‘Xanadu’ (1980), ‘Can’t Stop the Music’ (1980) and ‘Flashdance’ (1983).

One of the key innovations of Disco was the pioneering use of the Disco remix and the 12″ single. These enabled DJs to experiment and create new tracks (or versions thereof) for nightclub use. Another innovation was the ‘white label’ record, which were records produced in very small numbers to test crowd response in dance clubs. The plain white label was used so that DJs would have no pre‑conceived ideas about the music or the artist name. White label recordings have since become highly popular with House and Hip‑Hop DJs. In the early 1990s, Techno and House artists created tracks pressed on 12″ white labels, which proved easy to sell at dance music record stores. Further innovations included the use of electronic drum machines and sequenced synthesizers.

Several dance styles became strongly associated with Disco, including the bump, the hustle, the Watergate, the disco dance, the YMCA, the snap and the bus stop. Disco also adopted the funky chicken from Soul.

Disco may have many similarities with Funk by focusing on the rhythm and beat to provide a strong basis for danceable music. However, when looking beneath the surface, they are very different animals. Funk relies on syncopation, improvisation and intricate rhythms. Disco is more straightforward but with the same aim – to get people onto the dance floor. Maybe Disco might not have emerged without Funk to provide the groovy foundation for dance music.

Euro Disco is a sub‑genre that emerged on the European continent following ABBA’s success at the Eurovision Song Contest in 1974. This fostered other sub‑genres such as Euro Pop and Eurodance.

One very strange and unique offspring of disco music was the roller disco, with ‘dancers’ wearing roller skates (quad or inline) and appropriate fashion styles, circulating a dance floor or ice skating rink to popular disco music. The peak of the short-lived roller disco craze was in the late 1970s. While the fad faded dramatically during the 1980s, roller disco perpetuates with occasional revivals and still has a small but fanatical following.

Disco declined as a major trend in popular music in the US following the infamous Disco Demolition Night held on 12 July 1979. Disco Demolition Night was a Major League Baseball (MLB) event held at Comiskey Park in Chicago, Illinois. At the climax of the event, sandwiched between a double‑header of matches between the Chicago White Sox and the Detroit Tigers MLB teams, a crate filled with disco records was blown up on the field. The event attended by around 50,000 people ended in a pitch invasion and a riot. Disco Demolition Night was a backlash from rock music fans and anti‑gay culture factions, led by Chicago ‘shock jock’ and anti‑disco campaigner Steve Dahl. The explosive highlight was accompanied by macho bigoted chants of ‘Disco Sucks’ and ‘Death to Disco’. In the aftermath of Disco Demolition Night, the popularity of Disco declined significantly in late 1979 and 1980, with record labels, stores and DJs preferring to use the generic label ‘dance music’. Disco’s demise and legacy led directly to the evolution of new forms of nightclub dance music such as House and Techno.

In an attempt to ditch Disco’s camp, cheesy image and to revive and rejuvenate its fortunes, Nu‑Disco emerged in the UK during the 1990s. Nu‑Disco is a modern take on 1970s and 1980s Disco, characterised by funky basslines, groovy rhythms, and slick digital studio production. Like its predecessor, Nu‑Disco is a genre that is intended to get people back on the dancefloor and bopping to a new generation of beats. During the 2020s, a modernised Disco sound has given a new generation of dance artists and fans a contemporary update on a classic dance genre, firmly rooted in modern club culture.

Disco still has a massive following and has seen several revivals over time during the 1990s, 2000s, 2010s and 2020s. It has also heavily influenced many dance music genres since the 1970s. It seems that Disco doesn’t suck and certainly isn’t dead.

Related genres: Soul, Funk, Pop Soul, Euro Disco, Eurodance, Post‑Disco, Nu‑Disco, House, Deep House, Techno, Post‑Punk, Rave, EDM, Boogie, Italo‑Disco, Hi‑NRG

Artist examples: The Bee Gees, Chic, The Jackson 5, The Trammps, Tavares, Heatwave, Imagination, Earth Wind & Fire, Kool & The Gang, Donna Summer, Gloria Gaynor, The Village People, Boney M, KC & The Sunshine Band, The Real Thing, Teena Marie, Tina Charles, Shalamar, Carl Douglas, Leif Garrett, Evelyn ‘Champagne’ King, Love Unlimited, Odyssey, Ottawan, The Real Thing, Rose Royce, Sister Sledge, Sylvester, Chaka Kahn, The Gap Band, Patrice Rushen, Indeep, Yvonne Elliman, Candi Staton, Lipps Inc, Anita Ward, Billy Ocean, George McRae, The Hues Corporation, Giorgio Moroder, Jesse Ware, Dua Lipa, Alcazar, George McCrae, Baccara, Frantique, The Crusaders

Pop (1959‑1991 – Peak 1967)

Pop in its widest sense is a broad umbrella term for anything and everything in popular music. Not all popular music is Pop. Pop, though, is popular music. Go figure. However, defining Pop as a genre is not straightforward. Even sources suggest that its meaning is different depending on time and place, although there is consensus that Pop as a commodity appeals to the broadest audience base. Pop had been around since the advent of radio and TV, covering many morphing genres and styles in the process. Pop was reinvented in the 1960s off the success of Rock & Roll and Soul. Some (erroneously) suggest that Pop and Rock from the 1960s as interchangeable.

Pop focuses on catchiness, melody, rhythm, lyrics, and hooks and is regarded as readily available and largely ephemeral (i.e. disposable). Many Pop records were good for dancing and many dance records were good for Pop. Win‑Win. Make no bones about it, Pop was and still is Big Business. Capitalist commercial interests drive Pop music, enabling mass production, marketing, distribution and accessibility. Measures of success were market sales and chart position. Key Pop song writers and producers in the UK included Stock Aitken & Waterman (SAW, a.k.a. The Hit Factory).

Standardised commercial Pop songs tended to be short, around the three‑minute mark, based around the traditional intro-verse-chorus-verse-chorus-break-chorus-outro structure. Numerous Pop songs were written by professional writers and played by studio session musicians, rather than the artists that fronted them. Manufactured boy bands and girl groups were typical creations of the Pop industry.

As Rock emerged from the mid‑1960s, Pop didn’t go away, being ever present on radio and TV, featuring playlists that cycled hit singles to sustain popular (and commercial) interest. By the late 1970s, the origin of Disco would push the boundaries of Pop and took dance music in a different direction. It wasn’t until the 1980s that Pop would come to the forefront of dance music again.

One of the key milestone sub‑genres of electronic dance music was Electro. Electro makes much use of drum machines such as the Roland TR‑808 and analogue synthesizers. Electro was, perhaps the most influential genre development in Pop music in the 1980s. Following the implosion of Punk c.1980 and the growth of New Wave, New Romantic and Post‑Punk music, Synth Pop rapidly became dominant, eagerly announcing ‘death of guitar music’. Electro made full use of music technology and music videos took the MTV crowd by storm.

Another key sub‑genre of Pop is Synth Pop. It was a style of Pop that emerged in the 1980s, features catchy melodies, electronic instrumentation, and a strong Pop sensibility. Synth Pop combines the warmth of analogue synthesizers with infectious, memorable hooks. Synth‑Pop artists mix electronic beats with melodic lyrics, creating tracks that are both danceable, listenable and unforgettable.

Synth Pop would be reinvented for the 21^st Century with the retro‑inspired Synthwave sub‑genre that pays nostalgic homage to the retro music of the 1980s. It is characterised by analogue synths, ‘ear worm’ melodies and a forward looking yet vintage vibe.

Popular music dances include the Macarena (thanks Los Del Rio!), The hokey pokey (hokey cokey in the UK – thanks Larry LaPrise!), the cha‑cha slide, the locomotion, the tootsee roll, the time warp (from ‘The Rocky Horror Picture Show’ film) and the peppermint twist.

Related genres: New Wave, New Romantic, Post‑Punk, Dance Pop, Europop, Eurodance, Synth Pop, Synthwave, J‑Pop, K‑Pop, Krautrock, Future Bass, Electro, Teen Pop

Artist examples: The Beatles, Abba, Pet Shop Boys, Kylie Minogue, Bananarama, Beats International, Mel & Kim, Daft Punk, Deee‑Lite, Jennifer Lopez, Lady Gaga, The Pussycat Dolls, Michael Jackson, Janet Jackson, Grace Jones, Madonna, Christina Aguilera, Rihanna, Beyoncé, Gloria Estefan, Billy Ocean, Hot Chocolate, Heaven 17, Thompson Twins, Erasure, Eurythmics, Boney M, 2 Unlimited, Ace of Base, Robyn, Black Box, Aqua, Roxette, Technotronic, Whigfield, Vengaboys, Dead or Alive, Paul Hardcastle, Scissor Sisters, Basshunter, Shakira, The S.O.S. Band, Billie Eilish, Charli XCX, Bomb the Bass, N‑Sync, Backstreet Boys, Destiny’s Child, Spice Girls, Boyz II Men, Jessie Ware, Dua Lipa, Drake, Ariana Grande, Olivia Rodrigo, BTS, Pitbull, early Depeche Mode, Kraftwerk, Gary Numan, Boyzone, Take That, Taylor Swift, Adele, Ed Sheeran, Katy Perry, Miley Cyrus, Justin Bieber, Lorde, Prince, Pink

Club Music (1975‑today – Peaks, 1995 & 2024)

Club Music, perhaps, represents the quintessential modern dance music and deservedly so. It is the place where innovation in dance music has been most prominent and prolific in recent times. The cultural significance of ‘clubbing’ is truly massive. The vibrant cornerstone of dance music culture has been massively popular for decades now. While Club Music as an ‘umbrella’ term that covers much of the same ground as EDM (see below), there is a great deal of convergence and overlap, such that the boundaries are blurred almost to non‑existence at times.

Nightclub (courtesy Yiming Tang)

While it might seem strange that major dance music genres like House, Techno and Trance don’t feature as headings in their own right, they have been grouped together here because these genres drove the nightclub scene for several decades. Can you imagine a great underground or glitzy nightclub without these three genres being a crucial element of the music? Can you imagine what it would be like to have these three genres being successful without the existence of groovy nightclubs? The answer (at least to the author, who spent a great deal of time seeking out cool nightclubs in the UK and Ibiza from the 1980s to the 2000s) is that there is a vital co‑dependency between nightclubs and club dance music.

Some specific dance styles arose in the nightclub scene, including the Vogue, which also hit TV screens via MTV playlists. While there are some dances associated with genres from this point on, a great deal of modern social dance from the 1980s onwards may best be described as ‘freestyle’ or ‘freeform’, i.e. doing whatever one feels like to the music being played in the moment. No rules, no boundaries, no limits, just get down on the dancefloor and move to the groove.

House music is a highly influential dance music genre deeply rooted in Chicago during the early 1980s. House evolved from Disco and is based on electronic beats with infectious rhythms, strong basslines and soulful melodies, set to an insistent ‘four‑on‑the‑floor’ 4/4 time signature and a beat of around 115‑135BPM with a common standard of 128BPM.

Born from underground clubs, the name is thought to come from ‘The Warehouse’ nightclub in Chicago where DJ Frankie Knuckles (‘The Godfather of House’) performed DJ sets. House incorporates elements from Pop, Disco, Funk, and Soul and hit the mainstream around 1986.

While many dance moves were inherited from Disco, notable dances associated with House music include jacking, footwork, house stepping and lofting.

Key sub‑genres of House include Deep House and Progressive House, both intended to take the listener on a musical journey. Deep House is a key sub‑genre of House characterised by its chilled, soulful vibes, often featuring warm basslines, jazzy chords and soothing vocals that encourage listeners to groove and relax. Progressive House is known for its melodic and gradual build‑ups and euphoric drops.

Tech House is a logical amalgam of, erm… Techno and House from the late 1980s onwards. Tech House bridges the gap between the active dancefloor and passive listening. Other notable fusion sub‑genres of House include Ambient House and Electro‑House

In the late 1980s, House heavily influenced the formation of Balearic Beat that became SO popular in Ibiza Island dance clubs, super clubs, lounge bars and the underground Rave scene in the UK.

Bass House influenced the emergence of Dubstep and inspired the wave of Electropop artists in the 2000s, as well as many other forms of EDM in the 2010s and 2020s.

Techno is a genre of electronic dance music that emerged in Detroit in the late 1980s influenced by rising interest in House and Electro. Techno is characterised by repetitive (some say relentless) beats and hypnotic futuristic vibes that range from deep and atmospheric, through challengingly complex to fast and pounding. Typical Techno tempos are c.120‑160BPM. Unlike House, Techno has a more mechanical and ‘cold’ sound, embracing synthetic sound design and a robotic rhythmic style. Techno is an experience, designed to make you lose yourself on the dance floor. Techno soon spread from the USA to the nightclubs of the UK and Europe.

Dances associated with Techno have an international feel including, hakken, jumpstyle, Melbourne shuffle, vogue and tektonik.

A sub‑genre of Techno is Minimal Techno, known for its stripped‑down, repetitive rhythms and emphasis on mood changes. Minimal Techno is all about, erm… minimalism and creating an enthralling dancefloor atmosphere through simplicity and groove.

When it comes to post‑club parties, Ambient Techno was the ideal comedown, fusing the hypnotic quality of Techno and the more soothing Ambient music. At the other end of the spectrum, up‑beat Techno went on to influence Rave and Future Rave.

Trance music developed in Berlin, Germany in the early 1990s and became particularly popular in the UK, Belgium and the Netherlands. Trance is known for its uplifting melodies, ethereal breakdowns and energetic beats. Trance – as the name suggests – is intended to transport listeners to euphoric, hypnotic and transcendent states, making Trance a favourite at festivals and underground raves before hitting the mainstream. Trance endured into the 2000s with the proliferation of sub‑genres, thereby diluting the original. During the 2010s, Trance declined significantly with the dominance of EDM.

Trance made heavy use of the Roland TR‑909 drum machine (introduced in 1983 as a successor to the TR‑808) and analogue synthesizers. Tempo was relatively fast, around 130‑160BPM. Trance was heavily influenced by House and Techno before it became ‘a thing’ on its own.

The genre (Trance) and the venue (raves) are often linked to the widespread use of the drug MDMA, better known as ecstasy (tablet) or molly (crystals), a psychoactive empathogen which reinforces the hypnotic effect of Trance music and creates a (false) state of rapture and emotional social communion. Psychedelic forms of Trance became hugely popular in dance club destinations such as Ibiza (Ibiza Trance) and Goa in India (Goa Trance).

Dance moves associated with Trance include the trance stomp, the galactic glide, the melodic spiral and the echoing echoes. All sound suitably psychedelic.

Trance varied in sub‑genre, with Dream Trance, Uplifting Trance and Euro Trance, while more extreme sub‑genres of Trance include Tech Trance and Hardstyle.

Another staple of Club Music is Garage, a sub‑genre that originated in Britain in the form of UK Garage, influenced by Contemporary R&B and Hip‑Hop. Garage is characterised by its 2‑step beats, soulful vocals, and smooth, danceable rhythms and Garage House became popular in clubs. In turn, Future Garage and UK Bass took the form into the 2000s. UK Garage also became influential in the development of Dubstep and Grime.

The Juke (a.k.a. Chicago Juke or Footwork) sub‑genre arose in Chicago in the late 1990s is associated with dance battles and showcases dancers’ impressive footwork (duh!) skills. The tempo of Juke is fast, at c.160BPM.

Club DJ (courtesy Gaby Tenda)

At the height of the dance boom, music was heavily promoted by club and radio DJs who made themselves household names, including (amongst SO many others) Pete Tong, Calvin Harris, Carl Cox, Danny Rampling, David Guetta, David Morales, John Digweed, Eric Prydz, Erick Morillo, Fatboy Slim, Ferry Corsten, Frankie Knuckles, Judge Jules, Paul Oakenfold, Paul van Dyk, Roger Sanchez, Richie Hawtin, Sasha, Sven Väth, Tiësto, Tony De Vit and Robert Miles. Without the turntable skills of experienced club DJs, dance music would not have had the success it has had over several decades. Several top DJs also dipped their toes in music writing and recording.

The popularity of club music decreased significantly from the mid‑2000s with a lack of innovation and a malaise of interest from audiences. This sense of ennui led to the rise of EDM as a saviour of club dance music from the 2010s onwards.

Related genres: Pop, Disco, Funk, Electro Disco, Electro, Electroclash, Electro Swing, Electro Pop, House, Techno, Trance, EDM, Rave, Deep House, Ambient House, Electro‑House, Balearic Beat, Acid House, Euro House, Micro House, Hardstyle, Progressive House, Progressive Electronic, Industrial Techno, Bleep Techno, Acid Techno, Ambient Techno, Dub Techno, Progressive Trance, Tropical House, Ghetto House, Footwork, Juke, Tech House, Bass House, Hard House, Slap House, Minimal Techno, Ibiza Trance, Goa Trance, Dream Trance, Uplifting Trance, Euro Trance, Tech Trance, Garage, Contemporary R&B, Hip‑Hop, Grime, Dubstep

Artist examples: Soul II Soul, Frankie Knuckles, Madonna, Faithless, Inner City, Robin S, Bob Sinclar, Sasha, Jeff Mills, Goldfrapp, Sunscreem, C+C Music Factory/Clivilles & Cole, Tiësto, Reel To Real, Sash!, Carl Cox, Paul Oakenfold, Todd Terry, UNKLE, Felix Da Housecat, X‑Press 2, Eric Prydz, Deep Dish, Basement Jaxx, Roger Sanchez, Artful Dodger, Gorgon City, Deadmau5, Camelphat, David Guetta, Calvin Harris, M People, K‑klass, Moby, Ian Van Dahl, David Morales, Ultra Nate, Kosheen, Fatboy Slim, Snap!, Apollo 440, Coldcut, Audio Bullys, Bodyrockers, Seb Fontaine, Technotronic, Katy B, Jeff Mills, Charlotte de Witt, Craig David, Artful Dodger, MJ Cole, Underworld, Louie Vega

Dancehall (1979‑1999 & 2010‑2020 – Peaks 1983 & 2013)

Dancehall is Jamaican music that evolved from Reggae and Deejay in the late 1970s and early 1980s. While Reggae‑derived dance music may seem out of place here, don’t rule out the influential Jamaican vibe so summarily.

Dancehall was stripped down Reggae with a focus on Deejay (rapped) vocals over pre‑recorded electronic rhythm tracks, rather than live backing musicians. Another difference from the political and Rastafarian themes of Roots Reggae is that Dancehall used sexually explicit lyrics (‘slackness’), misogyny and violent themes attracting negative criticism and notoriety. Dancehall has a wide variety of tempos; most sitting around 80‑120BPM with a DJ standard around 102BPM.

Dancehall changed radically in the mid‑1980s when producers increasingly employed new digital studio techniques, a sub‑genre known as Digital Dancehall emerged. Long before Hip‑Hop made the practice commonplace, Dancehall regularly sampled earlier genre tracks. In the early 1990s, Dancehall developed a more aggressive and less melodic style called Ragga. The style and content of Jamaican Dancehall and Ragga heavily influenced early American Rap, Hip‑Hop and Contemporary R&B, as well as Dubstep.

Dances associated with Dancehall include, the skank (a traditional reggae move), the bogle, the butterfly, willie bounce (?!) and the gully creepa.

Another sub‑genre of Reggae and Dancehall is Reggaeton, a genre that originated in Puerto Rico in the 1990s. Reggaeton fuses reggae and Latin rhythms with Hip‑Hop and electronica. Reggaeton is characterised by its infectious beats, catchy hooks and often explicit lyrics.

Related genres: Ska, Rocksteady, Reggae, Roots, Deejay, Ragga, Digital Dancehall, Nu Reggae, Soca, Rap, Hip‑Hop, Dubstep, Reggaeton, Contemporary R&B, Dub

Artist examples: Sizzla, Buju Banton, Sean Paul, Bounty Killer, Ini Kamoze, Barrington Levy, Cllint Eastwood, Ranking Joe, Tapper Zukie, Dillinger, Trinity, The Lone Ranger, Shabba Ranks, Eek‑A‑Mouse, Yellowman, Shaggy, General Levy, King Jammy, Ninjaman, Frankie Paul, Bobby Digital, General Saint, Cocoa Tea, Chaka Demus

Hip‑Hop (1979‑today – Peaks 1993, 1999 & 2022)

Hip‑Hop (with or without the hyphen) as a subculture and art movement has its roots in in block parties of African/American communities of New York City, particularly The Bronx c.1973. Originally, it was known as Rap and then Disco Rap, but the broader term Hip‑Hop has become the de facto title for the genre. Hip‑Hop is known for its bare bones rhythmic beat patterns and poetic spoken vocal delivery rather than strong melodies and sung vocals. Most Hip‑Hop tempos vary around the 80‑115BPM mark.

Much of Hip‑Hop’s roots can be traced back to Jamaican Reggae and its Deejay, Dancehall and Ragga sub‑genres. Hip‑Hop also adopted Soul, Disco and Funk samples to enhance the genre’s appeal in predominantly black urban communities. Hip‑Hop subculture revolved around a number of key characteristics; MCing/rapping, DJing/turntable scratching, breakdancing and graffiti/street art. Other characteristics emerged such as Beatboxing and Instrumental Hip‑Hop (minus rapping).

Hip‑Hop expanded rapidly during the 1980s migrating from New York and Boston across the continent breaking through into commercial success in the process. Once Hip‑Hop reached the West Coast of the US, particularly Los Angeles, the gang‑related, anti‑authority and violent themes of Gangsta Rap quickly gained popularity c.1988 and became seen as a reaction to, and rejection of, the east coast’s Hardcore Hip‑Hop. Despite Gangsta Rap’s reputation of glorifying guns, violence, sexual exploitation and drug‑use, it continued to gain popularity in the harsh life experiences of deprived black urban communities. Several high profile murders of Hip Hop artists plagued the 1990s, including Tupac Shakur and The Notorious B.I.G. (a.k.a. Biggie Smalls).

A sub‑genre of Gansta Rap, G‑Funk emerged in the 1990s and adopted a less aggressive, less confrontational posture. G‑Funk spread across the mid‑west and southern states, increasing Hip‑Hop’s popularity with both black and white audiences. Hip‑Hop continued to diversify into Crunk, Snap and Trap, becoming less political and more nihilistic in the process. Going full circle, there was a re‑emergence of New York Hip‑Hop around 1994. Hip‑Hop became mainstream and in‑turn influenced the genres that had influenced it, including commercial Pop. Hip‑Hop has expanded to include Urban (a.k.a. Urban Contemporary Music), Contemporary R&B and Instrumental Hip‑Hop.

The key street dance style associated with early rap and Hip‑Hop was breakdancing. Breakdancing has grown significantly in popularity from its roots as an American street art performance to being an international sport at the Olympic Games. Called just ‘breaking’, the dance/sport made its debut at Paris 2024.

Breakdancing (courtesy of Beatriz Braga)

In addition to breaking, other dances associated with Rap and Hip‑Hop include popping & locking, krumping, jerkin’ and tutting.

Related genres: Reggae, Deejay, Dancehall, Urban, Gangsta Rap, Experimental Hip‑Hop, Instrumental Hip‑Hop, Trip Hop, Hardcore Hip‑Hop, G‑Funk, Nu Metal, Crunk, Snap, Trap, Drill, Techno, House, Deep House, Trance, Electro Disco, Progressive Electronic, UK Garage, Glitch Hop, Rap, Disco Rap, Pop Rap, Beatboxing, Southern Hip‑Hop

Artist examples: Grandmaster Flash & The Furious Five, The Sugarhill Gang, The Beastie Boys, Run‑DMC, Dr Dre, Usher, Eminem, LL Cool J, 2Pac (Tupac Shakur), Nelly, Fun Lovin’ Criminals, Beyoncé, House of Pain, Coolio, A Tribe Called Quest, Kelis, Neneh Cherry, Cypress Hill, D12, Busta Rhymes, Tone Loc, Bubba Sparxxx, The Black Eyed Peas, N.W.A., Snoop Dogg, The Notorious B.I.G. (Biggie Smalls), Will Smith, DJ Jazzy Jeff & the Fresh Prince, Naughty by Nature, Public Enemy, Ice Cube, Ice‑T, Kendrick Lamar, Nas, Wu‑Tang Clan, Kanye West, DJ Shadow, K7, Jay‑Z, The Streets, Missy Elliott, 50 Cent, MC Hammer, OutKast

Rave (1986‑1994 – Peak 1988)

The term rave in connection with dance music has a long history, being used to describe wild beatnik parties in the 1950s and Mod parties in the 1960s. Party animals became known as ‘ravers’. For many, the Rave dance music scene was the most important paradigm shift in youth counter‑culture since Punk in the mid‑late 1970s.

During the 1980s, for some, discos, nightclubs and popular Club Music were not enough. In the mid‑late 1980s, psychedelic dance music originated in Acid House music parties in Chicago, USA. Word spread quickly and Acid House caught on in UK clubs, warehouses, private and free parties. As the genre name Acid House implies, the music was often associated with recreational drug use. Raves began in Manchester, England (nicknamed ‘Madchester’ in context) and then later in and around London (generally inside the M25 orbital motorway). The iconic Haçienda nightclub in Manchester was opened by the Post‑Punk band New Order and Factory Records. A film, ’24 Hour Party People’ (2002) portrayed the chaotic Madchester scene. Further films aimed to capture the essence of the rave phenomenon and its recreational drug frenzy including, ‘Go’ and ‘Human Traffic’ (both 1999).

Non‑standard Rave venues included homes, warehouses, industrial estates, basements and outdoors in forests. In the late 1980s, the word ‘rave’ was adopted to describe the underground subculture that grew out of the Acid House movement. Rave also became associated with psychedelic Rave parties held in Ibiza. Rave became massive, varying in size from a few thousand up to mainstream events as large as 25,000. Underground, i.e. illegal, Raves were the subject of much media hype, political rhetoric and heavy‑handed police crackdowns. Such hysteria led to a heightened awareness of, and attraction to, rave events for predominantly young, socially excluded anti‑establishment adherents willing to take risks with the law. Illegal rave venues were kept secret in an attempt to avoid police attention. Rave music became popular on UK pirate radio stations in the 1990s, adding to the mystique.

Rave (courtesy Harrison Haines)

Rave isn’t a genre with a definable sound of its own; it represents more of a pleasure‑seeking, indulgent lifestyle with widespread use of recreational and hard drugs. It is more of an umbrella term for a range of dance music genres popular at Rave events. Music featured at Raves included Acid House, Breakbeat Hardcore, Happy Hardcore, Drum & Bass, Post‑Industrial, Breakbeat and Electronica. Rave‑oriented tracks were mid‑tempo, generally around 130‑140BPM.

Acid House, born in the mid‑late 1980s, is known for its sound created by the iconic Roland TB‑303 synthesizer. Acid House is closely related to the early Rave scene and is characterised by its propulsive 4/4 time signature and psychedelic aesthetic. The familiar ‘smiley face’ emblem became an iconic part of the Rave and Acid House scene of the late 1980s.

Acid House Smiley Face

[Image: Acid House Smiley Face]

Dances associated with Rave include, running man, jump style, apple picking, liquid move, the stomp, glowsticking and gloving.

Rave strongly influenced sub‑genres such as Big Beat and Breakbeat, with their strong, heavy beats and complex and dynamic electronic drum rhythms, which combines EDM with Funk, Rock and Hip‑Hop. In turn, Big Beat and Breakbeat have been highly influential in the development of EDM. Rave’s diverse range of dance genres inspire high‑energy dance styles known for their hedonistic, exuberant, in‑your‑face sound and dynamic arrangements. Rave and its subculture live on, with a wide range of organised Rave festivals in many countries across the globe, far beyond its humble origins.

An off‑beat genre that was closely associated with the post‑club comedown parties was Trip Hop, which developed in Bristol, England with bands like Portishead, Massive Attack and Tricky making big waves from the late 1980s and early 1990s. Trip Hop is an experimental variant of Breakbeat, incorporating influences from Jazz, Soul, Funk, Reggae, Dub and Hip‑Hop. Trip Hop heavily influenced the growth of Intelligent Dance Music (IDM).

Related genres: Post‑Punk, Neo‑Psychedelia, Acid House, Acid Techno, Alternative Dance, Big Beat, Breakbeat, House, Electro, Hardcore Techno, Industrial Dance, Drum & Bass, Trance, Acid Trance, Dubstep, Balearic Beat, Deep House, Chillout, Downtempo, Nu‑Skool Breaks, Future Rave, Funk, Rock, Hip‑Hop, EDM, Breakbeat Hardcore, Happy Hardcore, Post‑Industrial, Trip Hop, Dub, IDM

Artist examples: The Shamen, The Prodigy, The Chemical Brothers, Orbital, Underworld, Happy Mondays, Primal Scream, Fatboy Slim, Infected Mushroom, Eat Static, Groove Armada, The KLF, Death In Vegas, Humanoid, A Guy Called Gerald, Shpongle, Stereo MC’s, Utah Saints, 808 State, Leftfield, All Saints, New Order, Altern‑8, Bassheads, Praga Kahn, Pete Heller, Martina Topley‑Bird, Portishead, Massive Attack, Tricky, Sneaker Pimps, Björk, Coldcut, Hallucinogen

Drum & Bass (1993‑1999 & 2020‑today – Peak 1994)

Drum & Bass, or just D&B to its many admirers, is known for its fast‑paced breakbeats, rolling basslines, and intricate electronic drum patterns. D&B combines elements of Acid House, Techno, Breakbeat and Hip‑Hop of the early 1990s, resulting in a high‑energy intense dance music experience. The up‑tempo nature of D&B regularly reaches 160‑180BPM or more. The DJ standard for D&B is a heady 174BPM. The fast tempo required D&B dancers to exhibit great stamina, frequently aided by drug use. D&B has experienced a number of peaks and troughs of popularity over time. D&B went on to influence the development of Dubstep and IDM.

Dances associated with D&B include, x‑outing and skank stepping.

While not strictly D&B, but bearing some similarities to it, Jungle, with its origins in the UK, is a high‑energy genre known for its fast‑paced breakbeats, heavy basslines, and reggae influences.

Neurofunk is a sub‑genre of D&B that emerged in the mid‑1990s, known for its complex, futuristic and experimental sound. Neurofunk introduced a unique approach to the genre, characterised by intricate basslines, glitchy studio effects and a darker atmosphere. Other related sub‑genres include Hardcore and Liquid Drum & Bass.

Related genres: Breakbeat, Big Beat, Jungle, Techno, Acid House, Neurofunk, Hardcore, Trance, EDM, IDM, Liquid Drum & Bass, Dubstep, Darkstep, Drumstep, Breakbeat Hardcore

Artist examples: Everything but the Girl, Chase & Status, Pendulum, Machinedrum, Sub Focus, Finley Quaye, Squarepusher, Amon Tobin, Goldie, Roni Size

Alternative Dance (1985‑2010 – Peak 1991)

Alternative Dance (a.k.a. Indie Dance or Underground Dance) is a broad catch‑all for dance‑inspired music by artists generally not associated with a defined dance music genre. Alternative Dance frequently but not exclusively incorporates synthesizer‑based rhythms derived from dance music within the context of Alternative Rock and other related genres. Alternative Dance first developed in Manchester in the UK during the early 1980s Post‑Punk movement with bands like New Order mixing Synthpop and Electro‑Disco. Alternative Dance, under the guise of Post‑Disco, was increasingly popular during the 1990s.

You may not immediately connect genres such as Indie, Grunge, Alternative Rock and Hard Rock with dance music. However, many Rock et al bands have embraced the groovy, foot‑tapping nature of dance music and incorporated influences into their own fusion‑style music that can be eminently danceable. In turn, many dance artists have sampled or collaborated with Rock et al artists to produce club‑friendly versions of classic rock tracks. This cross‑pollination has proved fertile ground for those involved and has created some interesting dance‑oriented versions of otherwise un‑danceable tracks.

Various dance forms have been associated with the genres that fit under the label Alternative Dance include, the shoegaze shuffle, the synthpop sway, the new wave nod, the trip hop trip, the Manchester wiggle and the Björk bounce.

Related genres: Alternative Rock, Grunge, Indie, Neo‑Psychedelia, Acid Jazz, Indietronica, EDM, Synthpop, Electro Disco, Post‑Punk, Shoegaze, Acid House, Nu Rave, Synthwave, Darkwave, Ethereal wave, EBM (Electronic Body Music), Hip‑Hop, Trip Hop, Instrumental Hip‑Hop, Psychedelic Trance

Artist examples: New Order, Primal Scream, Happy Mondays, Galliano, The Brand New Heavies, Morcheeba, Red Hot Chili Peppers, White Lies, The Hurts, Dynamic Syncopation, 9 Lazy 9, Mr Scruff, Amon Tobin, DJ Vadim, The Irresistible Force, Kid Koala, Coldcut, Luke Vibert, Fink, Funki Porcini, DJ Food, Hexstatic, The Cinematic Orchestra, Ashley Beedle, The Herbaliser, Jaga Jazzist, Caribou, LCD Soundsystem, Young Fathers, Manitoba, Broadcast, The xx, Saint Etienne, Jesus Jones, Hot Chip, Holy Fuck, M83, Tom Vek, Public Service Broadcasting, Reverend And the Makers, Big Audio Dynamite, Sugarcubes, Crystal Castles, Dubstar, Space, Howie B, Björk, Amorphous Androgynous

Balearic Beat (1986‑1994 & 2006‑2023 – Peaks 1990 & 2014)

Geographically, Balearic refers to a chain of islands in the Mediterranean off the east coast of Spain, home to Ibiza Island, one of the dance capitals of the world. The origins of Balearic Beat date back to a time when English DJs vacationing in Ibiza made use of their skills at parties, which became increasingly popular, particularly with holidaying celebrities. This trend then spread to tourists visiting the White Island to experience sun, sea, sand, sex, drugs and dancing. Balearic Beat has come to represent a dancefloor influenced sound conjuring up images of the warm sunsets and sunrises of Mediterranean beaches – and the hedonistic, drug‑fuelled dance parties that took place between dusk and dawn. Drug use is commonplace in Balearic dance music culture, including MDMA, amphetamine, cannabis, cocaine, LSD and ketamine.

The word Balearic here is used as an umbrella term for a wide range of Mediterranean vital vibe venues including Ibiza (and Formentera) and beyond. Other ‘Med’ (in more ways than one!) party destinations include Mykonos (Greece) and Magaluf (Majorca, Spain). These clubbing alternatives are largely regarded as second rate Ibiza wannabes. The scope does, by loose association, include other clubbing travel destinations outside the Mediterranean such as Goa (India) and Playa de las Américas (Tenerife). It is a bit of a tenuous link but it is used here for expediency.

Balearic Beat covers a range of music genres and is characterised by its relaxed atmosphere, laid back beats and R&B influenced swingy percussion, with its slow and heavy tempo at around 90‑110BPM. Influences include African Music, Hispanic American Music, Italo‑Disco, Eurodance, Soul, Funk, Reggae, Ambient, Downtempo, Chillout and Dub.

Ibiza Island led the way with its range of top notch, trendy nightclubs such as Pacha, Space, Amnesia, Privilege, Es Paradis, Eden, DC10, Octan, Underground and Swag. More recent is the emergence of Ibiza Super Clubs such as Hï, Ushuaïa, Lío, Cova Santa and Ocean Beach Club. The author’s favourite was Amnesia.

Ibiza lounge parties were the norm from the late 1980s and 1990s at the likes of Café del Mar, Café Mambo and Kumharas, all on the San Antonio Bay sea front. Venues in the island’s interior included Bambuddha Grove and KM5 up to the 2000s. After a decade of decline, Ibiza has seen a resurgence in the late 2010s and early 2020s with a rejuvenated EDM scene.

There aren’t specific dances that go along with the Balearic Beat, so freestyle is a common way of enjoying the island grooves. However, shuffling, swaying & twirling, and moves inspired by Latin dances such as salsa and samba fit the bill.

Goa Trance is characterised by hypnotic beats, ethereal melodies and a psychedelic atmosphere. Originating from Goa, India, Goa Trance gained global popularity for its mind‑expanding sound. Goa Trance often incorporates cultural and spiritual elements, intended to create a transcendent experience for listeners, often assisted by use of mind‑altering psychedelic/hallucinogenic drugs like LSD (acid), mescaline (peyote), psilocybin (shrooms) and DMT (dimethyltryptamine – the so‑called ‘God molecule’) to create altered states of consciousness.

A sub‑genre deeply connected to the heady Goa Trance scene is Psytrance, with its hypnotic beats, intricate soundscapes, and psychedelic influences. Psytrance immerses listeners in euphoric, transcendent otherworldly journeys.

Another Goa sub‑genre is Psybient, which is a fusion of psychedelic and ambient music. Psybient is characterised by its dreamy and otherworldly soundscapes and intended to immerse listeners in sonic voyages, often inspired by nature, local culture and psychedelia. Psybient became a favourite in club chillout spaces and festivals for relaxation and introspection. A popular close relative of Psybient is Ambient Dub for chilling out.

Related genres: Soul, Funk, Trance, Techno, House, Dub, Afrobeat, Italo Disco, R&B, Hispanic, EDM. Chillout, Downtempo, Psytrance, Psybient, Psychedelic Trance, Goa Trance, Ambient Dub, Neo‑Psychedelia

Artist examples: ATB, Robert Miles, Chicane, Monaco, Ibizarre, Juno Reactor, Solar Fields, Tosca, Electribe 101, Deep Dive Corp, Mylo, Darude, Nacho Sotomayor, Gaudi, A Man Called Adam, Aim, Jean Jacques Smoothie, Fragma, Jakatta, Bent, Spiller, Hallucinogen, Astral Projection, Infected Mushroom, Klaxons, Culture Beat, Sueño Latino, Daddy Yankee, Stardust, John Talabot, 1200 Micrograms

Downtempo & Chillout (1990‑2008 & 2022‑today – Peaks 2001 & 2023)

Downtempo (a.k.a. Downbeat) and its close relative Chillout are genres that emphasise slower tempos (around 60‑110BPM), relaxed beats, laidback vibes, atmospheric soundscapes and soothing melodies, often without a discernible beat.

Downtempo and Chillout are often used interchangeably and, to be honest, there is not a great deal to distinguish them other than perhaps their degree of rhythm and/or beat. Downtempo actually means ‘slow beat’. They are both used as broad terms for contemporary ‘easy listening’, which isn’t exactly helpful. Influences include, Ambient, Reggae, Electronica, Jazz, New Age and World music. Many admirers use Ambient Dub for meditation and mindfulness.

Chillout is a term derived from the ‘White Room’ at the Heaven nightclub in London in 1989 where DJs played Ambient and Ambient House music as a place to chill out or relax from the more intense tempos of the main dancefloor. These dedicated breakout areas became known as ‘chillout rooms’. Chillout is also often used in lounge bar settings and as background music. Due to market saturation, Ambient House declined in popularity during the early 2000s but has seen a big resurgence in the Covid‑hit 2020s.

Downtempo and Chillout encompass various dance music subgenres, including Trip Hop, Ambient House, Lo Fi Hip‑Hop, Psybient, Chillwave, Ambient Dub, Reggae, Nu Jazz and Ambient.

Related genres: Hip‑Hop, Trip Hop, Instrumental Hip‑Hop, EDM, Dub, Ambient Dub, Ambient Electronica, Ambient House, Ambient Techno, Ambient Trance, Progressive Electronic, Deep House, Nu Jazz, Breakbeat, Psybient, Chillwave, Lo‑Fi Hip‑Hop, Balearic Beat, Electronica, Jazz, Rock, New Age, World, Reggae, Ambient, Vaporwave

Artist examples: Massive Attack, Portishead, Tricky, Aphex Twin, The KLF, Fishmans, Thievery Corporation, Bonobo, Boards of Canada, Mr Scruff, Tycho, Nightmares on Wax, Ibizarre, Moloko, Innocence, Royksopp, London Grammar, The Beloved, St Germain, Air, Zero 7, The Orb, Smoke City, The Art of Noise, William Orbit, Helios, The Future Sound of London, Dirty Vegas, Bicep, Deadbeat, Jon Hopkins, Brian Eno, Moby, Sofa Surfers, The Dining Rooms

Dubstep (2006‑2020 – Peak 2012)

Dubstep is a dance music genre that originated in London, UK in the early‑mid 2000s. Dubstep is characterised by its sparse beats, heavy basslines, syncopated rhythms, and explosive drops, making great use of synthesizers to create its epic soundscape. Dubstep fuses elements of Reggae, Hip‑Hop and Rock with dance music beats, creating a powerful and often aggressive sound.

Dubstep has its roots in Dancehall’s beats, Drum & Bass’s drops and in Dub’s digital studio effects. For a dance music genre, Dubstep tempo has a relatively slow 70‑100BPM, making use of ‘half‑time’ rhythms, a characteristic of the genre. Dubstep is often closely associated with Grime, which appeared at around the same time with a faster tempo of around 140BPM.

Dance moves associated with Dubstep include, the wobble shuffle, the bass drop stomp, the rewind spin and the drop & flutter.

Just as Downtempo and Chillout stemmed from Balearic night clubs, bars and lounges, a sub‑genre of Dubstep is Chillstep, which emphasises melodic and slow ambient elements. Chillstep is known for its calming and ethereal sound, often incorporating female vocals. Like Downtempo, Chillstep is ideal for unwinding and relaxation.

Future Bass, with its lush emotional melodies is a sub‑genre that became prominent in the 2010s. While it is influenced by Dubstep and Trap, it adopts a warmer, less abrasive style that made an important connection between Pop and EDM.

Future Garage is a dark, minimalistic sub‑genre pioneered by Burial that combines elements of Garage, Dubstep, and House. It’s characterised by its sparse intricate rhythms, sampled vocals, and a highly atmospheric vibe. Another derivative of Dubstep is UK Bass with influences from IDM, Footwork and Techno.

While Dubstep and its derivatives remained popular into the 2010s, it has largely returned to its underground roots.

Related genres: EDM, Drum & Bass, UK Bass, UK Garage, Future Bass, Future Garage, Grime, Breakstep, Electro House, House, Brostep, Chillstep, Reggae, Trip Hop, Hip‑Hop, Rock, Dancehall, Dub, Trap, IDM, Footwork, Techno, 2‑Step

Artist examples: Burial, Skrillex, Katy B, Sub Focus, James Blake, Labrinth, Magnetic Man, Modestep, Excision, SBTRKT, Skream, Kode9, DMZ

EDM (1980‑1989 & 2010‑today – Peaks 1995, 2010 & 2023)

It is hard to believe but it was way, way back in 1980 that English musician, singer/songwriter and record producer Richard James Burgess, a member of the jazz/rock band Landscape, coined the term Electronic Dance Music, a.k.a. EDM.

The term EDM, though, didn’t really come into its own until its boom in the 2010s. Prior to that, it was a loose description of music that was, erm… electronic and danceable. Duh! Today, EDM has attempted to corral and coalesce a wide range of dance music genres into some broad categorisation. Prior to the 2010s, dance music was associated with discrete genres and sub‑genres. Post‑2010, EDM has attempted to become the main descriptor and exemplar of everything electronic dance. As such, it is arguably not a genre in its own right. However, keen‑eyed readers will also have noticed that other groupings described here, like Pop, Club Music, Rave and Balearic Beat are similar in the way they try to bring separate genres and sub‑genres together under broader, more meaningful headings.

EDM’s roots lie in the second half of the 1970s when Electro Synth Pop and Hi‑NRG arose in the wake of traditional dance genres like Soul, Funk and Disco. MTV was a prime catalyst for surge of interest in early EDM. House and Techno took on the mantle in the 1980s with the widespread adoption of digital technology and the crucial adoption of the MIDI (Musical Instrument Digital Interface) industry standard communication and control protocol for electronic musical instruments.

The next step in the EDM journey was with Trance and Eurodance. With the advent of the Internet, electronic dance culture became global with forms of electronic dance music becoming prevalent in many countries. EDM covers a wide range of tempos from the slow 60‑90BPM right up to the insane 240BPM of Speedcore, meaning plenty of choice for ravers, club‑goers and passive listeners.

So… is EDM a genre in its own right or is it simply a method for grouping a vast array of electronic dance sub‑genres into a convenient package for consumers? You decide.

As EDM is an expansive heading for diverse dance genres, the same goes for EDM dances, so it is no surprise then that EDM doesn’t have dedicated dance moves but borrows from the genres it represents including, shuffling, jumpstyle, gloving, liquid dancing, tutting, the Melbourne shuffle, popping & locking, voguing and cutting shapes.

Related genres: Electro, Hi‑NRG, Acid House, Drum & Bass, Future House, Minimal House, House, Trance, Techno, Acid Techno, Bleep Techno, Detroit Techno, Minimal Techno, Garage, UK Garage, 2‑Step, Pop, Dance Pop, Synth Pop, Dance Punk, Alternative Dance, Breakbeat, Drum & Bass, Trance, Acid Trance, Ibiza Trance, Psytrance, Psybient, Dub, Dubstep, Eurobeat, Europop, Eurodance, Mutant Disco, Nu Disco, Balearic Beat, Acid Breaks, Big Beat, Deconstructed Club, Jungle, Footwork, Freestyle, EBM, Future Bass, Future Rave, Grime, Trap, Bouncy Techno, Hard Dance, Miami Bass, Wonky, Dance Pop, Slap House

Artist examples: Landscape, Coldcut, Daft Punk, Deadmau5, Calvin Harris, David Guetta, Swedish House Mafia, Major Lazer, Armin Van Buuren, Paul Oakenfold, Disclosure, Rudimental, Years & Years, Digitalism, Example, Justice, Professor Green, MØ, LFO, Felix Da Housecat, Ferry Corsten, Clean Bandit, Moby, Madonna, Paul Van Dyk, Tiësto, M83, System 7, The Aloof, The Groove Corporation, The Dust Brothers, React 2 Rhythm, Charlie XCX, Billie Eilish, Igloohost, Space, Faithless, Avicii, Alesso, Flume

IDM (1992‑today – Peaks 2001 & 2009)

IDM (an abbreviation of Intelligent Dance Music) is an electronic dance genre emanating from the 1990s and drawing inspiration from House, Techno and Drum & Bass. IDM artists aim to challenge conventional electronic dance music tropes including a cursory dismissal of the traditional ‘four‑to‑the‑floor’ forms of EDM. IDM artists wanted to take a more experimental approach to creating dance music. Ironically, a large proportion of IDM is intended for listening, rather than for dancing.

IDM is characterised by intricate rhythms, odd time signatures and unconventional song structures. IDM has been criticised for its somewhat ‘highbrow’ – some say elitist – approach to the art. The use of the word, ‘intelligent’ is seen by many as condescending. IDM has certainly pushed the boundaries of what consumers can expect from electronic music, inviting listeners to engage on an intellectual level, rather than a purely physical one. Some critics suggest that IDM as a concept is patronising of more popular genres of popular dance music. IDM has, however, achieved significant success from fans looking for something a bit different from the norm.

Experimental Dance is a sub‑genre that is an integral part of IDM, intended to defy conventional classification, often challenging the limits of traditional dance music forms (and test the audience’s tolerance). Experimental Dance is a genre that inspires innovation and sonic exploration, embracing unusual rhythms and esoteric sound design. Experimental Dance artists go out of their way to subvert listeners’ preconceptions by creating eccentric, avant‑garde compositions that invite scrutiny and stimulate creativity. Many audiences find Experimental Dance hard to access and difficult to engage with.

Like with EDM, IDM covers a broad range of music sub‑genres, so dances and dance moves are also varied and derivative, including, freestyle, glitch dancing, liquid dancing and popping & locking.

Another popular derivative of IDM is a more traditional approach taken by Nu Jazz, diversifying IDM with a broader range of influences with an emphasis on ‘feel’, ‘groove’ and use of jazzy samples, largely absent from core IDM. Nu Jazz had elements reminiscent of EDM and has helped to bridge the gap between the two.

Glitch Hop is a sub‑genre emanating from the late‑1990s that combined IDM with pared back Hip‑Hop influences, particularly Instrumental Hip‑Hop. Glitch Hop is characterised by its use of ‘glitchy’ (duh!) studio effects and techniques, including cutting, skipping, repeating, chopping, and bit‑crush reduction of recorded samples.

Wonky is another sub‑genre of IDM that combines Dubstep and Hip‑Hop influences arising from around 2009. Wonky (the hint is in the name) is defined by its off‑kilter and unstable mid‑range frequencies using un‑quantised (non‑synchronised) and offbeat Hip‑Hop rhythms at Dubstep‑style half‑time tempos. The name Wonky allegedly arose as a result of the observed effects of ketamine on users’ ability (or not) to dance.

Related genres: EDM, EBM, Glitch, Wonky, Techno, House, Drum & Bass, Breakcore, Glitch Hop, Footwork, Experimental Dance, Nu Jazz, Hip‑Hop, Instrumental Hip‑Hop, 2‑Step, Hypnagogic Pop, Lo‑Fi Pop

Artist examples: Burial, Four Tet, Caribou, Autechre, Aphex Twin, Boards of Canada, Sauarepusher, Mouse on Mars, Orbital, Actress, Amon Tobin, Apparat, Biosphere, Higher Intelligence Agency, Clark, Carbon Based Lifeforms, Cylob, 9 Lazy 9, Faulty DL, The Field, Floating Points, Flying Lotus, Jon Hopkins, Kid606, Lemon Jelly, Moderat, Oneohtrix Point Never, Plastikman

“Dancers are the athletes of God” – Albert Einstein (1879‑1955)

The ‘Best’ Dance Songs of All Time

For all you list‑o‑philes out there, according to the prestigious Rolling Stone Magazine in 2022, they listed the ‘Top 200’ dance music songs of all time. Here are is their Top 20:

Donna Summer – I Feel Love (1977)
Daft Punk – One More Time (2000)
Chic – Good Times (1979)
Frankie Knuckles and Jamie Principle – Your Love (1986)
Indeep – Last Night a D.J. Saved My Life (1982)
Shannon – Let the Music Play (1983)
Robyn – Dancing on My Own (2010)
On the House and Marshall Jefferson – Move Your Body (The House Music Anthem) (1986)
Robin S. – Show Me Love (1992)
Disclosure (feat. Sam Smith) – Latch (2013)
Madonna – Vogue (1990)
Kraftwerk – Trans‑Europe Express (1977)
First Choice – Let No Man Put Asunder (1977)
Adonis – No Way Back (1986)
James Brown – Get on the Good Foot (1972)
Rihanna (feat. Calvin Harris) – We Found Love (2011)
Beltram – Energy Flash (1990)
New Order – Blue Monday (1983)
Prince – Controversy (1981)
Kylie Minogue – Can’t Get You Out of My Head (2001)

Going back a little, to 2011 in fact, Rolling Stone carried out a readers’ poll of the ‘Top 10’ dance music songs. Here’s what actual punters came up with.

Daft Punk – One More Time (2000)
New Order – Blue Monday (1983)
The Beatles – Twist and Shout (1961)
Justice – D.A.N.C.E. (2007)
Madonna – Vogue (1990)
The Isley Brothers – Shout (1959)
Michael Jackson – Thriller (1983)
Deee‑Lite – Groove Is In the Heart (1990)
Chic – Le Freak (1978)
Bee Gees – Stayin’ Alive (1977)

I don’t know what you think of that. Personally, I don’t agree with much of it but that’s not really surprising, as everyone will have their own unique opinion and favourites, which is why I’m not criticising the findings of others. The results presented above are what they are, though; that’s what Rolling Stone came up with.

Suffice to say that my personal selection would be substantially different. For what it’s worth, here are my ‘Top 50’ dance music tracks (only one per artist, in date and then sort‑of alphabetical order).

Chic – Le Freak (1978)
Funkadelic – One Nation Under a Groove (1978)
Earth, Wind & Fire – Boogie Wonderland (1979)
Michael Jackson – Off The Wall (1979)
Anita Ward – Ring My Bell (1979)
The Brothers Johnson – Stomp (1980)
The Gap Band – Burn Rubber on Me (Why You Wanna Hurt Me) (1980)
Joy Division – Love Will Tear Us Apart (1980)
Kool & The Gang – Celebration (1980)
Grandmaster Flash & the Furious Five – The Message (1982)
Rockers Revenge – Walking On Sunshine (1982)
David Bowie – Let’s Dance (1983)
New Order – Blue Monday (1983)
Rick James – 17 (1984)
Paul Hardcastle – 19 (1985)
Happy Mondays – W.F.L. (Wrote For Luck) (1988)
Technotronic – Pump Up the Jam (1989)
C+C Music Factory – Gonna Make You Sweat (Everybody Dance Now) (1990)
Bomb The Bass – Winter In July (1991)
DJ Jazzy Jeff & The Fresh Prince – Summertime (1991)
Prince – Cream (1991)
Stereo MC’s – Connected (1992)
Ini Kamoze – Here Comes the Hotstepper (1994)
Everything But The Girl – Missing (1995)
Massive Attack – Karmacoma (1995)
Faithless – Insomnia (1996)
Orbital – Satan (1996)
The Prodigy – Firestarter (1996)
The Orb – Toxygene (1997)
Ultra Naté – Free (1997)
Beastie Boys – Intergalactic (1998)
Stardust – Music Sounds Better With You (1998)
Aim – Cold Water Music (1999)
ATB – 9pm (Till I Come) (1999)
Basement Jaxx – Red Alert (1999)
Fatboy Slim – Right Here Right Now (1999)
Groove Armada – I See You Baby (1999)
The Chemical Brothers – Hey Boy Hey Girl (1999)
Leftfield – Phat Planet (1999)
Moloko – The Time Is Now (2000)
Spiller – Groovejet (If This Ain’t Love) (2000)
The Underdog Project – Summer Jam (2000)
D12 – Purple Pills (2001)
Kosheen – Hide U (2001)
Kylie Minogue – Can’t Get You Out of My Head (2001)
Roger Sanchez – Another Chance (2001)
The Rapture – House Of Jealous Lovers (2002)
X-Press 2 (feat. David Byrne) – Lazy (2002)
LCD Soundsystem – Daft Punk Is Playing At My House (2005)
Hot Chip – Ready For The Floor (2008)

That’s 5 from the 1970s, 12 from the 1980s, 22 from the 1990s and 11 from the 2000s. None from the 2010s or the 2020s (yet). That represents a fairly typical distribution pattern and one that probably isn’t far from dance music popularity by year/decade either. The 1990s was also the decade that the author was most into dance music and nightclubbing, so that may account for it. 1999, it seems was a good year (7).

I’m not sure what each of these 50 tracks all released during a 30‑year period between 1978 and 2008 say about me or my musical taste. However, I would be happy to have these as a compilation for a ‘desert island’ holiday soundtrack. Some are pretty predictable and some are a little more esoteric. Nothing extreme in there, though. To me, collectively they all sum up a positive attitude towards life.

“This existence of ours is as transient as autumn clouds. To watch the birth and death of beings is like looking at the movements of a dance” – Buddha (Siddhārtha Gautama – c.480‑400BCE)

The Future of Dance and Dance Music

As usual, speculation about the future is fraught with risk of completely missing the mark. However, let’s give it a go with a few thoughts of random conjecture.

The future of dance will rely not only on the ‘live’ nightclub and festival scenes but also by Internet‑based streaming services that focus specifically on curating dance music playlists, curated by respected DJs, producers and artists. Physical media will see a resurgence and will catalyse a revitalised interest in the past.

Mainstream dance music is likely to feature strongly on future festival circuits. This isn’t new. However, major dedicated dance music events are likely to increase in both number and size. There will be greater crossover and cross‑pollination between dance festivals and traditional multi‑genre festivals, thus increasing the number of ‘genre stages’ within larger festivals.

Dance continues to influence many non‑EDM genres and there will be many more artists including dance music tropes into their material. Dance music will continue to diversify and, while there have been scant recent genre developments, the horizon is just waiting for something new and fresh to get people up and dancing. Innovation is needed and there is a growing sense that something big is brewing somewhere in the underground to propel dance music forward once again.

The change from coherent album releases to a focus on ‘bite‑size’ soundbite single tracks, as has been a typical trend over the last decade will continue to be the case and will be even more so in the future. However, the underground will see the opposite, with a determination to stick to the core essentials that made the dance phenomenon so spectacular in the first place.

As it ever was, the underground will prove to be the experimental breeding ground for what will, one day, become familiar. While the mainstream continues to dilute extremes, the underground will push the boundaries of what has come before – harder and more intense at one end of the spectrum and to amorphous ambient styles like Vaporwave at the other – and that will, over time, infiltrate the mainstream to keep the genres evolving.

‘Live’ DJ performances will push the visual aspect of sessions, making their shows more immersive and captivating. Now that COVID is largely a thing of the past, live artist performances will help to revitalise gigs from local pubs all the way up to large arenas and to more creative virtual/augmented reality (VR/AR) gigs.

Digital and analogue synthesizers will continue to develop and enable new sounds and styles to be created. Recording and production technology will enhance music creativity and technology will enhance distribution and access, including personalised playlist curation.

We can no longer think of dance and dance music being the sole preserve of the American, UK and European artists – it is a global scene and the cross‑cultural influences will increase and help to diversify dance and dance music.

If you respect what the Grammy Awards organisation says, they put forward eight trends from 2022 that they forecast would help to define the future of dance music:

House Infused Pop
Artists Respected The Roots
Women Took The Techno Reins
The UK Came Through
Tech‑House Went Further Mainstream
EDM Nostalgia Lived On
TikTok Made Dance Hits
Rave Was Recontextualized

Nostalgia will become an important part of the future of dance music. It may seem contradictory that one is looking back in order to look forward. Many dance music genres have been remarkably enduring and, as newer generations come through, they will be looking for something new but also discovering some of the best of the past. New genres will supplement existing ones, rather than replace them. Creative artists will surely plunder some of the past and incorporate into something completely new and fresh.

Recording technology will continue to have a major impact on dance music. From the early days where large bands used expensive and finite studio space to record Rock & Roll, Soul, Funk and Disco to the bedroom producers of today using Digital Audio Workstations (DAWs) and plug‑in modules to produce infinitely variable tracks in both EDM and IDM. New technologies, such as Artificial Intelligence (AI) and big data will be used to create sounds and structures hitherto unheard of. One watches with interest to see what comes next.

“Dancing can reveal all the mystery that music conceals” – Charles Baudelaire (Poet, 1821‑1867)

Final thoughts on Dance and Dance Music

SO… There you have it. The author’s ‘wonky’ (sic!) look at modern dance music trends. The fascination comes in older genres not disappearing but being complemented by newer forms. This incremental approach to dance music evolution has enabled it to adapt to and reflect the needs of ever‑changing audiences across the globe.

Dance and Dance Music is not dead. Far from it. Admittedly, it needs a regular injection of creative inspiration to keep it up‑to‑date and relevant, something that has been missing for a few years now. Dance music will endure and it will continue to reinvent itself over and over and over again. Part of the human condition is to dance and to listen to music. It is an ‘and’, not an ‘or’. That co‑dependency isn’t going to change any time soon.

Music will have to adapt to social change and society will be reflected in the music it engages with, including dance music. Whatever you are into, don’t hesitate, just go with the flow and ‘Get Up and Dance to the Music’, as Sly & The Family Stone encouraged us, way back in 1967. Let’s be clear, dance and dance music won’t save the world, sadly, but it can make it a better place to live. Humanity will not thrive without dance music being an integral part of life’s positive, joyful experiences.

Dance events don’t seem to be losing popularity, with dedicated festivals and holiday party destination venues like Ibiza being perennially attractive for hedonistic youth. DJ Fatboy Slim (a.k.a. Norman Cook) held his infamous ‘Big Beach Boutique II’ free open air event held on Brighton Beach in southern England on 13 July 2002, attracting in excess of 250,000 attendees (organisers expected no more than 60,000!) and brought the south coast city to a standstill. The author was actually there and it was truly overwhelming, scary and, frankly, dangerous. However, it set the bar for what one DJ and a BIG crowd can do.

One little thing the author misses is the CD Single. Particularly for dance music, CD Singles regularly provided 12” (even though a CD is 4.75” – 12” refers to its vinyl equivalent) alternative (re‑)mixes of familiar club or dance pop tracks. Some remixes were less interesting while others gave an insight into the art of remixing of tracks for night club consumption. I suppose that streaming services and compilation albums could fill that gap but they don’t seem to do it in the way they did in the 1990s.

While the author is no longer able to participate in nightclubbing, I still listen to the music that made nightclubbing great fun. I genuinely miss the nightclub environment, the smoke, the dark, the lights, the high sound pressure levels and pounding bass and the sheer energy of the club goers (and, of course, the stunningly gorgeous young women!). I must admit a tendency towards House and Trance genres, as well as the whole Downtempo/Chillout/Ambient Electronica/Dub genres that go with them. The author spent a number of delightfully blissful summers on the White Island of Ibiza lapping up its natural splendour by day and the vibrant music scene by night.

Like with other genre articles in which I’ve been interested, this article has demonstrated both the amount of dance music that I already own as well as discovering and hunting down new (to me) dance music. Music exploration is great fun. I whole heartedly recommend it and worth the inevitable odd dud.

I must admit that I am not into traditional social, regional folk or classical dance/dance music. My heart lies in the here and now, with the vitality and vibrancy of modern dance music. As with other genres, I am also on the discovery trail to see what is out there to find. New is good.

That’s it, the future of Dance and Dance Music looks promisingly strong and transformative. One thing is for sure, it ain’t going anywhere anytime soon. As the title of this article suggests; it is time to get up and dance to the music. And thus it should be forevermore.

“Words make you think a thought. Music makes you feel a feeling. A song makes you feel a thought” – Yip Harburg (Song writer, 1896‑1981)

CRAVE Guitars’ ‘Album of the Month’

Unbelievable to think that this month’s honour goes to an album that is already 17 years old! This choice is because, perhaps more than most other albums since the millennium, it conjures up a synesthetic image of sound. To me, it evokes a preternatural vision of a rain‑soaked, neon‑diffused, deserted city scape. One could imagine sitting in solitude listening subconsciously to ‘Untrue’, looking out on the sodden dystopia through a misty haze of condensation on the inside and kaleidoscopic water droplets on the outside, longing for something intangible and lost. Can you feel it? Hell yeah.

AI Cityscape

Burial – Untrue (2007). ‘Untrue’ is the second studio album by British electronic artist and music producer Burial (a.k.a. William Emmanuel Bevan). It was released in November 2007 on the Hyperdub record label. If any album demonstrates how far 21^st Century dance music has evolved since Rock & Roll, this album is probably part of the evidence I’d put forward. Let’s start with the duplicity. This is dance music you can’t really dance to. ‘Untrue’ falls into several (or no) easy genre boxes depending how one is feeling. However, if one has to categorise it, it falls roughly into Future Garage, Dubstep, Ambient and 2-Step or even IDM. The reason it has been chosen is that it was truly ground breaking at the time.

Burial – Untrue (2007)

There are many other contenders for this accolade including great albums from the likes of Four Tet, Bonobo, Boards of Canada, Jon Hopkins, Actress and Aphex Twin. There is just something so immersive, so surreal and so influential about Burial’s ‘Untrue’, that it takes the top spot this month. Albums like this only come along perhaps once a decade.

“Fine dancing, I believe, like virtue, must be its own reward” – Jane Austen (Author, 1775‑1817)

Tailpiece

Right, that’s the end of another gargantuan 2‑part article delving into dance and dance music. One trusts that it was in some way enjoyable and the intermission didn’t cause too much inconvenience. I learned something in researching and writing and I hope you did from the results too. Well, I and my dual port lower leg extremities are off to trip over on the dancefloor and make a total ass of myself. You know it’s gotta be done.

From next month, I plan to change things fundamentally for a (hopefully) short duration. Why? I’m not telling. Yet. You’ll have to come back to find out more. Intrigued? Let’s see. The next article is some way off now, at the end of October. Hope to ‘see’ you then.

Truth, peace, love, and guitar music be with you always. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “Act as a beacon for good and stand up for what is right, so that others can see for themselves the best way ahead”

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30 Aug 2024

August 2024 – Get Up And Dance To The Music! Part I

by Tony Drew | posted in: History, Introduction, Observations, Opinion | 0

Prelude

Hi y’all mellifluous musical maties. Here we are at the end of August 2024 and rapidly heading once again toward the wintry Christmas season. Yikes! The end of the month means that it is time for another arguably articulate article from your modest meanderingly‑minded author (soz – I got my alliteration addiction in early this month!) We all need a bit of energetic positivity in our lives to counteract the collective downsides of our dysfunctional existence.

You may recall that, since my ‘comeback’ to writing after a near 3‑year hiatus in August 2023, I have so far indulged in a look at three genre‑related topics. These were Dub Reggae (August 2023), Ambient Electronica (September 2023) and Heavy Metal (June 2024). These have been punctuated by other subject matters to mix things up a bit. If you feel so inclined you can access those articles here (each opens in a new tab):

Dub Reggae Revelation

Adventures in Ambient: Music of Another Dimension

Heavy Metal: A Periodic Table

So, for this and next month’s articles, I’m returning to another musical genre that fascinates me. The title above kinda gives the game away. Yep, folks, it’s back to another bit of genre unravelling with a difference – we are taking an in‑depth look at the evolution, current state and possible future of dance music. During writing, I realised that it was going to be WAY too long for an ordinary mortal to absorb in one sitting, so I’ve had to split it into two parts. Part I takes us from pre‑history to the mid‑1950s while Part II next month will bring us up‑to‑date and take a look into a speculative future.

“The dance is the mother of the arts. Music and poetry exist in time; painting and architecture in space. But the dance lives at once in time and space” – Curt Sachs (Musicologist, 1881‑1959)

Get Up And Dance To The Music (courtesy Pexels)

Scope

If you are in any way familiar with CRAVE Guitars’ musings, my main interest in music history dates roughly from the birth of Rock & Roll through the current moment in time and with tentative hints at possible futures. Recognising that dance and dance music didn’t appear fully formed in the mid‑1950s, one also has to look further back into pre‑history, the Middle Ages, the Renaissance, classical times and the rise of contemporary dance after the end of World War I (WWI), all of which provide the soundtrack to the activity known as dance music. While this earlier history isn’t the real focus of the article, it does provide a useful context.

In modern times, following on from explosion of Rock & Roll in the 1950s and the expansion of popularity of Soul and R&B in the early 1960s, something phenomenal happened. It could be argued that two related but quite discrete genres made today’s dance… well… so toe‑tappingly danceable. We are talking ‘bout Funk and Disco. These innovations in irresistibly groovy music is where this article really kicks into gear in Part II. The gamut of dance and dance music is so massive that even two articles seem insufficient to do it fair justice.

“Every music – except dance music, which is for dancing, I suppose – is for the spirit of the human being, and not for the body” – Klaus Schulze (1947‑2022)

It wasn’t only the hippie peace & love counterculture that came to the fore in San Francisco around 1967. It was back in 1967 that Californian Sly & the Family Stone recorded their second studio album called, ‘Dance to the Music’, including the hit single of the same name, both released in April 1968. Sly Stone used the album to promote his beliefs about peace, brotherly love, and anti‑racism, while appealing to a broader pop audience, Sly’s Psychedelic Soul album and single laid the foundation of what would soon become Funk. A milestone was thus laid and it seemed an apt title to semi‑appropriate for this month’s genre article headline.

Sly & The Family Stone weren’t alone, there were other influential Psychedelic Soul artists like The Temptations and The Four Tops around the same time. Following Funk’s awkward birth in the late 1960s, it would soon be reinforced by artists like the Jackson Five and James Brown. All these artists integrated choreographed dance moves into their live and recorded musical performances. Dance music would soon become unstoppable.

The main focus of this article will be delving into the sweaty world of dance music that followed. From the 1960s and 1970s Funk and Disco developed through a broad range of dance (and danceable) music, culminating in what has become generally regarded as EDM (Electric Dance Music) and its more cerebral (?!) counterpart IDM (Intelligent Dance Music) in the 21^st Century. While dance music is now widely regarded as belonging to the umbrella Electronica genre, it wasn’t always thus. Far from it, in fact.

“Love is a lot like dancing; you just surrender to the music” – Pierce Brosnan (Actor, 1953‑)

One of the distinctions about modern dance music is that some tracks draw significant acclaim while the rest of an artist’s catalogue may be completely ignored. Such is the DJ’s power to commit (or permit) ‘death on the dancefloor’. The proportion of ‘one hit wonders’ in dance music is quite high, as is the attrition rate for tracks not on trend and therefore not getting exposure they otherwise might have deserved. Similarly, there is a proliferation of various artist dance music compilations that tend to exaggerate this particular characteristic. Focus on the few familiar and relegate the rest.

As with the author’s previous genre articles, there is a heck of a lot of subjectivity about genres and artists within a fundamentally flawed model of arbitrary categorisation. Omissions and inclusions are inevitable. I am certain that both the methodology and outcome will be criticised and challenged. Fair enough. I am, however, unapologetic for putting my approach out there for scrutiny.

Also, as with all my other articles, this is not an academic thesis; the intention is to entertain, rather than educate, although I hope there is something new, thought‑provoking and of interest herein.

As with other genre articles, genres and sub‑genres have been capitalised for clarity and convenience, rather than being typographically and grammatically correct. A great deal of research went into this article – all hard work – no AI shortcuts here.

Right. Time to get into the groove. Let’s hot step onto the virtual dancefloor.

“Do it big; do it right; and do it with style” – Fred Astaire (1899‑1987)

What is ‘Dance’?

Dance, usually accompanied by some form of rhythmic backing, originated in early pre‑historic human communities (and therefore undocumented). We can suppose that dance was used to communicate with spirits, intimidate competitors, celebrate victories, mourn losses and to bind tribal/social relationships. Dance has changed beyond all imagination and adapted to societal change over the millennia, through many different ‘phases’ or ‘eras’. Dance and dance music endures in a diverse range of forms to the current day. Each new genre innovation complements, rather than replaces, what went before, thereby growing appreciation over time.

While it may be obvious, it is worth a quick definition (or two) of ‘dance’ for clarity:

As a verb, to dance means ‘to move rhythmically to music, typically following a set sequence of steps’.
As a noun, dance is ‘a series of steps and movements that match the speed and rhythm of a piece of music’.

There you go. Now we have a general vague idea of what dance is, how does it manifest? Whether it’s an elegant slow waltz, joyous foxtrot, graceful ballet, catchy country line dance, raving at a festival, headbanging in a heavy metal mosh pit, embracing passionately in a ballroom, writhing sensuously in a dark nightclub, jigging at a Celtic céilídh, boogying to funk, voguing at the disco, following cultural tropes in a tradtional folk dance, swinging to jazz, jiving to Rock ‘N’ Roll, moonstomping to Jamaican Ska or dad dancing at a wedding, it really doesn’t matter a jot. Dancing is an integral part of our diverse and colourful human condition. What you dance and how you dance doesn’t matter; the act of dancing seems to be a fundamental part of what it means to be a human bean.

“Dancing is like dreaming with your feet!” – Constanze Mozart (1762‑1842)

Why Dance?

Dance music is unusual in that it serves an actual purpose other than the music in and of itself. Dance is prevalent in every country and predates human history, so there must be a common bond that unites humans in this unnatural form of movement and outward expression. Dancing is predominantly a social activity; other than practising to perfect a skill, it is rarely, if ever, done in isolation.

People have probably been dancing as long as humans have existed as a sentient, cognitive species. Dance has been, and is, inherent in every human civilisation. Dance does, however, vary depending on time and place. Such pervasive prevalence does beg the question of why humans have felt the imperative need to dance over many millennia in every part of the world.

“And those who were seen dancing were thought to be insane by those who could not hear the music” – Friedrich Nietzsche (1844‑1900)

Dance music has one and only one primary function, which is to get humans to move physically in time to the music being played. Beyond movement, we also listen to dance music because the rhythms engage some primordial need to match the beat, as well as to communicate and express emotions but that’s not really the point.

So, why do we dance? Dancing is a physical activity that triggers the brain’s reward and pleasure centres, and bestows a feeling of elation and euphoria. Dancing enhances our emotional, mental, spiritual and physical well‑being.

Dancing is a heuristic skill, learned through doing. Some are good at it, others less so but most of us do it to one degree or another, even if it just matching patterns of movement to music by tapping a foot or drumming fingers to the rhythm.

“Nobody cares if you can’t dance well. Just get up and dance. Great dancers are great because of their passion” – Martha Graham (choreographer, 1894‑1991)

As we grow and learn, dance helps us sense our surroundings, respond appropriately to external stimuli in a safe way and to build physical and psychological experience. Neuroscientists are taking an increasing interest in dancing and its potential health and well‑being benefits.

Some dances are used to tell stories or to confer allegorical meaning. Like many other forms of artistic endeavour, dance music can be used to provoke a physical and emotional response from a willing participant.

“We dance for laughter, we dance for tears, we dance for madness, we dance for fears, we dance for hopes, we dance for screams, we are the dancers, we create the dreams” – Albert Einstein (1879‑1955)

Music – the Basics

We really don’t need to go into the fundamentals of music here. The topic has been pretty well covered in previous CRAVE Guitars articles. In January 2017, we looked at ‘Why music affects us in the way it does’. We also took a 14‑part look at ‘The Story of Modern Music in 1,500+ Facts’ from March 2019 to May 2020. In those 15 articles, one should be able to establish a solid foundation on the musical context side of things. These articles are all available via the CRAVE Guitars website for those that might like to explore the topic further.

In very broadest terms, and apologies for a sweeping generalisation to make a rather vague point, music can exist in the absence of dance, while dance is normally dependent on music. In contemporary times, a great proportion of dance music tends to rely on rhythm and beat, rather than melody or harmony. The definitions of dance above both count on ‘rhythm’ and therefore dance music relies on instruments that emphasise rhythm. Early dance rhythm and beat were provided by percussive instruments, rather than devices that produced musical notes, which probably developed much later. Chanting and/or singing would often accompany persistent drumming.

“No matter what culture you’re from, everyone loves music” – Billy Joel (1949‑)

For clarity, another couple of helpful musical definitions:

Rhythm is defined as, ‘a strong, regular repeated pattern of movement or sound’.
The beat is defined as, ‘the basic unit of time and the rhythmic pulse that gives a piece of music its tempo and flow’.

Like dance, music is a way of establishing social cohesion, a form of ‘tribal’ social structure that, through innumerable generations of tradition, has persisted over the generations up to today. Dance music is a genre of music that exists primarily for dancing and secondarily for listening. As the author gets older (sadly, I don’t care for this ageing lark one iota), the balance between dancing and listening has moved irrevocably along a continuum from the former to the latter. Having said that, I still enjoy listening to dance music and I dance in my mind, if not with my body.

That’s enough generality and presumption for now. Time to delve a little bit deeper, as long as you have the stamina. Next up, it is time to link dance and music together.

“Music and rhythm find their way into the secret places of the soul” – Plato (c.427‑348BCE)

Music and Dance

Dance music is either live or recorded music that has been composed specifically to enable or accompany the art of dance. Dance doesn’t stand still (sic!), it is a progressive form of expression that continues to evolve across its manifold forms.

Dance music, like other forms of music, has the ability to affect the soul and evoke profound emotional responses. Dancing can therefore be considered an inward and outward expression of the human spirit. Dancing is generally a joyous activity that is not normally engaged in when one is feeling depressed, angry, ill or anxious.

Possibly, the most important element of dance is music, and it is rare, at least in modern times, for dance of any kind – social, theatrical, performance or religious – to develop without some form of musical or percussive accompaniment.

“I’m dancing to the music of the madness inside me” – George C. Wolfe (Playwright, 1954‑)

The Science of Music and Dance

There are anthropological, sociological psychological, physiological and medical science behind the act of dancing.

Neuroscience explains that dancing changes the physiological structure of the brain in unique ways. It has long been understood that music has a positive effect on mental health. Likewise, dancing also engages overlapping brain networks, including common regions involved in perception, action, movement, and emotion. Dance connects the brain’s cognitive processes to motor functions of the body.

An additional benefit is that the physical activity improves co‑ordination, stamina, balance, fitness, muscle tone and weight control. Both music and dance stimulate the release of serotonin and endorphin hormones, which act on the pleasure and reward centres of the brain. Both hormones act as natural remedies, which are known to reduce anxiety and to work as a natural anti‑depressant.

Psychologists suggest that there are additional health and wellbeing benefits to dance and music. Dancing enhances motivation, mental acuity, improved behaviour, mood and social bonding. Dancing positively affects cerebellar functioning and cognitive processes. Dancing enables people to congregate socially, to belong to a like‑minded community and to share a common purpose, thereby helping to overcome feelings of exclusion, isolation, introversion, shyness and loneliness. Psychologists even extrapolate their findings so far as to suggest that dance is essential to human survival as a species. Maybe that sounds a bit far‑fetched but, who knows, they may be right.

Dance is sometimes used today as a form of therapy. Dance Movement Therapy (DMT) and Dance Movement Psychotherapy (DMP) involve the psychotherapeutic use of music, movement and dance to support intellectual, emotional, and motor functions of the body by examining the correlation between movement and emotion.

Neuroscience suggests that music stimulates a wide range of regions across the brain simultaneously, including faculties such as memory, emotion, movement and reward. Through repetitive overexposure, the brain uses deep encoding to store into, and recall from, memory things like lyrics, melody and movement. Deep encoding in the brain results in what we commonly call ‘familiarity’ and helps us to repeat actions in order to experience previously experienced rewards. The brain tends to remember emotional events more effectively than non‑emotional events. Deeper emotional processing of a stimulus facilitates deeper encoding in the mind leading to stronger, more evocative memories. This effect tends to be strongest between the ages of about 10‑30, resulting in what we call long‑term nostalgia and reminiscence during later stages of life.

Muscle memory, or motor learning, is the ability of our bodies to remember and repeat specific dance movements without conscious thought. Repetition creates a fixed design of the dance steps being learned. The pattern of movement is then stored in the brain so that the dancer doesn’t consciously need to process each move.

It is not just the brain’s auditory cortex processing sound when listening to music, people remember better because emotion‑related areas in the brain are also being activated. Emotions are evoked when listening to music because it stimulates more than one part of the brain. The brain’s motor regions are also stimulated, meaning that people remember movement associated with music and recall wanting to dance along to it.

In addition, the physical exertion of dancing reduces the health risks of a sedentary and indolent lifestyle. Anthropologists and sociologists refer to the process of social synchronisation as ‘collective effervescence’. All good then.

“Dance music is like a virus: it has affected so many different genres” – Avicii (1989‑2018)

The Science of Music, Dance and Sex

Dance also has a strong sexual element. Dance BPMs (Beats Per Minute) of around 120‑130 tend to correspond to the rhythm of human sexual motions. History suggests that the connection has always been present. Before the 1920s, traditional dance sexuality was present but largely implied and unspoken. The ‘flappers’ during the post‑WWI 1920s brought sex and dance out into the open.

Since Rock & Roll erupted in the post‑WWII boom of the mid‑1950s, puritans and moral conservatives have denounced modern popular dance music as ‘the devil’s music’, heralding depravity and debauchery resulting in the breakdown of established austere social structures. For them, the end definitely seemed nigh.

Once the contraceptive pill acted as the catalyst for the sexual revolution and the women’s liberation movement during the 1960s, the links between music, dance and sex became inseparable. The cannabis, speed and acid‑fuelled peace and love hippie counterculture of the late 1960s took promiscuity to its most liberal, orgiastically permissive level. Since the 1970s, sexual dance seems to have become accepted as a way of life and no longer a noteworthy (or newsworthy) issue.

There is a wealth of research to support the argument that music, dance and sex are closely related. Neuroscience suggests that there is an evolutionary link between music and sex. In the same way that Charles Darwin suggested that bird song is a function to attract mates, he also posited that music has evolved with corresponding changes in human sexual courtship and display behaviours. Darwin called the effect of music on sexual behaviour and social bonding as, ‘sexual selection’.

Experimental psychobiology asserts the notion that music serves a reproductive function. Chemicals used in neurotransmission associated with the human brain’s ability to process music are also present in the brain’s instinctive process of sexual attraction and sexual performance. Neurobiology is developing a greater understanding that music and sex may have common effects on the brain including hormonal stimulation such as pleasure and reward systems.

Research has indicated that music and dance has the potential to:

Diminish or relax sexual inhibitions
Enhance sexual arousal by elevating the mood
Indirectly enhance sexual arousal and pleasure by reducing stress
Reduce concerns about body image or performance
Enhance confidence
Enhance the focus on the sexual act
Heighten the sense of partner bonding and intimacy
Create a synchronicity between the musical and the movement rhythms that aids sexual performance and satisfaction

There you have it, music and dance can act as a powerful aphrodisiac and there is a logical rationale behind what we intuitively know be the case. Time to get it on!

“When the music and dance create with accord…their magic captivates both the heart and the mind” – Jean‑Georges Noverre (Ballet dancer, 1727‑1810)

The Economy of Dance Music

Dance music is important to the global economy. MIDiA Research suggests that the global valuation of the dance music industry rose to $11.3 billion, a 16% net increase over its pre‑COVID pandemic levels.

The IMS Business Report claims that the dance music industry grew 34% in 2022 based on dance music data from the previous year. Live music performance is the industry’s biggest driver, showing that revenues increased 65% over the previous year to $4.1 billion. When looking at events, EDM genre’s share of festival circuit bookings rose 6% year‑on‑year to 39% of total festival bookings. Impressive.

In addition the supply chain up and down stream is also crucially important, the contributory value of which is much harder to determine. Everything from music teaching, musical instrument and gear manufacturing, studio recording and production, logistics and distribution, merchandise, second hand market, etc. etc. It is safe to assume that there is an overall economic multiplier effect.

A recent study by the Journal of International Marketing hypothesised that recreational dance influences productivity and performance in the workplace due to employees’ higher intrinsic motivation and subjective wellbeing, as well as lower absenteeism.

“I play a lot of hard, uncompromising dance music; it can be anything from dance to rock to reggae” – Peter Hook (1956‑)

The History of Dance and Dance Music Eras

There have been a number of dance ‘eras’ over the millennia. So, let’s start with a broad description of dance music over human history and then we’ll dig a bit deeper to see what is really going on today. The history of dance and dance music is massive and highly complex, reflecting and influencing the cultural and social evolution of human civilisation. As with a similar approach taken to the Heavy Metal genre, the 6‑era model used here is the author’s arbitrary construction.

Part I of this article covers the first four eras covered below. Part II, next month, will cover the last two eras.

Era #1 – Ancient Times

Prehistory: Dance and music have been intertwined for as long as Homo Sapiens have been around (approximately 300,000 years), although there is little or no documented evidence to support the assumption. Dance has been an integral part of human development, indicated by cave paintings such as the Bhimbetka rock shelters in India, dating back around 10,000 years.
Ancient Civilizations (3100BCE‑395CE): In antiquity, Egyptian dance was integral to religious rituals, spiritual worship and social celebrations. Ancient Greek societies used dance in theatrical performances and social gatherings, evidenced by images on Greek vases depicting dancers and musicians. In Ancient Rome, dance was used in religious ceremonies, political events and social gatherings.

Era #2 – Middle Ages to the Renaissance

Medieval Period (500‑1500CE): Dance in medieval Europe was often associated with religious and folk traditions. The earliest Western dance music that we know can be reproduced faithfully includes medieval dances like carols and estampie.
Renaissance (15^th‑16^th Century): The Renaissance period saw the rise of formal European court dances, such as the 16^th Century slow processional dance, the pavane and the physical galliard, which were performed widely in England, Portugal, France, Spain, Germany and Italy.

Era #3 – 17^th to 19^th Centuries

Baroque Period (1590‑1750): Dance became more formalised with the prominent development of Ballet in the French noble courts. The classical music minuet was used for a popular social dance of the same name.
Classical Era (1750‑1829): The ballroom waltz emerged in Austria and Germany, alongside other nationalistic dances like the mazurka and polonaise from Poland.
Romantic Era (1800‑1850): Ballet continued to evolve, with famous works like ‘Giselle’ and ‘Swan Lake’ emerging during this period.

Era #4 – 20^th Century (First Half)

1900s and 1910s: The early part of the Century saw the rise of modern dance, with pioneers like Isadora Duncan and Martha Graham breaking away from classical ballet to explore new forms of artistic expression through dance. Ballroom dancing gained popularity, and dance music became a significant part of social life.
1920-1940s: Dance music saw a major post‑WWI boom with the rise of Jazz, Swing, Tap and contemporary dance. Big band music became popular in the period before WWII broke out.

Era #5 – 20^th Century (Second Half)

1950s: Following WWII, the cultural explosion that accompanied the Rock & Roll phenomenon became the dominant dance music from the mid‑1950s.
1960s: The late 1960s saw the emergence of, R&B, Soul and Funk. The use of electronic alongside traditional instruments began to influence music creation and production. Artists began experimenting with analogue synthesizers and complex studio recording techniques.
1970s: The mid‑late 1970s Disco movement reinforced dance as an integral part of mainstream popular culture. Artists pioneered electronic dance music, influencing a diverse range of genres like Hip‑Hop, Techno and House.
1980s: With the wide availability of synthesizers, sequencers and rhythm machines EDM sub‑genres such as Synth Pop and Europop began to develop, resulting in diversification and experimentation with dance styles. In discotheques and nightclubs, genres like House, Techno, Trance and Garage began to dominate dance floors.
1990s: The appeal of Rap and Hip Hop in the 1990s saw the growth of urban street dance, such as breakdancing. EDM coalesced and evolved with groove‑centric genres such as House and Techno becoming a staple in nightclubs and (both legal and illegal) raves.

Era #6 – 21^st Century

2000‑today: EDM rose to become a global phenomenon and dominant force, with numerous subgenres and a significant presence in mainstream music. Dance music continues to evolve reflecting changes in technology, culture, and social trends. The rise of social media and digital streaming has also played a significant part in popularising dance trends.

Dance and dance music remain a powerful form of expression and a vital part of civilisation’s cultural heritage worldwide. The model above isn’t the only way of looking at things. As we will see shortly, some forms of dance and dance music transcend time periods, geographical boundaries and genre categorisation.

“There may be trouble ahead – But while there’s moonlight, and music, and love, and romance – Let’s face the music and dance” – Irving Berlin (1888‑1989)

Dance and Dance Music – Digging Deeper

Now we’ve defined five broad dance music eras, let’s take a look at some of the alternative perspectives. First, we’ll take a quick look at long‑standing dances that have endured anywhere from ancient times right through to today.

“Work like you don’t need the money. Love like you’ve never been hurt. Dance like nobody’s watching” – Leroy Robert ‘Satchel’ Paige (Professional baseball pitcher, 1906‑1982)

Traditional and Folk Dance (pre‑history to today)

There are innumerable cultural dances from every corner of every country of every continent in the world, many dating back to time immemorial. These dances tend to fall into two broad groups, informal folk dances and formal classical dance. The former tends to be more social and the latter comprise symbolic artistic performance dance.

“Dance first. Think later. It’s the natural order” – Samuel Beckett (1906‑1989)

Traditional Folk Dance (courtesy moon chahcha)

Here are just a few (40!) of the more notable regional dances to demonstrate the diversity that has survived to the current day (presented in alphabetical order).

Aboriginal dance (Australia) – The ceremonial dance has held a very important place in the culture of the indigenous peoples of Australia for thousands of years
Apsara (Cambodia) – Aspara is one of the formal traditional dances of the Royal Ballet of Cambodia with ornately designed costumes and dancers depicting celestial spirits
Ballet (Italy) – Classical ballet is a performance dance that has its origins in the Italian Renaissance Courts of the 15^th Century, being refined in France, England, and Russia
Belly Dance (Egypt) – A Middle Eastern dance, originally called ‘danse du ventre’ (‘dance of the stomach’) originated some 6,000 years ago to celebrate pagan female fertility
Bharatanatyam (India) – Indian classical religious dance originating from the Hindu temples of Tamil Nadu
Bolero (Spain) – A Spanish theatrical dance popular in the 18^th and 19^th Centuries, originating from the Castile region around 1750 to 1772
Cajun Jig/Jitterbug (USA) – The Cajun one‑step jig was popular in Louisiana in the late 1980s and early 1990s. The two‑step Jitterbug is considered a cowboy‑style swing dance
The Can‑Can (France) – Originating in Paris during the 1830s and 1840s as a salacious risqué dance in Parisian dancehalls such as the (in)famous Moulin Rouge. The Can‑Can became a symbol of the French cultural Belle Époque (‘beautiful era’) as well as of women’s liberty and emancipation
Capoeira (Brazil) – A dance based on martial arts begun by African slaves arriving in South America in the 16^th Century
Cossack (Russia) – A.k.a. Hopak, originated in Southern Russia and Ukraine in the 17^th Century by East Slavic Orthodox Christian warriors. Their dance is characterised by its high jumps, squatting, and intricate footwork
Court Dance (Korea) – A formal court dance in a tradition that dates back centuries for the entertainment of the royal family, court officials and foreign envoys
Dragon Dance (China) – Dancing with symbolic dragons dates to the Han Dynasty of 180‑230CE. The dance is supposed to banish evil spirits and expel bad luck. It is particularly important during Chinese New Year celebrations
Ewegh (North Africa) – Traditional dance of nomadic Tuareg culture deriving from North Africa. Men stand in a line, making facial expressions while wailing
Flamenco (Spain) – Flamenco dance and music originated in Andalusia with influences including Arabic, Roma, Christian and Jewish elements
Haka (New Zealand) – A traditional Maori war dance intended to intimidate opponents. It has become a symbol of the Kiwi All Black rugby team
Hula (Hawaii) – A Hawaiian dance accompanied by chanting or singing. It evolved in the Hawaiian Islands around 400CE by Native Hawaiian settlers. Through tourism, film and theatre, the Hula changed significantly in the 20^th Century with its familiar grass skirts
Indlamu (Southern Africa) – A tribal dance most often associated with Zulu culture of southern Africa and the war dances of its fearsome warriors
Innuit Drum Dance (Greenland) – Drum dancing and singing are forms of traditional indigenous Inuit artistic expression and music from Greenland
Irish Step (Ireland) – A step folk dance with intricate footwork rooted in ancient Celtic tradition which remains popular in Irish communities today
Jarabe Tapatio (Mexico) – A traditional Mexican dance with women dressed in china poblana dresses and men wearing charro suits
Kabuki (Japan) – The classical stylised Japanese dance‑theatre dates back over 400 years. Kabuki blends music, dance, and mime, as well as making use of elaborate costume and makeup
Kathak (India) – An ancient classical dance originating in northern India traditionally associated with the tales of roaming bards known as Kathakers (storytellers)
Line Dancing (USA) – A modern American dance popular in the 1990s in which a group of people dance to a repeating sequence of steps while arranged in one or more lines or rows. It is a social dance in country & western dance bars, social clubs, dance clubs and ballrooms
Maasai Dance (Kenya) – The traditional Maasai ‘jumping dance’ involves male villagers leaping into the air as a show of strength and stamina
Maypole (Sweden) – Originating in Germanic pagan fertility rituals, maypole dancing dates back many centuries to celebrate the arrival of summer in England, Germany and Sweden.
Morris Dance (England) – The skipping, stick wielding, handkerchief waving ‘Moryssh daunsers’ began in the cobblestoned streets of London during the mid‑15^th Century, eventually migrating to rural communities
Native American Indian dance (USA) – A diverse range of tribal ceremonial dances dating back centuries before North American colonisation. Dances include the deer dance, pipe dance, rain dance, dog dance and scalp dance
Polka (Bohemia, now Czech Republic) – Polka is a popular dance in ²/₄ time, particularly common throughout Europe and the Americas
Salsa (Cuba) – Cuba’s distinctive casino dance blends African drums with Spanish guitar, brass and percussion. It was exported from Cuba in the early 20^th Century and became popular in New York City in the 1940s and 1950s, growing into a global phenomenon
Samba (Brazil) – Samba originated in the Afro/Brazilian communities of Baha and Rio de Janeiro in the late 19^th and early 20^th Centuries. It plays an important part of Rio’s annual Carnaval
Stick Dance (Portugal) – The ‘dança dos paulitos’ is an age‑old dance where dancers brandish sticks to emphasise the rhythm. It is performed by pauliteiros that takes place in Miranda do Douro, in Portugal’s north east Trás‑os‑Montes region
Schuhplattler (Germany) – A Bavarian courtship dance dating back to the mid‑19th Century and is popular at Munich’s annual Oktoberfest, typified by the wearing of iconic lederhosen
Square Dance (USA) – A broad group of dances for couples, arranged in a square, with a couple on each side facing the middle. The form includes, barn dances, English folk dances and Irish ceilidh dances
Tango (Argentina) – A highly complex and passionate dance, originated in the 18^th Century barrios of Buenos Aires in Argentina
Tanoura (Egypt) – On the surface, the spinning tanoura has some similarities to Turkey’s Whirling Dervish. Egypt’s tanoura dancers, though, wear multi‑coloured skirts
Tinikling (Philippines) – The ‘Bamboo Dance’ emulates the movements of a bird as it walks through grass stems or over broken tree branches
Waist Drum Dance (China) – An ancient ritual originating from North West China over 1,000 years ago with performers beating waist drums as they run and leap in formation
Waltz (Austria) – From the 17^th Century, the polite society waltz was popular in the Habsburg Court and now the annual Vienna Opera Ball
Whirling Dervish (Turkey) – The spinning move by male dancers wearing voluminous skirts dates back over seven centuries to the Sufism and the Mevlevi Orders
Yaake (Niger) – Traditional African dance by young Wodaabe males during the Gerewol festival emphasising flamboyant dance moves to attract available females

“Never give a sword to a man who can’t dance” – Confucius (c.551‑479BCE)

These really are just the tiny tip of a very, very large iceberg. There are thousands of national, regional and local dances and this is just a taster, hopefully to inspire further exploration. Apologies to any historic communities who might feel that their traditions are unintentionally under‑represented.

In 2003, UNESCO (the United Nations Educational, Scientific and Cultural Organization) included dances (along with music and theatre) as performing arts under the International convention of ‘intangible cultural heritage’. There are many traditional dance forms listed by UNESCO, including ballet, belly dancing, flamenco and rumba.

“Music and dance are all you need” – Moliere (Playwright, 1622‑1673)

Conventional Dance – Roots of contemporary dance in blues, jazz and country music (1910s‑1950s)

In previous music history and genre articles, the author has suggested that the majority of modern, contemporary musical styles from the mid‑1950s onward stem from the three pillars of Blues, Jazz and Country music. For continuity, consistency and simplicity, I’m sticking to that basic structural set of influences here.

“Part of the joy of dancing is conversation. Trouble is, some men can’t talk and dance at the same time” – Ginger Rogers (1911‑1995)

While there are inevitable overlaps and cross‑fertilisation as trends grew and faded, particularly during the inter‑war period, there are a few notable dance genres. Dance styles associated with the development and fusion of Blues, Jazz and Country include:

Ragtime – Syncopated African/American ragtime music played on piano or banjo originated in St. Louis, Missouri and influenced social dances in the late 19^th and early 20^th Centuries, as well as influencing the development of jazz. Dance styles used to ragtime included, the turkey trot, the bunny hug and the shimmy.
Jitterbug – Jitterbug is a generalised umbrella for swing dances, covering a range of styles including the lindy hop, jive, west and east coast swing, collegiate shag and balboa.
Charleston – A social jazz dance of the 1920s, named after the harbour city of Charleston in South Carolina. The Broadway show, ‘Runnin’ Wild’ (1923) used a tune called ‘The Charleston’. It was popularised by young women nicknamed ‘flappers’ and young men of the so‑called post‑WWI ‘Roaring Twenties’.
Tap – Tap dancing is an American performance dance from the 1930s combining African and Irish influences that uses the percussive sounds of tap shoes with metal plates (‘taps’) on the toes and heels striking the floor, often accompanied by popular band music. It started as a street dance and became popular as a performance art form on Broadway and in Hollywood film.
Swing – Swing represents a group of social dances that developed alongside swing Jazz music from Harlem in the 1920s to the 1940s, after which WWII reduced its popularity. Two discrete forms were the west coast swing and east coast swing. After WWII, bebop and jump blues styles became commonplace.
Jive – Jive is a social swing dance style with its roots in African/American communities in the early 1930s. Its name comes from the vernacular slang of the time. Jive included elements from including Salsa and Tango and continued in popularity during the Rock & Roll years.
Lindy Hop – Lindy Hop is an American dance originating from the African/American communities of Harlem, New York City in 1928 and has evolved over time, proving to be popular during the big band swing era of the late 1930s and early 1940s. Lindy Hop was the first partner dance ever to feature acrobatic elements and laid the ground for Rock & Roll dance.

“Since the beginning of time mankind has used music and dance to commune with the Spirit of Nature and the Spirit of the Universe…” – Goa Gil (Musician, 1951‑2023)

Ballroom Dance

A number of dance styles have become semi‑formalised under the banner of ballroom dance by the World Dance Council. Many of the ballroom dances are based on either older traditional (pre‑20^th Century) dances or contemporary (20^th Century) dances. There is therefore some overlap between formal ballroom styles and the original forms of dance that inspired them. Ballroom dances are generally split into two broad types; Standard/Smooth and Latin/Rhythm, including:

Standard Ballroom

Waltz/Viennese Waltz – The former is known as the English or slow waltz, while the latter is the up tempo European waltz. Recognisable by its ¾ time signature.
Tango – Derived from the Argentinian original (see above) incorporating American and European influences adapted for the ballroom.
Foxtrot – An English ballroom dance with roots in American Jazz and Ragtime band music. Now one of the internationally recognised ballroom dances popular at competitive dance events.
Quickstep – Another international standard ballroom dance that combines up tempo elements of the Foxtrot and the Charleston. Known as the ‘dance of joy’.

Latin Ballroom

Pasodoble – An 18^th Century fast‑paced, dramatic and theatrical double‑step in ²/₄ time, turned into a Latin ballroom social dance inspired by Spanish bullfights.
Rumba – Rumba is a standard ballroom dance that has its roots in the American east coast during the 1930s, combining American band music with Afro‑Cuban rhythms.
Samba – The ballroom version of the Samba in ²/₄ time varies significantly from the original Brazilian regional folk dance (see above).
Cha‑Cha – The Cha‑Cha Latin American ballroom dance of Cuban origins, dating from the 1950s and deriving from the 1940’s Cuban mambo.
Bolero – Bolero is a Spanish/Cuban dance in ¾ time popular in the late 18^th and early 19^th Centuries (see above), with the ballroom form differing from the original Cuban variety.
East Coast Swing (ECS) – ECS is a social partner dance and has several variations based on fast American swing music, such as big band, Rock & Roll, Rockabilly and Boogie‑Woogie.
Jive – Jive is a ballroom dance style with its roots in the social swing dance of the early 1930s (see above). In competitive dance, Jive is more closely associated with swing, rather than other Latin dances.

Ballroom Dance (courtesy Prime Cinematics)

“The dance is a poem of which each movement is a word” – Mata Hari (Dancer, courtesan and spy, 1876‑1917)

Intermission

Right. That’s the end of the first Part of this 2‑part dance music genre article. The advantage of Part I is that it is relatively short (for me) and, I hope, reasonably digestible.

At this point, from around the mid‑1950s onward, dance styles tended to migrate from identifiable dance styles accompanied by music to identifiable music genres and sub‑genres (with a few notable exceptions) with dances to match.

As mentioned at the start, my original plan was for a single‑part article. On reflection, I took the difficult decision to split it into two for easier reading. This point seems a logical place to stop for now and we will reconvene shortly in Part II.

Next month, we’ll resume with the modern evolution of dance and dance music from the mid‑1950s. As the article was originally written as a single piece of work, there hopefully won’t be a long wait for Part II. There is more to come folks, much more.

“The truest expression of a people is in its dances and its music. Bodies never lie” – Agnes de Mille (Dancer and choreographer, 1938‑1993)

CRAVE Guitars’ ‘Album of the Month’

The honour this month goes to a favourite funk/disco dance music studio album. Why this particular choice? Well, it was released during a particularly emotionally traumatic period of my life and one that I never wish to repeat. I don’t do regrets but if I did, there are some things I’d like to do over again and be a better person second time around. I won’t divulge details other than to mention that, when one is feeling desperately down, there is nothing like a bit of bouncy dance music to boost serotonin levels as an antidote for, and natural relief from, the all‑consuming darkness of depression. Even the album’s title is appropriate.

The Brothers Johnson – Light up the Night (1980). This 9‑track release was the 4^th studio album by the American brothers – George and Louis Johnson – produced by the great Quincy Jones, and released in April 1980 by A&M Records. While pretty much a strong dance oriented album throughout, it is the opening track and hit single, ‘Stomp’ that really provides necessary dose of natural anti‑depressant. Particularly impressive is the great bass playing of the late Louis Johnson and his Music Man Stingray Bass. ‘Stomp’ represents 384 seconds of joyous, funky groovy goodness. The album’s release came just at the end of the height of the organically analogue Funk/Disco boom and all the better for it. Evocation can be a powerful thang.

No other studio album by the brothers quite matched ‘Light up the Night’ in my opinion. Perhaps it was timing and genre that were just what I needed at a vulnerable point in my growing up. However, there was an awful lot of great party music using traditional instruments from the likes of Earth, Wind & Fire, Kool & the Gang, Parliament/Funkadelic, Chic and The Gap Band around the same time, before the whole Synthpop scene took off over the next decade or two. Today, dance music is synonymous with EDM and we seem to have lost some of the organic nature of music from the peak of funk and disco.

“Every day brings a chance for you to draw in a breath, kick off your shoes, and dance” – Oprah Winfrey (1954‑)

Tailpiece

Phew! I’m out of breath, not from all the dancing, just the exertion of completing only half of another lengthy genre article. The trouble I’ve found with research and writing is that it is not only addictive but also essentially a sedentary activity, with not much of in the way of exercise other than to get up and make the occasional cup of tea/coffee.

Still, I hope you found something to revel in and, perhaps, to explore some of the musical delights covered herein. As always, when I do these research projects, I’ve learned something from the task and reignited an interest in all things dance music. Please come back next month and lap up some more dancey stuff in Part II of this terrifically tuneful tome (ending as I started with terrible alliteration). As a bonus, you won’t have to wait a whole 4‑and‑a‑bit weeks, for reasons to become clear in time, I am planning for Part II to be published early in September. Watch this space.

Truth, peace, love, and guitar music be with you always. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “In the absence of truth, just what are we supposed to believe?”

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28 Nov 2023

November 2023 – Musical Machinations

by Tony Drew | posted in: History, Introduction, Observations, Opinion | 0

Prelude

WELCOME ONCE MORE to CRAVE Guitars’ unhurried cruise through the planet’s turbulent waters this November 2023. While there has been much to protest about in the rapid disintegration of the prevailing ‘world order’ during the 2020s thus far, one has to grasp onto any positive prospects that may present themselves. Arising from the debris and carnage of grinding attrition, the poppies of opportunity are optimistic symbols for hope and prosperity, albeit fleeting. That’s basically all flowery language for carpe diem (from Roman lyric poet, Horace’s work, ‘Odes’ in 23 BCE – literal meaning ‘pluck the day’, commonly interpreted as ‘seize the day’).

“While we speak, envious time will have fled: seize the day, to the least extent possible trusting in the next one.” Quintus Horatius Flaccus (Horace, 65-8 BCE)

I recognise that there has been little in the way of exciting news on CRAVE Guitars core ‘business’ for many reasons outlined in the previous article (October 2023). It has been slow but it hasn’t been a total wipe‑out though and I’ll come back to that on another occasion. Here, I’m focussing purely on recorded music and principally a persistent quest to unearth something a little bit different.

Once again, no AI was used to research or write this article, only the author’s meagre cranial capacity and a bit of old school pre‑AI technology.

Context

The one upside of recent times has been an opportunity to embark on an intentional journey to explore off‑the‑beaten‑track modern music. As in physics, the musical micro‑universe is continuously expanding. The challenge is that the musical catalogue since the 1950s is absolutely massive and, with each passing day, becomes even bigger – far too much to begin with, let alone keep up with. While, on the basis that one’s knowledge is inherently extremely limited, it means that any adventure has plenty of scope for discovery, even if it is only vainly scratching the surface of the iceberg’s tip (there I go mixing metaphors again!).

“I know nothing except the fact of my ignorance.” Greek philosopher Socrates (c.470-399 BCE)

On this particular excursion into the unknown, music discovery means expanding the author’s knowledge and appreciation across many aspects of contemporary music. The exercise is about not only consolidating existing music but also about travelling lands un‑trod for new music, which may mean older music that is new to me as well as recently released music that is new to everyone.

Fortunately, 21^st Century explorations are sedate experiences. No longer do we have to fear ‘hic sunt dracones’ in ‘Terra incognita’ (here be dragons in unknown land). Note: The former derives from the Hunt‑Lenox Globe (1504), the latter from Ptolemy’s Geography (c.150).

Over far too many years than I would care to contemplate, I have been buying and listening to music. Nothing unusual about that. For many reasons (space, funds, etc.), music was largely revolved around established genre preferences. Fair enough; isn’t that what it’s all about, buy what you like and don’t bother with everything else? However, such an exercise becomes largely self‑perpetuating and insular. This I was aware of and felt that there was much more to be revealed. Where to start?

During CRAVE Guitars’ 3‑year hiatus (see last month’s article, ‘Return to and from Obscurity’), I became fascinated by exposure to ‘new’ music, rather than the habitual repetitive listening to a small repertoire of familiar choons. This is no new epiphany. When much younger, I made a point of listening to BBC Radio 1 DJ John Peel (1939‑2004) and valued his nonconformist approach towards exciting new bands and their music, especially but not solely during the punk rock era. The late John Peel may not be familiar to readers outside the UK. It was because of John Peel that I bought my very first LP album – ‘Meddle’ by Pink Floyd (1971), after he debuted it in its entirety on his late night radio show.

While so many other things were getting in my way, I consciously elected to spread my musical wings again, mainly because it is something I had wanted to do and it was actually eminently do‑able, especially economically (at first!). I engaged in the hobby of ‘crate digging’ or simply ‘digging’ in the Internet age, i.e. searching anywhere for content, online suppliers and auction sites, charity shops, second hand record shops, brick‑and‑mortar retailers, etc. Buying used albums makes the exercise much more economic, fun and sustainable.

“Music is an important part of our culture and record stores play a vital part in keeping the power of music alive.” Chuck Berry (1926-2017)

Alternative sources include ‘recommendations’ from other music aficionados and using the Shazam app on a smart phone to identify something unfamiliar and interesting that pops up wherever one might be at the time.

One of the first steps was to identify what I had and where there were obvious gaps. I had already created a Microsoft Access database so that I could scrupulously catalogue the albums, EPs and singles in my possession. That soon ran into the application’s upper limit of 2 GB per database, so had to be split into multiple databases. Now that I readily know what I have (little), what I haven’t (massive). It also enabled me to log what I might want (a continuously growing ‘most wanted’ list). The systematic categorisation was reinforced by importing everything I had from source onto Apple iTunes. Between these two key resources, it became relatively straightforward to keep track of things. Then, it was on to, thankfully dragon‑free, pastures new.

My investigations are basically limited to modern contemporary music from the early‑mid 1950s – basically from the emergence of rock ‘n’ roll – to the current day. It also includes going back further into the history of some long‑standing top‑tier genres such as blues, country and jazz that were direct predecessors to, and influences on, everything from rock ‘n’ roll onwards, as well as continuing to evolve in their own right.

There have to be boundaries or I would go insane just collecting for collecting’s sake, which is not only unrealistic but also pointless. American rapper and entrepreneur Dr. Dre once stated that he accumulated 80,000 albums and kept them in storage, before realising just that basic error. I’m sure that somewhere out there is a comprehensive British Library‑esque collection of music releases over the last 100 or so years, catalogued for historical posterity. That would be one heck of a monumental task. My endeavours are, unsurprisingly, much, much more modest.

One has to enjoy, as well as feel that an avocation is worthwhile, or there is no worth in doing it. It is for this reason that I have to exclude classical music. For some reason, classical music leaves me stone cold dead. Always has done. I’ve tried repeatedly to get into it but to no avail. However, in contemporary music, there are styles of modern classical and minimalist music that blend, fuse or crossover into contemporary electronic sensibilities with classical instrumentation that I can grasp but I’m afraid that’s it. The likes of Max Richter, Tim Hecker, Philip Glass, Jóhann Jóhannsson, Walter/Wendy Carlos and Isao Tomita I can engage with, otherwise, meh. I genuinely apologise to classical music fans. I’m sure it’s fabulous n’all but it just doesn’t do anything for me and going down that particular rabbit hole is an experience I don’t want to pursue… so I won’t. My choice.

Here are just a few figures relevant to the 3‑year hiatus to bandy about. During that period, I’ve purchased circa 3,000 albums along with a (large) handful of EPs and the odd single. That equates to around 90 per month (averaging c.3‑ish per day). I dread to think of the gross expense but at least it is little and often, unlike buying vintage guitars. It’s also relatively quick and easy to do, filling those occasional idle moments. The last 3 years has basically doubled the hoard. The ‘most wanted’ (for want of a better term) list hovers around 1,500‑2,000 depending on timing and motivation. The ‘find out more’ about list of artists is, by comparison, relatively short at around 200‑250. The conclusion is that there is plenty of scope for improvement. Additions to the hoard cover about 100 genres with the largest proportions being mainstream ones.

I haven’t ventured into the realms of rare music collection – most albums I have been looking for are relatively available with patience and digging. Indeed, many have been from bargain bins. I can’t justify or afford two expensive artefact hobbies! Neither has this mission been to create any sort of ‘standout albums of the last 75 years’ or so. I don’t think anyone could possibly agree on what that might comprise.

Right, let’s get down to the business at hand; colouring in the sketch of the musical landscape, so to speak.

“Though this be madness, yet there is method in’t.” From ‘Hamlet’ (c.1600) by English playwright William Shakespeare (1564‑1616)

Genre gap‑filling

Like most people, one has favourite genres, so‑so ones, and disliked ones. However, to rule music out just because it belongs to a hitherto underappreciated genre tends to limit one’s exposure to some highly regarded music. As an example, I was never very keen on country music. Then I watched an 8‑part documentary called, unsurprisingly, ‘Country Music’ which first aired on American TV channel PBS in 2019. I was struck by a whole bunch of music that I was completely unaware of and had summarily discounted out‑of‑hand because of what it was labelled. I was fascinated by the documentary and what it portrayed. PBS also produced another documentary series called ‘Jazz’ from 2001 that opened my eyes to what that genre also had to offer. Both PBS series were directed by Ken Burns. Actually, finding out more about the cultural history that surrounded the genres provided a context that enhanced the experience of the music greatly. This observation reinforces the (perhaps) blindingly obvious fact that societal change and musical development are both interdependent and co‑dependent. Having fired my imagination, I extrapolated the concept to other genres as well. Sometimes, ‘various artists’ genre compilations can provide a suitable entrée to a musical world less wandered.

Are there any contemporary genres that are considered out of bounds? On the whole, other than aforementioned classical, generally no. I am up for pretty much anything, while still retaining my core preferences, which include reggae/dub, IDM/EDM, ambient electronica, downtempo/chillout, dreampunk/vaporwave, indie, alternative, heavy metal, gothic, dream pop, drone, rap/hip‑hop, shoegaze, grunge, punk, garage, funk/disco, deep house, blues, rock and neo‑psychedelia. That’s a pretty broad spectrum.

My two recent articles on ‘Dub Reggae Revelation’ and ‘Adventures in Ambient’ (August and September 2023 respectively) I think adequately demonstrate the potential of genre gap‑filling. That was just breaking down two genres.

One ‘genre’ that sits outside the normal categories is the Original Soundtrack (OST). Film and TV soundtracks tend to fall into two types, one camp compiles existing music brought together to accompany what happens on screen, while the other camp employs music composed (scored) specifically for the medium. Both camps can be helpful when discovering new music.

“I’m a big collector of vinyl – I have a record room in my house – and I’ve always had a huge soundtrack album collection.” Quentin Tarantino (1963‑)

There are only so many genres (my database lists over 140 of them!) but when you consider the bewildering multiplicity of sub‑genres and micro‑genres within the umbrella of, say, heavy metal, dance or electronica, there seems no end to what can be achieved. One great thing about music is that there is always something out there somewhere to match one’s prevailing mood. Genre gap‑filling actively opens doorways into finding a whole raft of ‘new’ artists, and the next task of filling in some of the blanks was added to the ‘to‑do’ list. One simple example was a brief dalliance with Cajun and zydeco music. These originated from the 20^th Century intermixing of French Canadian Acadian immigrants, native American peoples, African slaves, and freemen in Louisiana in the deep south of the USA. Fascinating. And, thus, the search goes on.

Artist gap‑filling

There were, as you might expect, quite a few artists already covered, while there were many more that I knew about or was curious enough about to complement existing artists with ones that I hadn’t previously coveted. Some of these artists work could best be exposed by buying ‘best of’ or compilation albums, especially when I wasn’t prepared to go all out and get multiple original albums. This worked well for some artists that I wasn’t overly keen on. The relative randomness of the ‘digging’ process led to many new artist discoveries, simply through browsing and taking a gamble on something that looked intriguing. ‘Digging’ is easier in brick‑and‑mortar shops than online. Although the latter works, it is definitely much less enjoyable. We need to support our mainstream and independent record shops or they will be lost forever (as in the case of Virgin Megastores, Tower Records and many others). We almost lost the HMV chain in the UK, which would have been disastrous for high street music retail. Artist gap‑filling is a never ending expedition with untold treasures to be uncovered beyond the famous big names. Along with the household headliners, there is a multitude of lesser and unknown artists producing some fantastic music. An open mind unlocks entire vistas begging to be perused.

I soon realised that my personal favourite artists are actually few and far between, many of which have had long, consistent careers. During any artist’s long‑term output, there would inevitably be good, average and poor albums. Picking out the wheat from the chaff became an integral part of my newfound preoccupation.

Surprisingly, there are some very famous artists that simply do not resonate with me, including (believe it or not) respected giants like The Beatles and The Who. Yup. Heretical I know. I have tried over and over to get into them but without success.

There are many lesser known artists that I really like at the moment and only time will tell whether they create any sort of lasting legacy. I came across many great artists that I hadn’t even heard of, many with surprisingly extensive back catalogues. They are all out there, just waiting to be found. I realised that artist gap‑filling was the simplest way to stretch one’s listening goal posts. And, thus, the search goes on.

“For me, to turn people on to new music, on to things that are going on in the world, is important.” Nikki Sixx of Mötley Crüe (1958‑)

Release gap-filling

One logical method was to fill obvious gaps in some of the existing artists’ back catalogues or the solo careers by members of established bands. I would have some releases but not others, generally through an essentially arbitrary process, rather than any sort of systematic approach. Some additions were credible releases, while with others, there turned out to be an obvious reason why they weren’t there in the first place. Oops. Other avenues to explore in addition to studio albums include live albums, EPs, singles, compilations, dubs, remixes and various artist DJ mixes. This process wasn’t intended to be comprehensive – some releases simply weren’t/aren’t available, some have been long discontinued while others were obviously a waste of space anyway. Some albums were originally on limited release and have subsequently become rare and valuable. I know that there are plenty of collectors out there prepared to pay vast sums for some of these one‑offs. I’m not in that game and can’t afford to be. There are still plenty of missing pieces but broadly speaking the main bases have (possibly) been covered.

It would be all too easy to fall into the trap of ‘completism’, i.e. getting absolutely everything released by an artist. Given how prolific some artists are, completism would be a venture all unto itself. Frank Zappa has released over 50 studio albums, Brian Eno over 65, Johnny Cash over 75, Lee Perry over 80, Tangerine Dream over 100, and Willie Nelson over 130, not including live albums, EPs, singles, compilations, videos and bootlegs. From now on, release gap‑filling will be a case of diminishing returns, as the gaps decrease along with the overall quality of content.

One notable trend during the coronavirus pandemic was a proliferation of live music releases. Artists couldn’t get out on tour and many couldn’t access recording studios, so record labels scoured existing unreleased resources as a pragmatic stop gap during the lockdowns. Some of these live concert recordings are OK and many would normally be regarded as superfluous under ordinary circumstances. However, when needs must. One silver lining to arise out of the so‑called ‘Chinese Virus’ plague has been the rate and quality of subsequent studio releases once the ‘new normal’ was established. And, thus, the search goes on.

“I look forward to the future – and going into the studio to make new music.” Diana Ross (1944‑)

Record label gap‑filling

Some collectors also go for label gap‑filling but that’s a step too far for me, although there are some great independent labels worth giving a shout out to, such as Ninja Tune, Italians Do It Better, PIAS, Sub‑Pop, XL‑Recording, Jamaican Recordings, 4AD, Bella Union, Pressure Sounds, On‑U Sound, Ariwa Sounds and Hyperdub Records. Beyond the major corporations, there are thousands of record labels out there, so chasing artists and releases starting with a record label is neither quick nor easy. If it wasn’t for the small independent labels, though, we would be subject to commercially driven mainstream mediocrity. However, the method of looking at artists belonging to a certain label can prove promising for finding ‘new’ artists, which can then lead directly onto gap‑filling of their previous works.

“John Peel made his reputation with his radio show and his record label, Dandelion, by championing the underdog.” Jimmy Page (1944‑)

Musical discovery

There is much to be said for and against ‘taking a punt’ on something with which one is unfamiliar. Sometimes it works, sometimes it doesn’t but there is always some sense of eager anticipation involved in lucky dips. This intentionally random exercise can lead onto other artists, and so on, basically ad infinitum. Due to the finite number of listening hours in any given day, week, month, year, this means that some music can only be listened to once or twice, while others warrant repeated auditions. Buying one‑off listens is not really very productive but it happens. One day, they can be re‑used by going to someone who might appreciate them more than I do. Often, genuine appreciation or enjoyment can only be gained by listening multiple times, especially with more experimental, leftfield or avant‑garde music.

“What motivates us is always new music.” Nuno Bettencourt (1966‑)

While physical media has been a main source of content for at least the last 40 years, this is rapidly changing. According to Spotify in 2021, over 60,000 tracks are uploaded to their platform every day. One, perhaps, might wonder about the depth of quality behind such figures. I know I do but then again, I’m a sceptic. There is no shortage of music to discover and no hope of listening to even a tiny fraction of it all. Spotify is also the platform that boasts the most effective method of curated music discovery. Even so, there is still a lot of inherent chance to finding something that will stay with you over the years. One might think that genuinely new discoveries would be infrequent, especially as time goes on. Far from it in practice.

Just one example, I recently came across late Canadian composer, Mort Garson (1924‑2008), renowned for his album, ‘Mother Earth’s Plantasia’ (1976), tag lined, ‘warm earth music for plants… and the people who love them’. When looking more into him and his music, I felt that, somehow, I should have been more aware of him before now. There is plenty of info on him on the hinterwebby thingummy but our meandering paths had not crossed before now. This sort of experience, which many readers who are familiar with Garson will probably snicker at my evident naivety. Such experiences are annoyingly common.

“I actually spend as much time listening to new music as to old. Probably more. I just try to get something out of it all.” Mark Knopfler (1949‑)

So, after all that preparatory exposition, you might well be wondering, just who the heck has been ‘discovered’? Here are just a few artists that I came across during the last 3 years. Some of which readers may know, some not. I might, though, challenge anyone to tick them all off so as to expose, pour scorn and ridicule my raw ignorance for what it is, sheer witlessness. Time to position the currency where my oral cavity is (lol!). The following list covers any genre and is in alphabetical‑ish order (Note: These are indicative only and should not be regarded as recommendations)…

*Shels, 100 Gecs, 2814, 9 Lazy 9, A.M.P. Studio, A Winged Victory for the Sullen, Agnes Obel, AK/DK, Aggrolites, The Airborne Toxic Event, The Album Leaf, Arms And Sleepers, Atoms For Peace, Autechre, Be, Benis Cletin, Bent, Big Thief, Blue In Tokio, The Burning Of Rome, Burnt Friedman, Cave In, Chezidek, Clark, Cloud Control, Craven Faults, Creation Rebel, Deadbeat, Deptford Goth, Desire, Devics, Dirty Loops, Divination, Dubkasm, Dynamic Syncopation, Ekoplekz, Ethel Cain, Fink, Flanger, Fragile State, Gallows, George Faith, Girls In Synthesis, Glass Candy, Goblin Cock, Helium, Hint, How To Dress Well, Hybrid, I. Benjahman, The Irresistible Force, Ital Tek, King Creosote, Konx‑Om‑Pax, Labradford, Laurel Halo, Lemonade, Lindsheaven Virtual Plaza, Loop Guru, LoveTrio, Machinedrum, Male Bonding, Man With No Name, Martyn, Midnight Juggernauts, My Sleeping Karma, ott, Plastikman, PreCog, Pretty Girls Make Graves, Psychonauts, Pure Bathing Culture, Purity Ring, The Qemists, Rakoon, Red House Painters, Rhombus, RJD2, Romare, Scrapper Blackwell, SkyTwoHigh, Sleep Token, The Slew, Sentre, Some Girls, Sparklehorse, StarOfAsh, Steve Roach, Suckle, Sunda Arc, Sundara Karma, Sunmonx, Swayzak, Symmetry, The Syncope Threshold, T e l e p a t h, Temu, Trembling Blue Stars, The Vacant Lots, Vessels, Wooden Shjips, Yellowcard and Yppah.

… plus many, many, many more. Phew! Some amazing, some good, some interesting, a few less so, etc. One may wonder how many of these artists – regardless of how ‘good’ they are – may attain the superstar status of, say, another Rolling Stones or The Beatles from the ‘good old days’. Not many, I’ll wager. And, thus, the search goes on.

“The times, they are a‑changin’” Bob Dylan (1941‑).

Physical media

From the beginning of recording and playback in 1877 (although there were earlier experiments dating back to 1857), with Thomas Edison’s phonogram, first through wax cylinders and then shellac discs, followed by vinyl discs with the advent of the gramophone, people have been collecting music. For decades, vinyl was really the only practical medium for collectors. Collecting became more popular by the late 1970s with magazines dedicated to the hobby and suggesting values for some rarer releases. Magnetic recording technology added to, rather than replaced, vinyl and became popular with reel‑to‑reel, eight track (remember that?) and audio cassettes.

Portable music was made possible for the masses by the Sony Walkman (TPS‑L2), introduced in 1979, using the then‑ubiquitous analogue compact cassette. Perhaps the most significant portent for the demise of physical media was the introduction of the Apple iPod way back in 2001, sadly now no longer made, which led into the convenient access to music on the go, now with today’s smart phones.

Digital music, mainly through the introduction of digital music Compact Discs (CDs) in 1982 led to a revolution in collecting. CD sales peaked in 2000 at over 2.5 billion worldwide accounting for 91% of the market. By 2020 sales had fallen 95% and accounted for only 5% of global sales. However, CD sales increased again in 2021, although it is too early to predict a revival. The introduction of downloads and streaming has significantly impacted CD sales, precipitating a dramatic decline in physical album sales, as more and more consumers switched to digital streaming services.

Some alternative digital formats arrived in the wake of CD but didn’t survive for long, including Sony’s Mini Disc and DAT (Digital Audio Tape), as well as Philips’ DCC (Digital Compact Cassette). HDCD (High Definition Compatible Digital) and SACD (Super Audio CD) were promising but ultimately failed to supersede CD.

By the 1990s, I had disposed of my collection of then‑seemingly redundant vinyl LPs and singles (and my turntable) and embarked on collecting CDs, starting off with replacing what I had on vinyl and then adding new content over time. Ditching vinyl was something I might have regretted, but don’t. Vinyl represents nostalgia to me and I’m not going back. It is neither practical, desirable nor possible to embark on such a regressive approach now. At the time of writing, my music hoard of CDs comprises well over 6,000 releases by over 2,500 artists. This conglomeration has recently been organised into over 50 crates packed to the gills with the little silver discs. That equates to around 85,000 tracks on iTunes and counting. I don’t know whether this is a lot or not, with all things being relative. Currently, CD remains my main medium of choice. I predict that CDs will not become totally extinct and will experience a resurgance at some point.

The advent of CD was a catalyst to the long‑running analogue versus digital debate. For what it’s worth, my view is the debate is not about encoding, it’s about something far more subjective. Vinyl reproduction flatters music in a way that digital doesn’t and that appeals to us. Digital is technically superior but not as warm and cuddly as vinyl. Simples. Fans of analogue still swear that digital is a poor representation of real music. Fans of digital swear that analogue (and even digital CD) is outmoded and obsolete. That’s a lot of swearing. Streaming has added further fuel for opposing viewpoints with the compressed versus lossless argument. The truth is, does it really matter? As long as we enjoy the music, that’s what counts, isn’t it? Focus on the content, not the carrier. If we have a preference, make the most of it. I do think that the audiophile press is somewhat hypocritical in only going along with the latest tech after having criticised it before it became commercially established. That way, we all keep buying new kit. That is a personal opinion. Ain’t hindsight great?

“The digital world is so convenient and nice, but just playing back a vinyl record is a much warmer, hotter, more present feeling.” Steve Miller (1943‑)

Music streaming

A brief recap of developments may be in order, so a short diversion first. Let us rush past the short‑lived phenomenon of downloads, which have largely been superseded by streaming (which includes off‑line listening). The storage problem associated with physical media has led to the next revolution in listening, which is to dispense with physical media altogether and access music on remote servers held in huge data centres somewhere. This marks a watershed where the listener no longer owns a tangible product but only purchases the right to listen to it. You cannot easily donate tracks to charity or sell purchased music on to other people. Mixtapes? A thing of the past. How unromantic. All this is, to me, a major drawback. I like having something tangible that I can pick up, look at, read the liner notes, view the artwork and so on. Somehow, the old‑school ownership of a physical item is something I value. Streaming just seems like an ephemeral audition of someone else’s music, rather than something personal, bestowed by genuine ownership. Is this simply a transitional symptom? Probably, maybe.

Although streaming was introduced in the early 1990s, it wasn’t until the launch of Napster in 1999, using the new compressed MP3 digital format and exploiting new Internet‑based Broadband services, that downloads and streaming became widely popular. The licensed subscription music service Spotify was launched in 2008, rising from the ashes of the flirtatious fleeting dalliance with illegal downloads. Once again, the industry ‘big boys’ have found a way to re‑assert their dominance over us. Digital streaming now accounts for more than 80% of global music industry revenues.

The Internet and the major music streaming platforms (Spotify, Apple Music, Tidal, Deezer, Qobuz, Amazon Music, YouTube Music, etc.) have facilitated exploratory listening greatly while, at the same time, enabling artists to gain exposure in a way that they couldn’t previously through the traditional studio/record label system. Streaming generally can be on demand, through curated playlists or via Internet radio stations. All are valuable resources for the curious listener. The streaming platforms often state that they have 100,000,000 (100m) or more tracks available to customers. In practice, this is both a mind‑boggling and meaningless figure. There is such a thing as too much choice. It also gives some sense of scale, although it may call into question the balance between volume and quality. Suddenly, my meagre 85,000 tracks seems somewhat miniscule in comparison. I do, however, find it a sign of progress when more than 50 crates of CDs can be stored on an SSD (Solid State Disc) that’s less than half the size of a cigarette packet (remember those too?).

“I can’t understand why people are frightened of new ideas. I’m frightened of the old ones.” John Cage (1912‑1992)

Another problem exposed by streaming is that there is now plenty of material that is not distributed or sold on physical media at all and is only available via the Internet. Streaming‑only releases are essentially simpler and cheaper than managing traditional physical distribution channels. It also pushes new customers towards expensive streaming subscriptions whereby they earn money whether they are used or not. Talk about milking a cash cow! This online‑only approach affects some genres more than others but it means that, in order to continue with this ambitious side project of mine, streaming has become a necessary additional resource. In effect, physical and virtual music has to co‑exist; being an ‘and’ rather than an ‘either/or’ approach. For info, after much deliberation, CRAVE Guitars subscribes to Apple Music.

Some streaming services provide high definition listening, such as Tidal, and they charge a premium for it. Others, such as Spotify are content to go for volume at low definition. The lesson to take from this is that streaming services are not all alike despite peddling similar wares to punters.

“You pays your money and take your choice” A British lexicographic irregular that first appeared in print in Punch magazine in 1846

Does streamed high definition music (i.e. better than CD quality) make a difference to most listeners? Big question. Well, apparently, not really. The evidence suggests that most average (i.e. non‑industry) people cannot tell the difference in blind listening tests conducted under ‘normal’ conditions. Trained listeners can, allegedly, differentiate formats but “If there’s any discernible difference, it’s so subtle and so slight, you’d have to be somebody who’s been in the business for decades like me to hear it.” (recording and mixing engineer, Prince Charles Alexander, Berklee Online study, 2019). A case of fidelity vs artistry vs money, always good for an argument. Why on Earth spoil music listening by teaching people to identify comparative digital encoding anomalies when they are so small as to be meaningless? Spotify’s strategic positioning seems to agree, while Tidal doesn’t. People who go down the high definition route are, perhaps, hedging their bets. If they have the best, it doesn’t matter whether they can hear a difference or not. No doubt there is some audiophile snobbery lurking in there too. For the sake of throwing my two penny worth into the ring, I can neither tell the difference nor can I be bothered to waste my time trying to spoil the enjoyment that music brings by attempting to do so. Time for some good ol’ fashioned snake oil to leech the contents from your bank account?

Does streaming stop me ‘digging’ for used CDs? NO. Does it stop me buying new CDs? NO. Does it encourage me to buy more CDs? Actually, YES. I still prefer to purchase and store music on CD, while recognising the inevitability of embracing the dark side of streaming culture. On the basis that vinyl and cassette have seen a popular resurgence, CD is not going away anytime soon. In practice, and probably being totally hypocritical in doing so, I tend to rip music from CD on iTunes and then stream (or rather cast) it to my music system. I know that this practice probably makes little sense but, for me, it is the best of both worlds, I have the physical media and the convenience of digital storage. Which leads neatly onto…

CRAVE Guitars’ ‘music room’

If you read my October 2023 article, ‘Return to and from Obscurity’, you will know of the sad loss of ‘mi media naranja’ (my better half) due to the vile and relentless ravages of cancer. Initially crestfallen, once accepting the loss, I set about repurposing the small ‘dining room’ which had been my wife’s bedroom into a dedicated ‘music room’, used for noodling on vintage guitars and listening to recorded music. NO TV or clock allowed! Having previously lost our home and the vast majority of our belongings (another story altogether!), I had to rebuild a hi‑fi from scratch which, in itself, was quite an exciting experience, along with uniquely decorating the room to provide a suitable listening/playing environment. It took a year of painful sacrifices involving the sale of some beloved A/V gear (I’m also a film & TV buff) to raise funds and some lengthy (re)searching for used ‘bargains’. I fully acknowledge that this indulgence seems an excess of a luxury, given everything else but other things had to be compromised to enable it. My choice.

The ‘music room’ is used every day for music listening. For those who are interested in the techy side of things, the main hi‑fi system comprises:

Naim Uniti Core music server with 2TB SSD storage
Naim ND5 XS2 music streamer
Naim CD5 Si CD player
Bryston BP17 pre-amplifier
Bryston 4BSST power amplifier
PMC Twenty.24 floor standing speakers

While this is neither a high‑end system nor a budget system, it has been carefully selected to meet the need for critical and enjoyable listening of both physical and streamed music (and within budget). My 500 or so most preferred CDs are immediately to hand in the room, as well as being stored in lossless digital form on the music server, thereby also making them available throughout the house via Wi-Fi (in due course). It’s certainly more than good enough for my tired, aging ears. Being pragmatic, the electronics are, after all, only a means to an end, which is to stimulate an emotional response through music.

At this point, you may be wondering whether I actually listen to all that music. Fair question. Well, yes, is the answer. There wouldn’t be much point in writing about it if I didn’t experience the results of my labours. While I try very hard, there may be the odd track here or there that gets shunted down a listening list but I would hope that’s the exception, rather than the rule. Heck, it’s a tough job but someone’s got to do it!

“Don’t tell me baby you gotta go, I got the hifi high and the lights down low” from, ‘I Need Your Love Tonight‘ (1959) by Elvis Presley (1935‑1977)

Personal top 20 ‘desert island’ albums

Depending on mood, I do go back to long‑term favourites, simply for the comfort and familiarity of a ‘known quantity’. Like chatting with an old friend. At the outset, I said this wasn’t about compiling any sort of ‘best albums of the last 75 years’. That doesn’t mean that there aren’t some albums for which I hold a special affection and which have been part of the hoard for many years (so not ‘new’). Here are 20 of them, all pretty well known mainstream releases, and which I feel have stood the test of time. Regular readers will see no surprises here. This is very much a personal list, chosen at the time of writing – it would undoubtedly be different on different days/weeks/months. Some entries hold special meaning and are therefore highly evocative.

I call this my ‘desert island’ security list. That is, if I could only have 20 albums as a castaway, what would they be? Perhaps, more accurately, it could also be called ‘top 20 memories’ or ’20 comfort classics’. Now how’s all that for wistful nostalgia? For what it’s worth, here is today’s list:

The Cure – Disintegration (1989)
Black Sabbath – Black Sabbath (1970)
The Doors – L.A. Woman (1971)
Pink Floyd – Meddle (1971)
John Martyn – Solid Air (1973)
Steve Hillage – L (1976)
Talking Heads – Remain In Light (1980)
Lee “Scratch” Perry – Roast Fish, Collie Weed & Corn Bread (1977)
Rage Against The Machine – Rage Against The Machine (1992)
Burning Spear – Garvey’s Ghost (1976)
Bob Marley & The Wailers – Live! (live) (1975)
Deep Purple – Made In Japan (live) (1972)
Nick Cave & The Bad Seeds – Push The Sky Away (2013)
Depeche Mode – Violator (1990)
Massive Attack – 100^th Window (2003)
David Bowie – Let’s Dance (1983)
Burial – Untrue (2007)
Tangerine Dream – Rubycon (1975)
John Lee Hooker – Boom Boom (1993)
Beck – Sea Change (2002)

“Music is the one incorporeal entrance into the higher world of knowledge which comprehends mankind but which mankind cannot comprehend.” Ludwig van Beethoven (1770-1827)

The future

OK, that’s the past, so now let’s take a brief, casual look at what may happen into the near future. While vinyl is doing remarkably well and CD is showing possible signs of life, it is clear that streaming is the future until something better comes along. It is certainly in the interests of the music industry to retain tight control over their valuable assets, although many artists say that the practice is detrimental to their income. However, this actually means little to the consumer. Better returns for the companies and artists simply mean higher prices for the public who have no say in the matter. The reality is that the few rich get much richer and the many poor get much poorer; sadly the dysfunctional norm of the modern capitalist world.

The commercial interests of multinational companies like Sony BMG, Universal, EMI and Warner Brothers rule their respective roosts. Interestingly, the major corporations don’t own the streaming companies, unlike in the parallel dimension of film and TV where the studios control all levels of vertical integration.

Mega‑artists with mega‑egos to match like Taylor Swift, Madonna, Adele, Jay‑Z/Beyoncé, U2, KISS, Dr. Dre, Timberlake and Ed Sheeran, along with many other big names in the lofty reaches of the higher socioeconomic hierarchy are laughing hysterically all the way to their already mega‑well‑stocked tax‑free offshore bank accounts. The industry ‘big four’ major record labels and powerful business artists together make up a resilient ‘pyramid of power’, that will continue to dominate the economics of the music biz for many years to come. Sadly, your ordinary talented hard working musicians don’t attract such filthy lucre. When push comes to shove, it’s all about the money. T’was ever thus, or more accurately…

“Oh! Ever thus from childhood’s hour” from the poem, ‘The Fire Worshippers’ (1817) by Irish writer and poet, Thomas Moore (1779‑1852)

Perhaps more worrying for creative artists and for many music enthusiasts is that the focus is clearly moving away from coherent album releases and more towards the production of single tracks out of context of other material by the same artist. By that statement, I don’t mean a rejuvenation of chart singles, which have long ceased to mean anything. The evidence shows that people are streaming individual songs, rather than a collection of tracks that would historically have made up a cohesive LP. Just look at the streaming stats of albums on any digital online platform and the predominance of maybe one or two tracks over the rest is unmistakeable. There is a feedback loop that encourages artists to change the way they make music and which goes on to influence curated playlists, radio coverage and, ultimately, sales, then repeat. The modern equivalent of the old‑fashioned radio playlist.

In 2016, it was reported that album releases were plummeting while EPs and single tracks were skyrocketing. Will we ever see (or, rather, hear) any more all‑time classic albums like ‘Sgt Pepper’s Lonely Hearts Club Band’, ‘Dark Side Of The Moon’, ‘Rumours’ or ‘Thriller’? Only time will tell. Will the way that music is created, distributed and accessed mark the death knell of the ‘album’ as we know it? Highly likely, but not just yet. The album may, like many things, see a revival. We’ll just have to wait and see (if we live long enough). Personally, I grew up with the antiquated concept of the album or LP, so it retains a certain sensibility but, then again, I am destined for premature oblivion myself, so what the heck do I know?

The topical buzz around Artificial Intelligence (AI) will inevitably play its part in music creation with virtual artists and AI composed tracks. It’s already here and can only evolve from here on. AI isn’t new, its roots go back to 1956 and the American Dartmouth College in New Hampshire. AI generative music goes back to the mid‑1990s. Is AI a threat? The jury is currently out. Thankfully, if AI is used for music, literature and art, it won’t be used to annihilate mankind (except, perhaps, through technological mediocrity). The ultimate demise of humans is up to humans, directly or indirectly, at least for now. Who needs doomsday generative AI when we all have to endure the antics of egregious corrupt despots like Putin, Xi, Kim and too many others of their insane immoral ilk? Don’t you just love mankind’s determined destiny of denial and doom? I digress (again).

“If we don’t end the war, war will end us.” H.G. Wells (1866‑1946)

One certainty is that music will survive in its manifold forms. One hopes that tired and clichéd genres like the current vapid world of commercial pop and dance music since the new millennium will rejuvenate into something more interesting at some point. Conversely, let us also hope that the more dynamic genres don’t descend to the deplorable depths of hideous homogeneity.

Musicians will proliferate. Music will proliferate. The way we access music will change. Whatever happens, change is inevitable and it will be fascinating to see how it evolves and how we adapt. Music as an essential component of the human condition will prevail in one form or another as long as humans exist. Music is, after all, a phenomenon unique to the human race. Thank goodness for that. And, thus, the search goes on.

“When I hear music that parents hate, or older musicians hate, I know that’s the new music. When I hear older people saying, ‘I hate rap or techno’ I rush to it.” George Clinton (1941‑)

Amateur musicology?

I do not pretend to be some sort of self‑appointed authority on contemporary music. My main obsession is still vintage guitars and vintage guitar gear. Perhaps, though, my passion for music predated my addiction to guitars. Over the decades my love of modern music does, I believe, provide a reasonable insight into the science as well as art of music, with a little alchemy thrown in for good measure.

Strictly speaking, musicology is the analysis and study of music. Musicology belongs to the humanities and social sciences, although some music research also belongs to the fields of psychology, sociology, acoustics, neurology, anthropology and computer science.

Musicology covers three general disciplines; music history, new musicology (the cultural study of music) and ethnomusicology (the study of music in its cultural context). For the life of me, I can’t really (be bothered to) differentiate between the last two of those.

Clearly, I cannot compete with professional experts in the field and my research methods are hardly scholarly. I am, however, happy to be an amateur sleuth, as it allows for significant enjoyment. Music should be overwhelmingly pleasurable, rather than playing second fiddle to methodical and clinical academic enquiry. Again, my choice.

“After silence, that which comes nearest to expressing the inexpressible is music” Aldous Huxley (1894-1963)

In addition, and hopefully obviously to readers by now, I also play music (very badly it must sadly be said). I wouldn’t hoard vintage guitars unless I could actually conjure up something vaguely creative and emotional out of them. Perhaps interestingly, I don’t play other people’s music; I much prefer to ‘do my own thing’ for better or worse. Usually the latter.

I am incessantly amazed at what I don’t know. I know that shouldn’t be the case, but society tends to prejudge ignorance as a weakness and expertise as a virtue. What others regard as the blatantly obvious is utterly oblivious to me until I encounter it. However, isn’t that what exploration and discovery is all about?

If we accept that “Music is the universal language of mankind” Henry Wadsworth Longfellow (1807-1882), one can only trust that exploration is the means by which we enhance and articulate our own individual musical linguistic skills.

Musicology may not be quite the right word for my approach towards modern music but I sure can’t think of a better one. Musicology Lite perhaps? Deluded dilettante? Possibly. Biased? Definitely. We all have our own opinions, right? And, thus, the search goes on.

“Music is the strongest form of magic.” Marilyn Manson (1969‑)

Sex, Drugs & Rock ‘n’ Roll

Musicology suggests an interest in music psychology, which is how music affects the cognitive functions of the human system. Building on some of my opinionated comments last month, here’s a thought for the day. Let us remember that music carries with it enormous power to improve our mental health and wellbeing. Music can boost serotonin, dopamine, endorphin and oxytocin levels that work on the pleasure receptors of the brain. Put simply, these magic substances can act as effective natural anti‑depressants and can help to improve both mood and behaviour. All in all, mostly good stuff then. As we all know, music, can also irritate the heck out of us sometimes, so remember to love what you love.

Now here’s an interesting diversion into music cultural history. All three human activities, sex, drugs and music directly affect the pleasure centres of the brain, so there is something scientific behind the old rockers’ adage, ‘Sex, Drugs and Rock ‘n’ Roll’ after all. While some suggest the phrase came from Ian Dury’s 1977 single, its roots derive from a much earlier hendiatris, ‘wine, women and song’, emanating from Germany in the 1770s, although there is some debate as to who actually coined it. Many scholars attribute its origins date back even further to theologian, Martin Luther.

“Wer nicht liebt Wein, Weib und Gesang, der bleibt ein Narr sein Leben lang. (Who not loves not wine, women and song, remains a fool his whole life long).” Martin Luther (1483‑1546)

The first modern use of the phrase was printed in a LIFE magazine article that dates from 1969, “The counter culture has its sacraments in sex, drugs and rock.” In 1971, The Spectator magazine printed, “Not for nothing is the youth culture characterised by sex, drugs and rock ‘n’ roll.” Ian Dury certainly made the most of it.

CRAVE Guitars ‘Record of the Month’

Once again, as this is a bit of an outlier in the overall scheme of CRAVE Guitars’ articles, I cannot leave without at least mentioning one of those albums that warrants repeat listening (for me). While last month, I was clinging onto sultry summer with dub reggae, this month, with the rapid decline into grim winter, I’m going for something a little more contentedly contemplative.

Biosphere – Microgravity (2015 reissue of the 1991 studio album with additional tracks). Biosphere is electronica artist, Geir Jenssen (1962‑) from Tromsø, Troms, Norway. The 16 tracks fall broadly into the ambient, ambient techno, ambient house, field recording and progressive electronica genres. Microgravity was Biosphere’s debut studio album. Laidback ambient grooves are a wonderful way to escape and transport one’s consciousness into an otherworldly, serene dimension, great for relaxation, stress relief and focus. It is also great for testing the hi‑fi.

“If music be the food of love, play on, give me excess of it; that surfeiting, the appetite may sicken, and so die” from the play, ‘Twelfth Night’ (c.1601/1602) by William Shakespeare (1564-1616)

Tailpiece

Well that’s another monthly article done and dusted. Number 75 to be precise since I started writing CRAVE Guitars’ articles way back in November 2014. It’s come a long way.

I am genuinely grateful to be in the position whereby I am able freely to undertake such projects as this one. The author is acutely aware of the extreme difficulties faced by innocents around the globe.

The pursuit of new stuff is unlikely to abate now that it has begun in earnest. Is there anything I regret uncovering? Nope. I try hard not to regret anything; I would rather use any missteps along the way as a learning experience. Are there any guilty pleasures that have been adopted? Probably, but now isn’t the time or place for shaming my deviant musical proclivities! Surprises? Plenty. Pleasure? A mixed bag. Top tips? A few. Anticipation? Always.

What is most encouraging is that there is an almost unlimited wealth of awesome, incredible music out there waiting to be discovered if you want to look hard enough. Enjoy!

The plan is to get back to more CRAVE Guitars core raison d’être for the next article. However, we all know what happens to “the best laid schemes o’ mice an’ men” from the poem, ‘To a Mouse’ (1785) by Scottish poet Robert Burns (1759‑1796), so no promises. OK? Thanks for reading.

Peace, love, truth and guitar music be with you always. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “Material possessions feed the vanity of the ego, while music nourishes the spirit and sustains the soul”

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29 Sep 2023

September 2023 – Adventures in Ambient: Music of Another Dimension

by Tony Drew | posted in: History, Introduction, Observations, Opinion | 0

Prelude

In the last article (August 2023), I explored the alluring realm of dub reggae, as one of my musical passions. This month, as we race headlong into autumn with its cooler, darker evenings, I’d like to explore another musical genre close to my heart, ambient electronica. There seems to be a great deal of consensus about where ambient came from while, at the same time, a great deal of disagreement about what it is today, let alone where it is going. While this may sound inherently contradictory, the convoluted world of ambient music is quite fascinating, at least to me. Unlike reggae, which had a defined geographical origin – the small island of Jamaica in the Caribbean – ambient has a completely different set of roots. Also, while dub reggae and ambient seem entirely discrete, there are some crossovers.

Once again, like dub reggae, the ambient musical landscape is not really guitar‑based. It is essentially one of three things, acoustic – mainly classical – instruments, the sounds of the natural and built world all around us, and electronic sounds, primarily but not exclusively synthesizers.

As with all previous articles, this is not intended to present any sort of definitive academic analysis, it is purely my interpretation of ambient music, past and current, as I see (or rather hear) it. There are a lot of blurred overlaps and permeable boundaries here, so I am certain that some readers will disagree vehemently with my version of the story. That is their prerogative and this is my article, so I’m sticking to my biased version. This is also only the proverbial ‘tip of the iceberg’ with lots more to discover.

No AI has been used in researching and writing this article. All images used are royalty free courtesy of Pixaby and Wikimedia Commons.

So, get comfy, chill and absorb yourself into the mesmerising universe of ambient music for a while.

Defining ambient

Perhaps a good starting point is to understand what the solitary word ‘ambient’ actually means, both in non‑musical and musical contexts.

Literally, ambient is an adjective meaning ‘of the surrounding area or environment’, ‘existing or present on all sides’ or ‘enveloping or completely surrounding’. As a noun, it means ‘an encompassing environment or atmosphere’. In this article we are not talking about ambient temperatures or ambient pressures, although these may affect sound vibrations in the environment. We are also not talking ambient light, although this may affect mood and temperament.

Defining ambient sound

Ambient sound is the total of all background or surrounding noises that exist in every direction, in any immediate surroundings, as measured by sound pressure level (SPL – expressed in decibels). Decibel levels are important because they provide information to the brain on how quiet or loud a sound is in relative terms. Human ears and brains are designed to detect slight variations in SPL in stereo (binaural hearing), which help us determine from which direction a sound originates. Basically, ambient sound is the total of what you can hear in the present moment, wherever you are.

Ambient sound is always present, even if it is at very low levels. Humans cannot tolerate near‑0dB for long. 0dB is unobtainable under normal conditions. Experiments have shown that people who are deprived of ambient sound can quickly become unsettled or disoriented because humans rely on ambient sound to locate themselves within their environment. The dissociation of sight and sound is inherently problematic for us. The quietest place on Earth is an anechoic chamber at Orfield Laboratories in Minnesota, USA. It is so quiet that the longest anybody has been able to experience it is just 45 minutes.

The simple fact is that there is always some ambient sound present in our lives. These ever‑present characteristics play a part in ambient music compositions.

Defining ambient music

Ambient music is a term that means, ‘a genre of instrumental music that focuses on patterns of sound rather than typical melodic form and is used to promote a certain atmosphere or state of mind’. Another definition is ‘incidental music intended to serve as an unobtrusive accompaniment to other activities and characterised by quiet and repetitive instrumental phrases’.

So far, so what? Useful background info but it doesn’t really mean much on its own. So let’s delve a bit deeper.

A brief pre‑history of ambient music

There is a significant amount of information on the hinterwebby thingummy about the history of the genre, so this is a brief retelling of the essential elements, starting in France, then Germany before crossing the Atlantic to America and then back to the UK. These unfolding events were probably all ahead‑of‑their‑time and in the vanguard of experimental art.

Let us begin by going all the way back to 1917. French composer Erik Satie (1866‑1925) used Dadaist‑inspired explorations to invent what he called musique d’ameublement (‘furniture music’ or, more literally, ‘furnishing music’), music played by live musicians and designed to be unconsciously experienced rather than consciously listened to. Satie described his compositions as music that could be performed at a function to create a background atmosphere for the function, rather than being the prime focus of it. In Satie’s words, his music would, “… be part of the noises of the environment”.

Satie’s use of repeated short compositions is said to have influenced ‘minimal music’ from 1960s onwards, particularly the experimental avant‑garde music of composer John Cage. Satie is also regarded as an essential forerunner to modern ambient music and a key influence on British artist, Brian Eno.

During the 1940s, Frenchman Pierre Schaeffer (1910‑1995) who was, amongst other things, a composer, engineer and musicologist took a different approach. Schaeffer experimented with recording sound, then processing the signals to create an abstract sound collage. The resulting sounds and tones were unrecognisable from the originating source material. Schaeffer used musical instruments, vocals, recorded environmental ‘sound objects’ and electronic sound synthesis. This type of music composition became known as musique concrète (concrete music).

Prolific and controversial German composer Karlheinz Stockhausen (1928‑2007) was a pioneer in electronic music. Stockhausen’s electronic music compositions comprised abstract noise collages created through the use of tape loops, oscillators and recorded sounds. He also specialised in ground breaking ‘spatial music’, using multiple sources to locate sounds within a three dimensional space (an early form of surround sound). Stockhausen created one of the first examples of purely electronic music using sine wave generators and filters, called ‘Studie I’ (1953). In 1954, he pushed the boundaries of classical music using acoustic instruments augmented by electronic sounds. The same year, he published the first fully electronic music score. Stockhausen, the so‑called ‘father of electronic music’, was an important figure who rejected conventions and heavily influenced multiple genres outside classical music, including jazz, pop and rock decades later.

Muzak is a type of background music created by American inventor George Owen Squier in 1934. Known commonly as elevator music (or lift music in the UK), it became used predominantly in public spaces, retail stores and other venues. The word muzak has become embedded in the public consciousness as synonymous with all types of generic and inconspicuous background music. Muzak was particularly prominent during the 1960s and 1970s. Muzak has been a registered trademark of Muzak LLC since 1954. Ambient by stealth?

From the 1950s, particularly in Germany, elektronische musik (electronic music) took precedence over previous forms such as musique concrète. The term ‘elektronische musik’ was first used by German composer and musicologist Herbert Eimert in 1952 to describe music created only by the use of electronic instruments and technology. As the genre developed, elements of musique concrète were incorporated into electronic music. Natural environmental recordings combined with music resurfaced later as a popular element of new age music. German electronic music heavily influenced krautrock, an experimental rock genre that emerged out of West Germany in the late 1960s and early 1970s with bands like Can and Neu!.

American composer John Cage was another influential figure in post‑war avant‑garde music including electroacoustic music. He had been experimenting with studio electronics since the late 1930s. In 1952, Cage ‘performed’ his now‑famous composition, 4′33″. The piece is not, as many believe, silence; it is the intentional ‘absence of deliberate sound’. The musicians do nothing but be on the stage with instruments. For the aforementioned duration of the piece, the audience is encouraged simply to listen to and experience the ambient sounds in the auditorium around them.

Minimal music is a form of art music that, as its name suggests, uses a very limited array of components to produce a composition. Minimal can apply to the instruments used, the sounds/tones produced, as well as the studio processes employed. Minimalism may comprise continuous drones, pulses or repetitive phrases. Minimalism emerged in New York in the late 1960s with American composers such as Philip Glass, Terry Riley, Steve Reich and La Monte Young. It has been suggested that minimalism was one influence behind experimental rock band The Velvet Underground during the 1960s and, much later, on electronic dance music (EDM) sub‑genres such as minimal techno. In 1990, British electronica duo The Orb used a sample from Steve Reich’s work on their hit single, ‘Little Fluffy Clouds’.

At this point, it is worth making quick mention of cinematic music, a.k.a. film scores or original soundtracks (OSTs). The first music to accompany film goes back to the earliest part of the 20^th Century if not further, although its use really came into its own, ironically, with the advent of talking pictures in 1927. Cinematic music is composed specifically as a background to fit well with what is happening on screen by creating a certain atmosphere. Many classic theme music pieces would simply not exist without the films for which they were created. Some of the best cinematic music is an integral part of the audio‑visual experience, rather than the music being consciously listened to in isolation. The best soundtracks are equally good pieces of music in their own right and the art form has become highly respected (and profitable). John Williams, Ennio Morricone, Jerry Goldsmith, John Barry, Bernard Herrmann, Lalo Schifrin, Vangelis, Jóhann Jóhannsson and Hans Zimmer are some of the principal cinematic music composers.

In the field of television, the BBC Radiophonic Workshop, set up in 1958, stands out for its experimental work in electronic incidental sound design and music for radio and TV. Key members of the unit included Delia Derbyshire, Daphne Oram and David Cain.

A brief history of electronic sound synthesis

It is probably true to say that synthesizers changed the world of music forever. Here’s a short resume of how that change came about. Warning! This is the techy bit.

Analogue synthesizers – The word synthesizer was first used by RCA in 1956, although it has widely been used to refer to electronic musical instruments from the early 20^th Century onwards. Early electronic analogue sound synthesizers were developed in the 1920s and included the Theremin, invented by Leon Theremin in Russia in 1920, the Ondes Martenot, invented by Maurice Martenot in France in 1928 and the Trautnium, invented by Friedrich Trautwein in Germany in 1929.

There are basically only three parts to an analogue synthesizer; one or more oscillators to produce the sound, filters to change the sound, and voltage‑controlled amplifiers to adjust the volume of the sound. In addition, envelope generators are frequently used to change the behaviour of the sound (commonly referred to as ADSR – attack, sustain, delay, release).

Another major development in electronic sound synthesis was by American engineer Robert Moog (1934‑2005) who invented the first commercially available analogue synthesizer, the Moog Modular in 1964. The first fully integrated synthesizer, including the keyboard, was the Minimoog released in 1970. Moog developed his products in response to demand for more practical and affordable electronic musical instruments.

Samplers – A sampler is an electronic device that captures, records and plays back sections of the recordings. The first example was the Chamberlin, invented by American Harry Chamberlin in 1946. The British Mellotron, introduced in 1963, was perhaps the first famous electro‑mechanical instrument used to play back tape recorded sound samples.

Sequencers – A key factor in making music synthesizers usable was the introduction of the programmable sequencer to program and play back multi‑part arrangements. The first example was probably the analogue Buchla 100 synthesizer in 1964. More importantly, Moog introduced the Moog Modular Sequencer Module – the 960 Sequential Controller in 1968.

As synthesizers became more complex, additional features were added, such as arpeggiators that automatically play a sequence of notes based on a chord or scale, and a range of effects used to process the sound even further.

Digital synthesizers – The first digital synthesizer was made by Synclavier in 1977, while the first commercially successful model was made by Yamaha in 1983. The first production polyphonic synthesizer, able to play chords, was the analogue Oberheim Polyphonic Synthesizer, designed by Tom Oberheim, produced from 1975 to 1979. Yamaha, however, may disagree, citing their GX‑1 ‘Dream Machine’. These were followed shortly thereafter by the Polymoog. Another first was the programmable analogue Prophet 5 made by Sequential circuits in 1978. The culmination of these inventions was the introduction of the Fairlight CMI (standing for ‘Computer Musical Instrument’) in 1979, the first polyphonic digital synthesizer, sampler and sequencer.

Finally, polyphonic digital sound synthesis was here to stay, as was the studio recording technology able to exploit it. Miles away from ambient while owing a debt to it, Donna Summer’s massive disco hit single, ‘I Feel Love’ (1977), written and produced by Giorgio Moroder, was seen as a milestone and “a rejection of the intellectualization of the synthesizer in favour of pure pleasure”. It did, however, herald sound synthesis to the popular market. The phenomenal boom in synthpop during the 1980s, leading to the EDM boom of the 1990s, was the tangible result of lengthy electronic music development.

MIDI – MIDI (Musical Instrument Digital Interface) is a powerful industry standard protocol introduced in 1983 that enables wide variety of electronic musical instruments, computers, and audio devices to communicate. MIDI has become essential for synchronizing, playing, editing, and recording music.

These, and many other tools, were a valuable resource for the new generation of experimental composers and musicians. Everything was pretty much now in place.

A brief history of ambient music

Up to this point it is probably fair to say that elements of ambient music’s predecessors existed, and indeed thrived, on the periphery of the popular music of their time, rather than being front and centre of the mainstream. During the 1960s, that was about to change, albeit relatively slowly.

One interpretation of ambient music is that it is a style of calm, often electronic instrumental music with no discernible rhythm or beat, used to create or enhance mood or atmosphere. Ambient music emphasises tone and textural layers of sound that focus on the actual sounds being produced rather than the traditional musical form in which those sounds would normally reside. As such, ambient music may well intentionally eschew formal structured composition, harmony, melody and metre.

While now commonplace, ambient music, at least in the past, broke the rules of what we understand as familiar music or song content. Ambient music is not limited by accepted tropes of how it is produced, making use of acoustic and electronic musical instruments, unorthodox implements used as instruments, environmental sound recordings and sometimes vocals. A large proportion of ambient music is instrumental, not requiring narrative arrangement through either sung lyrics or spoken words.

One characteristic of ambient music since the 1990s has been the ubiquitous use of looping, creating repeated sections of sound, initially using tape and most commonly through digital effects. Another key trait has been the use of modern digital reverb and delay techniques to provide a sense of space, disconnection and otherworldliness.

One key element of ambient music is the way it can reward equally both passive and active listening. The listener can either focus on the content or allow ‘cognitive drift’ to occur, which can encourage a sense of calm, introspection or contemplation, meditation or as an aid to sleep.

While ambient music is a self‑contained genre, it does not stand alone; it has been incorporated into, or fused with, many other musical genres. This fact, in part, contributes to the debate about what ambient music actually means today and why it has become successful both artistically and commercially.

At last, getting to the point now… Ambient music as we now (think) we know it emerged in various forms during the 1960s and 1970s, largely thanks to the commercial availability of synthesizers. The album that is widely regarded as the watershed that brought ambient music to wider attention was, ‘Ambient 1: Music For Airports’ (1978) by British musician, producer and artist Brian Eno. This studio album also established the term ‘ambient music’ in the public mind set. Eno, either solo or in collaboration with other artists, released many subsequent ambient works, further defining the genre. By the early 1980s, the ‘new’ genre had become recognised and widely accepted. Eno has been oft‑quoted that “ambient music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting”.

In 1995, Brian Eno used the term ‘generative music’ to describe any music created by a computer system that is ever‑different, non‑repeating and always changing. Eno has frequently used generative ambient music as a background for visual art installations, thereby creating an immersive audio visual experience. There are now a number of autonomous ambient music generators available on the Internet, such as Generative.fm, that provide completely unique compositions that never end, never repeat and last as long as the listener wants them to. The introduction of Artificial Intelligence (AI) into music is likely to expand the scope of generative music considerably.

A discrete subset of the genre is Japanese ambient pioneered by artists such as Hiroshi Yoshimura, Haruomi Hosono, Midori Takada, Osamu Sato and Susumu Yokota during the 1980s. The offshoot aligned with the Japanese concept of ‘wa’, meaning harmony and serenity. Japanese ambient was an expression of the deep cultural appreciation for nature, an aesthetic preference towards minimalism, and traditional values of maintaining peace.

Ambient has heavily influenced many sub‑genres of downtempo dance music, including ambient house, ambient techno, ambient dub, trip‑hop, nu‑jazz, new age, chillwave and deep house. Ambient has undoubtedly come a very long way from its avant‑garde artsy origins. Ambient was now cool and it was here to stay.

In recent years, ambient music has continued to evolve and expand. Some contemporary artists have incorporated elements of jazz, classical music, and other genres into their work, while others have experimented with new digital technologies such as AI and virtual or augmented reality to create new experiences. Improvisation and extemporisation have become integral elements of many ambient compositions.

Overall, ambient music has remained a vibrant and innovative genre that continues to explore the limits of what is possible in music. Perhaps, the essence of ambient music continues to flourish at the margins, requiring some effort to discover as the means of dissemination moves away from traditional record companies, labels, distributors and physical media. The Internet and streaming services may become the only means to access these esoteric future forms.

Ambient music’s experimental aspirations, though, have been an on‑going thorn in its side, which seems particularly hard to expunge. Partly because of its eclectic roots, many regard the lofty art & culture baggage of ambient as self‑absorbed, arrogant, sanctimonious, pompous and pretentious – or just plain dull and boring. Brian Eno in particular has attracted considerable scorn for refusing to conform to populist ideals and short‑term fads. The fact that he is not fazed by such clichéd criticisms and follows his own path regardless, encourages his opinionated detractors even further.

A predilection for ambient music is a choice, not a requisite and it doesn’t carry any cache amongst some imaginary elitist intellectual cultural community. It is, though, not for everyone, with many seeing ambient as a tedious interminable din. Indeed, if anything has been learned through the decades about ambient music is that its appeal is, at least partially, subliminal, nurturing our subconscious need for enlightened contemplation and therefore beyond our ability to control whether we appreciate it or not. Discuss…

Influential artists that have dabbled in ambient music either in part or whole include (in no particular order) Brian Eno, Aphex Twin, William Basinski, Steve Roach, Robert Rich, Pauline Oliveros, Cluster, Biosphere, Harold Budd, John Hassell, Max Richter, Tim Hecker, Terry Riley, William Orbit, Four Tet, Steve Hillage, Stars Of The Lid, Bonobo, Mark McGuire, Ash Ra Tempel, Alice Coltrane, Jon Hopkins, Edgar Froese, Oneohtrix Point Never, The Caretaker, Laurie Speigel, Tycho, GAS, Boards Of Canada, Burial, Fripp & Eno, Slowdive, Air, Julianna Barwick, A Winged Victory For The Sullen, Ben Chatwin, Richard Norris, Luke Abbott, The Cinematic Orchestra, Daniel Avery, Darshan Ambient, The Gentleman Losers, Ibizarre, A.M.P. Studio, Orbient, Nacho Sotomayor, Sigur Rós, Johnny Jewel, Bicep, Marconi Union, Memory Tapes, Neon Indian, Com Truise, The Orb, The KLF, Divination, Lawrence English and The Irresistible Force.

A brief history of other music genres related to (but not) ambient music

New age music –New age music emerged in the 1970s and 1980s, influenced by a variety of styles including classical music, jazz, world music, religious music, folk and rock. New age music often explores arcane folklore, ancient traditions, ethnic groupings, astrology, mythology, mysticism, spiritualism, fantasy and even the occult. Lacking any precise definition, it is often seen as an umbrella for many different and often divergent styles. Ambient and new‑age music are two distinct genres albeit with some overlap between them.

Starting with the similarities… New age music is a genre of music characterised by its soothing and relaxing qualities. It often features acoustic instruments such as flutes, harps, guitars and pianos, traditional Asian or African instruments as well as nature recordings and synthesizers. New‑age music is often used for relaxation, contemplation, yoga, massage, stress relief and anxiety management. As background music, it is used to create a calm, serene, peaceful atmosphere for other activities.

… and some key differences… Ambient music tends to be more experimental and abstract than new‑age music, with a greater emphasis on soundscapes and textures rather than rhythm, melody or harmony. New age music tends to be more melodic, structured and more easily accessible than ambient music.

Overall, both ambient and new age music are genres designed to create a sense of serenity in the listener (the ends). However, they go about achieving this goal in different ways (the means).

New age music has habitually been ridiculed (erroneously) for being part of hippie culture, with acolytes that embraced new age beliefs being called ‘zippies’. From the 1990s. Zippies were in favour of new age principles such as social change, environmentalism, and alternative lifestyles while also being influenced by rave culture, cyberculture, and psychedelic drugs.

New Age Travellers are a loose grouping of people primarily in the United Kingdom generally adopting new age beliefs along with the counter culture movement of the late 1960s. Their nomadic lifestyle often brought them into conflict with static communities and the authorities.

Prominent new age artists include Enigma, Enya, Deep Forest, Clannad, Gregorian, Phil Thornton, Patrick Kelly, Peter Gabriel, Bernward Koch, Paul Winter, Grouper, All About Eve and William Ackerman.

Nature recordings – Ambient nature sounds or, technically, field recordings are a popular sub‑genre of ambient music that feature environmental recordings such as the sounds of water, animals, thunderstorms, wind and even fire. The origins of combining natural sounds with musical compositions can be traced back to the early 20^th century. Field recording is regarded by many as a genre in its own right, with or without music.

The use of field recordings in music became more widespread in the 1950s and 1960s with the advent of portable recording equipment and with digital recording from the 1980s. Musicians such as John Cage and Dan Gibson began using natural or built environmental sounds into their compositions.

The use of field recording in ambient music can be traced back to Brian Eno’s ‘Ambient 1: Music for Airports’, which featured recordings of airport terminal announcements and other environmental sounds. Since then, many ambient artists have incorporated field recordings to create captivating soundscapes that blur the line between music and environmental sound.

Some popular ambient nature sound artists include David Dunn, Chris Watson, Dan Gibson, Diane Hope, Lawrence English, Biosphere and Francisco López.

Downtempo and chillout music – Ambient music did not burst onto the scene overnight and, at least initially, it did not attract significant commercial success. With the popularity of EDM and the domination of house and techno in nightclubs, ambient experienced a mini‑revival towards the late 1980s with sub‑genres including ambient house, ambient trance, ambient techno and ambient dub. During the dance‑dominated 1990s, ambient music became trendy as an after‑party ‘comedown’ with the advent of ‘chillout rooms’; spaces within clubs that served as venues for a relaxing alternative to the high‑energy ‘rave rooms’.

Chillout is a form of downtempo music (or vice versa) characterised by relaxed rhythms, mellow beats, laid back grooves and atmospheric soundscapes intended to induce a tranquil mood – fertile ground for ambient music to proliferate. Chillout is heavily derived from EDM, but typically at slower tempos and with sonic palettes often reminiscent of ambient, electronic‑styled new age, progressive electronic and even elements of instrumental hip hop, dub, deep house and breakbeat.

However, neither chillout nor downtempo come under the definition of ambient, due to their prominent use of structure and rhythm. Sunset beach bars, restaurant venues and cult dance clubs in Ibiza in the 1990s jumped onto the ambient/downtempo/chillout bandwagon as an escape from the more intense side of life and a counterpoint to the hectic rave and acid house scenes of the time. In the UK, the Bristol trip hop scene also capitalised on the chillout boom.

The chillout zeitgeist during the late 1990s was partly due to a proliferation of commercial chillout compilation albums from record labels such as Ministry of Sound, Café del Mar, Café Mambo, Beyond Records, Kompakt Records and Mercury Records. Mainstreaming ultimately motivated underground producers to move away from chillout into other more adventurous leftfield ventures. By the early‑mid 2000s, popularity of chillout music faded heavily. However, it would see a revival in the 2010s and 2020s (so far), which aimed to recapture the spirit of earlier forms of the genre.

Ambient and downtempo/chillout and are not interchangeable, although the boundaries between them are often unclear. Downtempo and chillout would go on a different path to influence subsequent genres like psybient, psychedelic trance, chillwave, lounge, post rock, lo‑fi hip hop, hypnagogic pop and nu‑jazz.

Prominent downtempo and chillout artists include The KLF, The Orb, Thievery Corporation, Deep Dive Corp, East India Youth, The Album Leaf, Nightmares on Wax, Falco, Robert Miles, Morcheeba, Bowery Electric, Mr. Scruff, Tosca, Hallucinogen and Ultramarine.

Trip Hop – Trip hop is a genre of electronic music that emerged from downtempo/chillout in the early 1990s. Trip hop is characterized by its use of hip hop beats, samples, and dense atmospheric soundscapes, fusing influences from jazz, soul, funk, reggae, dub and R&B. Like other forms of electronic music, trip hop uses structure, melody and beats, differentiating it from ambient. The term trip hop was first used in an article in Mixmag magazine in 1994 about American artist and producer DJ Shadow. Trip hop music was popularised mainly by artists from Bristol in the UK such as Portishead, Massive Attack and Tricky. Trip hop further influenced genres like instrumental hip hop and UK garage.

Other artists that have made use of trip hop leanings include Sneaker Pimps, Aim, Howie B, The Dining Rooms, FKA Twigs, Glass Animals, Kosheen, Martina Topley‑Bird, Poliça, Smoke City, 9Lazy9, Bomb The Bass, Coldcut, Morcheeba, Pretty Lights, DJ Shadow, DJ Food, DJ Vadim, Funki Porcini, Gorillaz and London Grammar.

Electronica – Electronica is a massively broad term for music that uses electronic instrumentation and sound manipulation technology as the primary means of production. As such, it is a catch‑all for music that doesn’t slot easily into existing sub‑genres. In its widest sense, electronica is pervasive, directly or indirectly, in much of modern contemporary music. There is, therefore no point in defining it or attempting to establish its scope here.

Since the 1960s, electronica artists have both influenced and taken influence from many other music genres. The commercial breakthrough of electronic music occurred with the advent and subsequent domination of synthpop, Europop and Eurodance in the 1970s. This was followed by EDM sub‑genres such as house, techno and electro from the 1980s onward. The burst in electronic creativity was fuelled by a self‑perpetuating feedback loop, pushing things further in the popular mainstream as well as in the margins that continues to this day.

Some prominent artists under the diverse panoply of electronica include (again in no particular order) Clara Rockmore, Kraftwerk, Aphex Twin, Depeche Mode, Daft Punk, Kraftwerk, Röyksopp, Gary Numan, Japan, David Sylvian, Natural Snow Buildings, Global Communication, Moby, The Chemical Brothers, Orbital, Underworld, The Human League, Visage, Thomas Dolby, Howard Jones, Ultravox, Rick Wakeman, Jean‑Michel Jarre, Skrillex, Leftfield, Herbie Hancock, Electronic, Deadmau5, Fred Again.., Sven Väth, Major Lazer, Armin van Buuren, Sasha, Thom Yorke, Emerson Lake & Palmer (ELP), Daft Punk, Four Tet, Floating Points, Flying Lotus, Hot Chip, Pet Shop Boys, Fatboy Slim, The Prodigy, Giorgio Moroder, M83, Goldfrapp, Amon Tobin, Carl Cox, Crystal Castles, Infected Mushroom, Groove Armada, Eat Static, LCD Soundsystem, Faithless, Disclosure, System 7, 777, Erasure, Yazoo, Paul van Dyk, Eric Prydz, Heaven 17, Orchestral Manoeuvres In The Dark (OMD), Tears For Fears, Monaco, Bronski Beat, Vince Clarke, Eurhythmics, Thompson Twins, Yello, Squarepusher, Machinedrum, Pendulum, Romare, Calvin Harris, Apollo 440, Ladytron, MØ, Flume, Public Service Broadcasting, Solar Fields, The Grid, X‑Press 2, Arms And Sleepers, Caribou and ATB.

A brief history of ambient electronica (and related) artists

OK, so we’ve looked at some of the genres that have led up to the current day and the prevailing view of ambient music in context. Now, it’s time to take a brief look at some key artists involved along the way, whether they could strictly be considered proponents of ambient music or not. Here are some of the most prominent.

Tomita – Isao Tomita (1932‑2016) was a Japanese composer, regarded as one of the pioneers of electronic music and space music, and as one of the most famous producers of analogue synthesizer arrangements. Tomita is known for his electronic versions and adaptations of familiar classical music pieces as well as futuristic science‑fiction themes and trance‑like rhythms. Tomita received four Grammy Award nominations for his studio album based on music by classical composer Claude Debussy, ‘Snowflakes Are Dancing’ (1974). He also famously adapted Gustav Holst’s ‘The Planets’ (1976).

Wendy Carlos – Wendy Carlos (1939‑) is an American musician and composer born as Walter Carlos and transitioning to female gender in 1972. She is known for her pioneering electronic music and film scores. Carlos studied physics and music at Brown University before studying music composition at Columbia University in New York City. She helped in the development of Robert Moog’s first commercially available synthesizer. Carlos’ breakout release was Grammy Award‑winning ‘Switched‑On Bach’ (1968), an album of music by Johann Sebastian Bach performed entirely on synthesizer. Carlos went on to release further synthesized classical music adaptations, as well as experimental and ambient electronic music. She composed film scores for three major studio films, ‘A Clockwork Orange’ (1971), ‘The Shining’ (1980), and ‘Tron’ (1982).

Tangerine Dream – Tangerine Dream is a German band founded in 1967 by Edgar Froese (1944‑2015). The best‑known incarnation of the group was the mid‑1970s trio of Froese, Christopher Franke and Peter Baumann. Tangerine Dream is considered a pioneer in electronic, ambient and space music, a.k.a. kosmische musik (‘cosmic music’). Tangerine Dream were key members of the so‑called Berlin School of electronic music. Despite having released over one hundred albums over the years, they are best known for their use of synthesizers and sequencers, including milestone albums, Phaedra (1974) and Rubycon (1975). Tangerine Dream has also composed over sixty film soundtracks as well as the score for the video game Grand Theft Auto V. However, it is their mid‑1970s material that profoundly influenced the development of electronic music styles such as ambient, new age and EDM.

Klaus Schulze – German electronic music composer and musician Klaus Schulze (1947‑2022) is considered one of the pioneers of electronic music since the late 1960s. Schulze was an early member of the band Tangerine Dream before leaving to pursue a solo career in 1970. Schulze had a prolific career, releasing over sixty studio albums. Schulze’s music is known for its long, repetitive sequences and its use of analogue synthesizers. His early work was influenced by the psychedelic rock of the late 1960s and early 1970s, while his later work was more experimental and ambient. Schulze’s music has been used in films such as ‘The Exorcist’ (1973).

Brian Eno – English musician, composer, producer and artist Brian Eno (1948‑) has become synonymous with contemporary ambient music, pioneering and contributing to the ambient, electronica and minimalist drone genres. He started out in experimental rock, glam rock, art pop and art rock as former keyboard player with Roxy Music. Along with his extensive solo career, Eno has also collaborated on many side projects with other artists including Harold Budd, David Bowie, David Byrne, Fred Again.., Jon Hopkins and Cluster. Many of his collaborations explored beyond the scope of purist ambient music. He has also been prominent behind the studio desk producing many artists including John Cale, David Bowie, Jon Hassell, Laraaji, Talking Heads, Ultravox, Devo, U2, Coldplay, Daniel Lanois, Laurie Anderson, Grace Jones, Slowdive, James, Kevin Shields and Damon Albarn. In addition, Eno has composed a number of film scores. If that wasn’t enough, Eno has also worked prolifically in other media, including audio visual installations, art installations, film and as an author. As mentioned above, Eno pioneered the introduction and growth of generative music. A little known fact is that Eno also composed the six‑second music snip that accompanied the start‑up of the Windows 95 computer operating system, known as ‘The Microsoft Sound’. Love him or loathe him, Eno’s legacy is probably as far reaching as it is incalculable.

Kratwerk – German electronic band Kraftwerk was founded in Düsseldorf in 1970 by Ralf Hütter and Florian Schneider. Kraftwerk is widely regarded as an innovator and pioneer of electronic music and was one of the first successful acts to popularise and commercialise the genre. The group began as part of West Germany’s experimental krautrock scene in the early 1970s before adopting electronic instruments for which they are best known, including synthesizers, drum machines, and vocoders. Their massive hit single and album, ‘Autobahn’ (1974) cemented their reputation. Kraftwerk inspired many artists including David Bowie, Joy Division, New Order, Daft Punk and LCD Soundsystem.

Jean‑Michel Jarre – Jean‑Michel Jarre (1948‑) is a French composer, musician and record producer. He is widely regarded as an innovator in electronic, ambient, new age and synthpop music. His breakout studio album, ‘Oxygene’ (1977) has become an electronica classic, selling over 18 million copies worldwide. Jarre’s musical style builds on the work of Tangerine Dream and adds a bit of populist French va‑va‑voom. He is famous for organising extravagant outdoor events involving laser light shows, visual projections and pyrotechnics to accompany his stage music. One of his concerts in Moscow, Russia in 1997 holds the world record for the largest audience for a single outdoor event, estimated at 3.5 million people.

The Orb – The Orb is an English electronic music group founded in 1988 by Alex Paterson and Jimmy Cauty. The duo began as ambient and dub DJs based in London before making the move into music production. The Orb is well known for their psychedelic ambient space sound. Over the years, The Orb has developed a cult following among clubbers ‘coming down’ from drug‑induced highs and, as such, their music became popular in club chillout rooms. Their influential debut studio album ‘The Orb’s Adventures Beyond The Ultraworld’ (1991) established the UK’s underground ambient house trend. The Orb’s second album, ‘U.F.Orb’ (1992) confirmed the band’s popularity and ensured their longevity. The Orb was influenced heavily by predecessors, Brian Eno and Kraftwerk. The Orb has maintained their signature science fiction aesthetic throughout their prolific career.

Amorphous Androgynous – British electronic music duo Amorphous Androgynous and its better known alter ego, The Future Sound of London (FSOL), was founded by Garry Cobain and Brian Dougans in 1988. The duo’s music is characterized by its psychedelic, ambient, and experimental sound. They acted as a bridge between the underground and well‑established electronic artists and has been influential in the development of electronic music genres such as ambient house, ambient dub and trip hop. They have released several albums, including ‘Tales of Ephidrina’ (1993) and ‘Lifeforms’ (1994).

Orbital – Orbital is an English electronic music duo founded by brothers Phil and Paul Hartnoll in 1989. The band has had on‑off periods of activity, breaking up and reforming on more than one occasion through the years. The band’s name is taken from the M25, London’s orbital motorway, which was key to the early (illegal) rave scene and (legal) acid house scene of the late 1980s and early 1990s. Orbital’s involvement with dance music has led to its strong reputation as a live band. They have mixed ambient sounds along with techno, trance, breakbeat and electronic rock styles. They have also been hugely influential in the development of modern electronic sub‑genres such as glitch, wonky and Intelligent Dance Music (IDM), as well as EDM.

The Chemical Brothers ‑ English electronic music duo The Chemical Brothers, originally known as The Dust Brothers, was formed in 1989 by Tom Rowlands and Ed Simons in Manchester, UK. Along with peers, The Prodigy and Fatboy Slim, they were pioneers in bringing the big beat, techno, house and EDM to popularity. Their breakout studio album, ‘Dig Your Own Hole’ (1997) rapidly became a rave classic. Like Orbital, they have become regular headliners on the festival and arena circuits. While their music is far from ambient, the origins are still evident and their enduring influence has also been widespread.

Contemporary music genres related to ambient

Here we are now, well into the 3^rd decade of the 21^st Century, so what position does ambient occupy now? Has it stagnated, frozen in aspic? Is it languishing in some obscure genre limbo? Or is it still evolving either on its own terms or in other ways? Let’s look at where ambient influences have led us and which may give a clue to where it might be going in the future. Here are eight of the most important modern‑day ambient spin‑offs.

Drone – Drone is a music genre that plays on long, sustained tones or repeated single notes. Unlike other genres that use drones as a component, drone music puts drones at the forefront, removing most melody and rhythm. As such, it bears many similarities to ambient. Drone music explores the changing timbre of individual sounds over time. For electronic drone, this is often achieved by slight fluctuations in the drone’s pitch, tone and amplitude.

The origins of drone, whether electronic or classical, are found in traditional music from across the world and date back to the 1940s with ‘Monotone Silence Symphony’ (1949) by Yves Klein. Drone developed through minimal music and through rock. Drone has seen a resurgence in the 2020s. Drone music has expanded to influence countless other genres, including ambient, EDM, drone metal and post‑rock.

Progressive Electronic – Progressive music in its widest sense generally attempts to expand existing stylistic boundaries associated with a specific genre of music. It also places emphasis on creating a sense of progression or development throughout a piece of music. Layered soundscapes, intricate changes in rhythm, a wide range of sound effects and textures are commonly used. Improvisation is also a key characteristic of progressive electronic music, as many musicians use improvisation to create new and inventive sounds rather than relying on pre‑recorded samples or synthesizer presets. Another important aspect is the use of lengthy, extended compositions, with tracks frequently having multiple sections and mood changes. Basically, progressive electronic covers a large proportion of electronic music from the late 1960s to the current day, including post rock. Is it a genre in itself? Make up your own mind.

Vaporwave – Vaporwave emerged in the early 2010s and is characterised by its use of synthesizers, slowed‑down samples and a great deal of studio manipulation including time shifting and cutting up of sound clips, then applying reverb, echo and other studio effects. The advent of computer‑based digital audio workstations (DAWs), such as Pro Tools, Logic Pro, Abelton and Cubase, greatly aided production and the Internet provided the means of distribution through platforms like YouTube, Bandcamp and SoundCloud.

Vaporwave got its name from ‘vaporware’, a term applied to computer hardware or software which is announced by a developer well in advance of release, but which then fails to emerge.

At first, vaporwave was a nostalgic reflection of the sounds of the 1980s and 1990s, drawing from popular music, contemporary R&B, smooth jazz and muzak, as well as from consumer culture, corporate logos, films, radio broadcasts and television commercials. Vaporwave has been described as a form of ‘post‑Internet’ electronic musical movement that reflects the fragmented and disorienting experience of living in the digital age.

The release of ‘Eccojams Vol. 1’ (2010) by Daniel Lopatin, under one of his aliases Chuck Person, is widely regarded as the foundation of vaporwave as a genre. The debut was followed ‘Floral Shoppe’ by Macintosh Plus and ‘Far Side Virtual’ by James Ferraro (both 2011), bringing greater visibility to vaporwave and its associated aesthetics. Despite this, vaporwave remains niche with tracks not readily available on physical media such as CDs or vinyl.

Like ‘pure’ ambient, vaporwave shuns structure and rhythm. The use of looping, glitching, pitch‑bending, panning, and echoing sound samples came to define the sound of vaporwave, giving the patchwork sound a hazy, surreal, dreamy and atmospheric quality with a focus on hyperreality. The vapor movement alludes to a disconnection or separation from reality presented through its original form.

In addition, vaporwave gave birth to a distinct aesthetic based on subcultures like cyberpunk, seapunk, manga and anime. Artist names, album titles and track listings often used uncommon symbols and Japanese script. In conjunction with the heavily manipulated and often intentionally degraded sound of vaporwave music, much of the genre’s artwork featured low‑grade image distortion or digital artefacts, bringing the limitations and flaws of past technology and positioning it within the broader post‑internet artistic landscape. The integration of the visual and the music elements can be interpreted as a criticism of consumer capitalism and hi‑tech culture.

Dreampunk – Dreampunk is an evolution of Vaporwave, also emerging in the mid‑2010s. Dreampunk artists wanting to experiment with more minimal and atmospheric compositions while, at the same time, distancing themselves from the nostalgic restrictions of the 1980s. The Internet record label, Dream Catalogue, helped popularize dreampunk within the vaporwave community as well as further afield.

The abstract, hypnotic, atmospheric soundscapes and repetitive structure of vaporwave is perhaps closer to ambient music, although the presence of rhythm differentiated it from its predecessor. This contributes to the dreamlike ethereal sound for which the genre is known. Dreampunk artists tend to seek anonymity, with many using several Internet aliases to create a sense of mystique around their music, hiding behind the aesthetic, often utilizing abstracted imagery of cityscapes, neon‑lit night scenes and incorporating futuristic dystopian and cyberpunk themes. Like vaporwave, dreampunk also uses Japanese scripts to further mystify their image. Classic dystopian and cyberpunk films such as ‘Blade Runner’ (1982) and ‘Ghost in the Shell’ (1995) also influenced and inspired the music genre. Both vaporwave and dreampunk continue to thrive in the underground.

Ambient, morphed through the lens of vaporwave and dreampunk, heavily influenced other genres such as hypnagogic pop, chillwave, VHS pop, witch house and slushwave.

Some popular vaporwave and dreampunk artists include Blue In Tokio, Fishmans, T e l e p a t h (テレパシー能力者), 2 8 1 4, Windows96, SkyTwoHigh and Lindsheaven Virtual Plaza.

Chillwave – Chillwave, a.k.a. glo‑fi, is an Internet genre that originated predominantly from the United States circa 2009. Chillwave, like vaporwave, looked back to the aesthetics and musical styles of the 1980s and 1990s, intentionally evoking a sense of nostalgic reflection. Chillwave melded analogue instruments with modern recording technologies and techniques to create a hazy dreamlike atmosphere. Chillwave appropriated elements of synthpop, funk, downtempo, EDM and alternative/indie genres like indie pop, neo‑psychedelia and synthwave.

Chillwave, vaporwave and dreampunk led to a great deal of fusion and crossover material, blurring the differences between them. Chillwave declined in popularity by the start of the 2020s but like many other genres, the end of chillwave may have been greatly exaggerated. Expect it to come back to the fore in due course. Chillwave’s influence would go on to play a part in genres such as cloud rap, alternative R&B, future bass, synthwave, ethereal wave and bedroom pop.

Prominent chillwave artists include Toro y Moi, Neon Indian, Washed Out, Memory Tapes, Flume, Com Truise, Tycho, Panda Bear, Lemon Jelly and Nite Jewel.

Intelligent Dance Music and its spin offs, glitch and wonky – Intelligent Dance Music (IDM) is a genre of electronic music that emerged in the early 1990s as a derivative (and rejection) of EDM. It is characterized by complex rhythms, intricate melodies, and a focus on sound design and experimentation. IDM artists often use unconventional time signatures, polyrhythms, glitches and de‑tuned sounds to create a unique listening experience. The genre is also known for its use of ambient textures and atmospheres, which can create a vague or otherworldly feel. IDM has been influential in the development of other electronic music genres such as ambient techno, and intelligent techno.

Some of the most well‑known IDM (and glitch/wonky) artists include Aphex Twin, Four Tet, Daniel Avery, Actress, Floating Points, Machinedrum, Moderat, Oneohtrix Point Never, Boards Of Canada, Mouse On Mars, Flying Lotus, LFO, Clark, Luke Vibert, Autechre and Squarepusher.

Dream pop – Deriving more from structured alternative and indie rock rather than ambient, dream pop uses reverb‑laden guitars, effects‑rich vocals, and dense studio production, to create a psychedelic, spacious, ethereal and surreal sound, albeit with a de‑emphasized beat accompanied by quiet, breathy harmonised vocals to elevate the music from its origins.

Dream pop is commonly fused with other genres such as shoegaze and noise pop, although dream pop does not solely depend on ‘walls of sound’, heavily distorted guitar layers or feedback. Dream pop relies heavily on modulation effects such as chorus, tremolo, vibrato, delay and reverb, to create mesmerising sonic textures. Dream pop bands often employ synthesizer layers to add atmosphere and lush soundscapes. Influences include slow core, post rock and trip hop.

In a similar way to shoegaze, vocals focus on melody and timbre, rather than lyricism. It is not uncommon for dream pop groups to have multiple vocalists to make good use of harmony and ‘instrumental’ vocals.

Prominent dream pop artists include Warpaint, 2:54, Lanterns of the Lake, Beach House, Cigarettes After Sex, The xx, Bat For Lashes, Low, Chromatics, Spiritualized, Julee Cruise, Broadcast, Zero 7, Phantogram, Yo La Tengo, Cocteau Twins, Dévics, Esben And The Witch, Pure Bathing Culture, School Of Seven Bells, His Name Is Alive, How To Dress Well, Lush, London Grammar and Mazzy Star.

Ambient dub – Ambient dub fuses ambient music with dub electronica. Ambient dub is a chillout fusion of ambient, dub reggae and future dub, featuring the atmosphere of the former and the Jamaican‑style basslines, percussion, and psychedelic production techniques of the latter. The name of the genre was coined by record label Beyond Records with a series of compilation albums of the same name, starting with, ‘Ambient Dub Volume 1: The Big Chill’ (1992). Many of the prominent artists within the genre also perform or mix in elements of dub techno, dubstep or ambient techno, which has led to some confusion over ambient dub’s actual sound. While the lines are indistinct between such electronic genres, ambient dub can genuinely be discerned by its denser atmospheres, a heavier use of reverb and/or delay, and an emphasis on bass akin to traditional dub, as well as reggae rhythms.

Notable ambient dub artists include: The Dub Syndicate, Bill Laswell, Dreadzone, Higher Intelligence Agency, The Orb, Ott, Loop Guru, Transglobal Underground, Jon Hopkins, Jah Wobble, Mad Professor, Burnt Friedman, Deadbeat, The Bug, Solar Quest, Ladytron and Banco de Gaia.

Dark ambient – before we leave, it’s worth a quick mention about dark ambient, a.k.a. ambient industrial. While most ambient music creates a peaceful, welcoming and safe place, dark ambient is intended to disturb. Dark ambient emerged as a post‑industrial counterpoint to the wider ambient landscape. It is characterised by an ominous, brooding, eerie, sinister and overbearingly gloomy atmosphere, often with discordant overtones, dissonant timbres and lengthy drones. Dark ambient often crops up in film scores intended to unsettle the audience and create a sense of disorientation or suspense.

Dark ambient artists include Deathprod, Agalloch, David Lynch, Throbbing Gristle, Angelo Badalamenti, Nine Inch Nails, Trent Reznor, William Basinski, Blut Aus Nord, Mortiis, Cabaret Voltaire, Dolorian, NON, Controlled Bleeding, Earth, Jóhann Jóhannsson, Sunn O))) and Steven Wilson.

STOP! Enough already! I hear you cry. We are beginning to go down a bit of a proverbial rabbit hole here, so the short list that follows suggests other sub‑genres heavily influenced by ambient and its derivatives. These sub‑genres include black ambient, ritual ambient, space ambient, space music, ambient Americana, ambient house, ambient techno, ambient trance, psybient, psydub, minimalism, modern classical, ambient industrial, tribal ambient, pop ambient, dubstep and turntable music. Phew!

Key ambient+ albums:

As with my previous article on dub reggae, it would be remiss not to mention some of the key albums that have impressed over the years. Here are some predictable and some very unpredictable selections to showcase the vast expanse of electronic ambient music as it is today. As this article has hopefully shown, ambient isn’t a clearly defined pigeon hole with unbreakable rules but rather a constantly changing complex and diverse approach to experimental soundscapes. Hence this ‘top 20’ collection is more like ‘ambient+’ (as I call it; remember, you read it here first!), intended to demonstrate the ecosystem’s multiplicity. Another ‘desert island disc’ compendium to daydream about. Again, it was a difficult decision‑making process with many excellent works that didn’t make this particular cut. These albums are all classified as contemporary, i.e. 1975 to the current day.

Aphex Twin – Selected Ambient Works 85‑92 (1993) and Vol. II (1994). Two seminal albums in the ambient genre that feature a mix of electronic and acoustic sounds. It is known for its dreamy, otherworldly soundscapes and has been described as ‘a journey through a strange and beautiful world’.
Brian Eno – Ambient 1: Music For Airports (1978). Basically, the one that started it all. Essential listening for devotees of the ambient music genre. A starting point for the many great ambient works that followed and an entrée into Eno’s many other ambient works.
Tangerine Dream – Rubycon (1975). Along with its predecessor, ‘Phaedra’ (1974), the pair stand out from the band’s extensive canon. The band had stopped using traditional instruments in its compositions and focused on analogue synthesizers and sequencers. Truly remarkable.
Max Richter – Sleep (2015). Almost 8½ hours of sweet lilting lullaby, a transcendent, cinematic, post‑minimalist ambient album of gentle music intended to be experienced as much as it is to be listened to, awake or asleep (or, interestingly, in between – a phenomenon known as ‘eyelid movies’; what the mind conjures up when one is in the transitional state of near sleep).
GAS – Pop (2000). A comforting, immersive experience and a lesson in how to make electronica sound organic and engrossing. Transcendent and transformative. A lysergic trip for your ears.
Fripp & Eno – Evening Star (1975). Combining the talents of Brian Eno and Crimson King guitarist Robert Fripp. Good to see guitar making a contribution to ambient music.
Four Tet – Rounds (2003). Not really ambient, more IDM and glitch. However, a disarmingly elegant stripped back intimate album. Perhaps, Kieran Hebdan’s landmark album.
Boards Of Canada – Music Has The Right To Children (1998). Focusing on concepts of childhood nostalgia, created by the use of obscure samples and masterly manipulated layers of sound. The album has become rather essential listening along with ‘The Campfire Headphase’ (2005) and ‘Geogaddi (2002).
Bonobo – Black Sands (2010). Lush, sumptuous and beguiling. Not ambient in a true sense but a great example of downtempo electronica from Simon Green. Also worth a listen is, ‘The North Borders’ (2013). Both also have excellent remix albums.
The KLF – Chill Out (1990). A classic ambient album that features a mix of samples and original music. It’s known for its dreamy, atmospheric soundscapes and has been described as ‘a road movie in music form’.
Stars Of The Lid – Tired Sounds Of Stars Of The Lid (2001). An album that features long, slow‑moving pieces that are built around drones and other ambient textures.
Chromatics – Night Drive (2001) – More ambient pop, dream pop and synthwave than pure ambient. Chromatics’ ethereal style was featured by David Lynch in his surreal TV series, ‘Twin Peaks’.
Burial – Untrue (2007). Enigmatic London‑based dubstep artist burst onto the scene with an album that is stark, blurred, eerie, tender and hauntingly evocative. A breath taking and inimitable event.
William Basinski – The Disintegration Loops I‑IV (2002‑2003). Four albums that feature loops of decaying tape recordings. The music is haunting and melancholic, and has been described as ‘a meditation on loss and decay’. Dedicated to the victims of 9/11. Tape music entropy as it happens, captured for posterity.
Tim Hecker – Radio Amor (2003). An album that features a mix of electronic and acoustic sounds, including guitar and piano. It’s known for its dense, layered soundscapes and has been described as ‘a beautiful, immersive experience’.
Banco de Gaia – Last Train To Lhasa (1995). Along with its predecessor, ‘Maya’ (1994), it shows the approach of Toby Marks to progressive ambient electronica. Again, not really ambient but hugely influenced by it.
Thievery Corporation – The Richest Man In Babylon (2000). Along with its remix EP, ‘Babylon Rewound’ (2004) it takes other influences including reggae and dub and brought it into the downtempo chillout world.
The Higher Intelligence Agency – Freefloater (1995). British artist Bobby Bird started off running experimental electronic music nights in Birmingham. Ambient techno meets ambient dub meets ambient. Also worth a listen is, ‘Colourform’ (2010).
Lindsheaven Virtual Plaza & SkyTwoHigh – Imaginary Pathways (2021). The final Internet album by Brazilian musician and producer, Cesar Alexandre before his untimely death due to covid. More dreampunk, ambient techno and downtempo with a hint of vaporwave rather than ambient. Blissful.
The Gentleman Losers – The Gentleman Losers (2006). Finnish brothers that take a mix of ambient, post rock, lo‑fi, dreamlike slowcore and even a hint of Americana and blend it into a strange place where one isn’t certain of what is light and what is dark.

In addition, referring back to ubiquitous compilation albums of the 1990s, one of the most significant events was ‘Ambient Dub Volumes 1‑4’ by various artists (1992‑1995) – A series of ambient dub compilation albums from Beyond Records that announced ambient dub to the world. The last of the four isn’t quite up to the first three but best seen as a whole. Another name check is for the annual ‘Pop Ambient’ compilations (2001‑) curated by Wolfgang Voigt, the man behind Kompakt Records and his nom de guerre GAS (see #5 above).

The future of ambient and ambient‑related music

The legacy of ambient music in all its facets has had a major impact on pretty much everything we listen to, even if we aren’t always aware of it. The question is, where is it going?

Ambient has exhibited somewhat of a resurgence in the early 2020s. Part of this renewed interest may be because of what is called multi‑sensory branding, where media events attempt to evoke memories through stimulation of all the senses. Another reason may be the rediscovery of obscure Japanese ambient music, as well as an interest in previously experimental, niche or underground music now garnering mainstream recognition. Streaming services make accessing unconventional music much easier. In addition, the growth of interest in mindfulness and mental health & wellbeing as a ‘cure’ for stress and anxiety caused by an increasingly frenetic and unpredictable world has reinforced the search for aids to relaxation, introspection and contemplation.

One thing we’ve learnt from this escapade is that ambient and ambient+ (or whatever else you want to call it) has been pushing the boundaries ever since the start of the 20^th Century. If nothing else, it will continue to explore the outer limits while influencing the mainstream.

Probably the most significant tool in the future of ambient electronica won’t even involve human beings or actual instruments! AI will make significant inroads into generative music. Ultimately, though, this is likely to be a bit of a creative dead end. The drawback of AI is that it can only learn from what has come before it, it lacks the imagination and inventiveness of the human mind. At some point, AI generated ambient will become stale and derivative and human creativity will, once again be needed to bring spontaneity and unpredictability back to front and centre of music. Go People!

Given the inherent limitations of traditional musical instruments, electronic music may, arguably, have the greatest potential for innovation and creativity. One can only imagine the possibilities yet to be explored.

While many critics view electronica as soulless, cold and inert, it is sure to develop the ability to elicit more organic, fluid emotional responses. Many artists are looking backwards to analogue instruments and production techniques to add warmth and to create beauty out of its inherent imperfections.

Genre developments can only surprise once before they become part of the historical mosaic. One possible future is that ambient reaches a point where it becomes sterile and disposable. One might envisage it derided in the way that elevator muzak has become. Arguably, a proportion of current‑day throwaway popular music is already demonstrating that bleak possibility with anything new ultimately being short‑lived around the periphery before being subsumed into universal, amorphous homogeneity.

How we will be listening to music is another factor. If music becomes more clichéd, contrived and derivative, it will become more and more dismissible, fading into the background environment. However, isn’t that exactly what Erik Satie intentionally started with back in 1917?

For some, like the author, ambient resonates with the psyche on both a subconscious and conscious level. Others, meanwhile, may find the genre melancholic or even highly irritating. Ultimately, like all music preferences, it is partly a deliberate decision and partly predetermined in some obscure way.

Personally, I have confidence that people who appreciate ‘real’ music and have a passion for creating and performing it that will perpetuate this idiosyncratic form of music into a healthy future. Once again, discuss…

Tailpiece

So… there you have it. Another lengthy (apologies) delve into a relatively narrow niche of the wondrous world of music. Back to the real world, sadly. I cannot write about things that I don’t have some sort of fascination with. Having said that, these ambient+ genres are not exclusive listening. However, they can be just the ticket when one feels like some chillaxing, escaping from reality or as an antidote to insomnia.

Why do I dig ambient and electronic ambient+ music? It just resonates with me, It creates a welcoming oasis of contemplative calm away from a crazily intense ‘real’ world and it is somewhere to go that isn’t, well, here. Nothing profound, transcendent or conceited. See you in The Matrix soon.

I have no idea what’s up next, so it will come as much of a surprise to me as it will to you. Thoughts on a postcard please.

Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “If you could literally have the world, what, exactly, would you do with it?”

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28 Feb 2020

February 2020 – The Story of Modern Music in 1,500+ Facts – Part XI

by Tony Drew | posted in: History, Introduction, Observations | 0

Introduction

Welcome back once again dear musical masochists. Well… here we are – finally – almost at the end of the very long linear tunnel. The ordeal is nearly over! Along the way, I hope our factual passage through time has been an enlightening and entertaining experience. Chronologically (bar the first 2 months of 2020), the long ‘Story of Modern Music’ has caught up‑to‑date. By the end of this article the facts and events covering more than three‑and‑a‑half centuries will have been laid bar for all to see. It isn’t, however, the culmination of this series of articles, as there will be a fair bit of dilly‑dallying to do to give justice to the material and to complete a coherent narrative.

If you would like to (re)visit the first 10 parts (and over 350 years) of the story to‑date, you can do so here (each link opens a new browser tab):

The Story of Modern Music Part XI 2010-2019

As the ‘teenies’ are fresh in our collective memories, one has to think hard about what might be regarded as standout ‘classic albums’ that will stand the test of time. Simply the act of interrogating recent history and coming up with nada is a concern. Yes there were some big selling albums from popular commercial artists but they don’t really stand up to scrutiny when compared with watershed releases of the past. Perhaps we haven’t yet had sufficient time to reflect but one would have thought that something important would stick out from the random melange.

It is hard to believe that it was the early 1990s when game changing albums like Nirvana’s ‘Never Mind’ and Pearl Jam’s ‘Ten’, both landed in 1991 and Rage Against The Machine’s eponymous debut struck home in 1992. Since that time? With hindsight, perhaps controversially, not a great deal. Readers will no doubt have their favourite albums from the noughties and teenies but there were no multi‑platinum multi‑million sellers outside the pop mainstream that came out of the blue. and certainly no ground‑breaking important epics such as ‘Tubular Bells’, ‘Dark Side Of The Moon’, ‘Rumours’ or ‘Thriller’, to mention just four more classic albums that went on to sell in colossal quantities and helped to define the zeitgeist. It isn’t just about numbers and money, it’s about the value of artistic creativity. Where were the musical milestones to have significant global social and cultural impact? To-date, this levelling (lowering?) of the playing field seems to have resulted from benign prosperity and social disengagement. It seems as though, whereas the youthful tortured angst of previous decades has been quelled, to be replaced with pseudo entitled vacuous celebrity‑induced cupidity and malaise. Discuss…

One sad observation of the 2010s is the number of legendary musical artists who passed on during the decade. Many had featured in previous articles for other reasons and had their last entries in this one. Their valuable legacy has helped to shape the musical landscape that we enjoy and their influential music will endure well into the future, even though they are no longer with us. At the time of writing, we can only speculate about who might have been born in the teenies that will become future legends. Watch this space.

Historical Context 2010-2019

After the economic meltdown that started in the latter part of the 2000s, the ‘teenies’ were characterised by enduring global economic recession, which adversely affected most countries. Depression exposed the ugly and inhumane economic inequality that was exacerbated by extreme avarice, arrogance and hubris further polarising the wealth gap between richest and poorest. A resurgence of east/west Cold War political tensions was intensified by the errant behaviour of maverick states such as communist North Korea and Islamic Iran, as well as a bitter trade war between America and China. Misplaced ideological posturing drove extremist terrorism, which disregarded national borders and reached unprecedented levels through devastating atrocities in many countries. Escalating regional conflict in the Middle East continued to affect international relations, trade and mobility. Unparalleled economic and humanitarian migration reached new levels and became a major refugee problem for developed‑world countries. Technologically, an insatiable appetite for Internet use led to an equally huge increase in the uptake of social media and online commerce. Driverless and electric vehicles became the focus of major tech corporations. Global concerns increased over action required to reduce CO₂ emissions and extreme weather events. The equalities of LGBTQ+ communities gained widespread international recognition and forced irreversible social and cultural change in many societies.

Year	Global Events
2010	Many anti‑government protests rose up across the Middle East, widely known as the Arab Spring. A massive magnitude 7.0 earthquake hit Haiti in the Caribbean Sea, killing somewhere between 100,000 and 316,000 people. The Deepwater Horizon oil drilling rig run by BP exploded, causing an environmental catastrophe in the Gulf of Mexico. It is, to date, the largest marine oil spill in the history of the oil industry with over 210 million gallons discharged into the Gulf. The world’s tallest building to‑date, the Burj Khalifa opened in Dubai, standing at 829.8m (2,722ft). Controversial non-profit political organisation Wikileaks, under the control of editor‑in‑chief Julian Assange, began releasing substantial amounts of American classified information from whistle‑blowers into the public domain, thereby compromising national and international security. The culturally popular American post-apocalyptic AMC television series, ‘The Walking Dead’, based on the zombie comic book series by Robert Kirkman, Tony Moore, and Charlie Adlard was first broadcast.
2011	The leader of the Islamic terrorist group al‑Qaeda, Osama Bin Laden was shot and killed by American Special Forces in Abbottabad, Pakistan. The Syrian Civil War started following Arab Spring protests against the Syrian government. Conflict escalated after protests calling for President Bashar al-Assad’s removal were brutally suppressed. The ensuing political and military vacuum led to territorial gains by the so‑called Islamic State in the Middle East and particularly in Syria. Japan was devastated by a massive 9.0 magnitude earthquake and tsunami that killed over 15,000 people. The Great East Japan Earthquake was the 4^th strongest on historical record. The tsunami caused a major nuclear accident at the Fukushima Daiichi Nuclear Power Plant. The estimated economic cost was in the region of $235bn USD. NASA’s aging Space Shuttle fleet was retired from service after 30 years, 5 operational vehicles, 135 missions and 2 fatal accidents costing 14 lives. The world’s human population exceeded 7 billion for the first time, highlighting serious concerns about the sustainability of uncontrolled population growth.
2012	The largest ever Atlantic storm, Category 3 Hurricane Sandy, devastated the north eastern United States, killing over 230 people and causing nearly $70bn of damage. The existence of the elusive so‑called ‘god particle’, the Higgs Boson sub‑atomic unit was finally confirmed by experiments conducted at the CERN Large Hadron Collider in Switzerland. Queen Elizabeth II celebrated the 60^th Anniversary of her accession to the British throne.
2013	Two Islamic terrorists from Chechnya detonated 2 bombs during the Boston Marathon in Massachusetts, USA, killing 3 and injuring 264. The largest outbreak of the Ebola virus in history reached epidemic proportions in Western Africa and lasted until 2016, resulting in a conservative estimate of more than 11,000 deaths.
2014	The so‑called Islamic State (ISIS) took military control of the city of Mosul in northern Iraq. The new World Trade Center, the Freedom Tower, was completed in New York, becoming the tallest building in the U.S. at 1,776 feet (541m), 13 years after the original World Trade Center twin towers were destroyed in the 9/11 terrorist attacks.
2016	The United Kingdom held a one‑off national referendum to determine whether to remain part of or to leave the European Union (EU). The UK had become a member of the European Economic Community (EEC) in 1973. The referendum result was a majority desire to leave the EU. The UK was the first country to leave the union since the EEC was formed in 1957. The process of leaving, often referred to as ‘Brexit’, was completed in 2020. HM Queen Elizabeth II became the longest reigning monarch in British history, surpassing Queen Victoria (1819‑1901), who had reigned for 63 years and 7 months.
2017	Businessman and Republican politician Donald Trump became the 45^th president of the U.S.A. The UK triggered Article 50 of the Lisbon Treaty, initiating the Brexit process that led to the UK leaving the EU after 47 years of membership. American president Donald Trump announced the U.S. government’s intention to withdraw unilaterally from the Paris Climate Agreement.
2018	The longest total lunar eclipse of the 21^st Century took place, lasting approximately 1 hour and 43 minutes. Canada legalised the sale and use of cannabis, only the 2^nd country to do so, Uruguay being the first.
2019	A catastrophic fire broke out in the roof of medieval Roman Catholic Notre Dame de Paris cathedral in France, destroying much of the building’s roof, spire and upper walls. The final stronghold of the so‑called Islamic State in Al-Baghuz Fawqani, Syria, was liberated. Violent protests and civil unrest occurred in Hong Kong, ignited by controversial Chinese legislation that allegedly undermined the region’s autonomy and civil liberties. Activists belonging to Extinction Rebellion, a global movement created to use direct non‑violent civil disobedience to force governments to react positively towards the threat of climate change, biodiversity loss and ecological collapse, caused widespread disruption in major cities worldwide.

Musical Genre Development 2010-2019

Sadly, during the 2010s there were no recent new genres or emergent significant sub‑genres, and little sign of any on the horizon. It is a struggle to identify any hugely influential genre developments during the ‘teenies’. Yes, there were ventures, projects, collaborations, experiments and side lines including, for instance dubstep and grime but, let’s be honest, these aren’t really new; they are simply variations on past themes that were re‑established for wider audiences. However, modern music has shown an incredible tenacity to rejuvenate and reinvent itself, especially when it appears to be entering the doldrums. One can only watch and wait to see what happens from here on in. Let’s start with some of the nuances during the 2010s.

Female pop mega‑artists such as Adele, Taylor Swift, Miley Cyrus, Lady Gaga and even Lana Del Rey have become very powerful, successful multi‑millionaires predominantly focusing their considerable resources on commercially lucrative target audiences. These industry pillars have become renowned as much for their business acumen as their musical prowess. New artist, Billie Eilish looks set to continue this trend into the 2020s. The token male artist in this bracket is probably Ed Sheeran.

The indie movement continued to grow from strength to strength into the 2010s broadening the diversity of indie and keeping it fresh by fusing with other styles such as folk, blues, rock, punk, roots, garage and Americana. Notable indie artists of the teenies include (in no particular order); Courtney Barnett, Arcade Fire, Vampire Weekend, The War On Drugs, Band Of Skulls, The National, Sharon Van Etten, St. Vincent, Fleet Foxes, Real Estate, Feist, Tame Impala, Parquet Courts, Kurt Vile, Girls, Courteeners, Daughter, Angel Olsen, Fleet Foxes, Haim, Father John Misty, Ariel Pink, Sheerwater, Foals, Two Door Cinema Club, Villagers, EMA, The Horrors, The Kills, The Low Anthem, Royal Blood, Rival Sons, The Vaccines, Alt‑J, The XX, Wolf Alice, The Dead Weather, The Twilight Sad, Cage The Elephant, London Grammar, Savages, Band Of Skulls, Warpaint, Slaves, Wolf Alice, Bat For Lashes, K.T. Tunstall, Cigarettes After Sex, Blood Red Shoes, Real Estate and Dry the River among a multitude of others.

While clearly a niche subgenre of the fading mainstream Electronic Dance Music (EDM) and related genres and closely related to ambient, downtempo, progressive electronic, darkwave, glitch and chillwave, Intelligent Dance Music (IDM) flourished, building on the shoulders of pioneers such as The Orb, Future Sound of London, Orbital and Aphex Twin. IDM and related artists pushed the boundaries of esoteric syncopated, and stripped down electronica to new, often indulgent extremes. Under the broadest definition, some IDM artists include; Four Tet, Boards of Canada, Caribou, Crystal Castles, Neon Indian, Jon Hopkins, Bonobo, Burial, Flying Lotus, Memory Tapes, Apparat, Toro y Moi, James Blake, Oneohtrix Point Never, Com Truise, Autechre, Mouse On Mars and Squarepusher.

In the late 20^th Century, modern jazz had newfound credibility in the fusion years of the 1970s, with artists like John McLaughlin, Stanley Clarke, Herbie Hancock, Al Di Meola, Utopia and Weather Report, followed by other virtuoso instrumentalists like Larry Coryell, Larry Carlton and Lee Ritenour during the 1980s. Move forward in time to the 21^st Century and jazz experienced a stunning rejuvenation, often referred to as nu‑jazz or jazztronica, eschewing old-style constraints and fusing jazz elements with electronic music ranging from the traditional to the experimental. While growing on the popularity in the 2000s of artists like St. Germain, Mr. Scruff, Joss Stone and Jamie Cullum, nu‑jazz really came into its own in the 2010s. Nu‑jazz artists embraced hip‑hop, electronica, dance, reggae, electro‑swing and many other forms to create something vital and engaging, including artists such as Snarky Puppy, The Cinematic Orchestra, Floating Points, GoGo Penguin, Thundercat, Unknown Mortal Orchestra, The Comet Is Coming, The Correspondents and Mammal Hands.

Musical Facts 2010-2019

Day	Month	Year	Music Fact
11	January	2010	American indie rock band Vampire Weekend released their 2^nd studio album, ‘Contra’.
8	February	2010	English trip-hop group, Massive Attack released their 5^th studio album, ‘Heligoland’ in the UK.
17	February	2010	Northern Irish indie rock band Two Door Cinema Club released their debut studio album, ‘Tourist History’.
10	March	2010	Welsh guitarist and member of progressive rock band Man, Micky Jones died of cancer in Swansea at the age of 63.
15	March	2010	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2010’, including ABBA, Genesis, The Hollies, Jimmy Cliff, The Stooges and David Geffen.
28	March	2010	Highly influential American jazz guitarist Herb Ellis died of Alzheimer’s disease in Los Angeles, California at the age of 88.
13	April	2010	Experimental virtuoso English rock guitarist, Jeff Beck released his 10^th solo album, ‘Emotion And Commotion’ in the UK.
18	May	2010	American blues/rock duo The Black Keys released their classic 5^th studio album, ‘Brothers’.
25	June	2010	Canadian rock band, Rush, received a star on the Hollywood Walk Of Fame at 6752 Hollywood Boulevard.
9	July	2010	English indie rock group Bombay Bicycle Club released their understated acoustic 2^nd studio album, ‘Flaws’.
25	October	2010	American singer and songwriter Taylor Swift released her commercially successful 3^rd studio album, ‘Speak Now’.
16	November	2010	After many years of negotiation, The Beatles’ back catalogue was finally made available on Apple’s iTunes music platform.
17	December	2010	American rock singer, songwriter and musician, Captain Beefheart (real name Don Van Vliet) died from complications resulting from multiple sclerosis in a hospital in Arcata, California at the age of 69.
22	December	2010	The famous zebra crossing at Abbey Road, London, just outside Abbey Road Studios and featured on The Beatles’ classic titular 1969 album cover, was Grade II Listed by English Heritage.
24	January	2011	English pop singer, Adele released her massive commercial 2^nd studio album, ‘21’.
30	January	2011	Legendary English composer of classic film and television scores, John Barry died of a heart attack in New York at the age of 77.
6	February	2011	Irish blues/rock guitarist and singer, Gary Moore died from a heart attack in Malaga, Spain at the age of 58.
14	February	2011	English alternative/indie rock singer, songwriter and multi-instrumentalist, P.J. Harvey released her award‑winning 8^th studio album, ‘Let England Shake’.
14	March	2011	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2011’, including Alice Cooper, Neil Diamond, Dr. John, Tom Waits and Leon Russell.
2	June	2011	Canadian country singer Shania Twain received a star on the Hollywood Walk of Fame at 6270 Hollywood Boulevard.
6	June	2011	English indie rock band, Arctic Monkeys released their 4^th studio album, ‘Suck It and See’.
23	July	2011	English singer and songwriter, Amy Winehouse died from an alcohol overdose in Camden, London at the age of 27.
7	August	2011	American bass player and key member of Johnny Cash’s backing band, the Tennessee Two, Marshall Grant died in Jonesboro, Arkansas at the age of 83.
16	August	2011	American indie rock band The War On Drugs released their breakout 2^nd studio album, ‘Slave Ambient’.
7	September	2011	On what would have been his 75^th birthday, American rock ‘n’ roll singer Buddy Holly received a posthumous star on the Hollywood Walk of Fame at 1750 North Vine Street.
5	October	2011	Accomplished Scottish acoustic folk guitarist Bert Jansch died after a long battle with lung cancer in London at the age of 67.
4	December	2011	American blues guitarist, singer and member of Howlin’ Wolf’s band, Hubert Sumlin died from heart failure in Wayne, New Jersey at the age of 80.
16	December	2011	American blues/rock duo The Black Keys released their classic 7^th studio album, ‘El Camino’.
20	January	2012	Legendary American multi-genre singer, Etta James died of leukaemia in hospital in Riverside, California at the age of 73.
31	January	2012	American singer and songwriter, Lana Del Rey released her breakout 2^nd studio album, ‘Born To Die’.
9	February	2012	English bass guitarist and former member of The Beatles, Paul McCartney received a solo star on the Hollywood Walk of Fame at 1750 North Vine Street.
6	February	2012	Scottish indie rock band The Twilight Sad released their underrated 3^rd studio album, ‘No One Can Ever Know’.
11	February	2012	American soul/pop singer, producer and actress, Whitney Houston died from drug misuse and accidental drowning at the Hilton hotel in Beverley Hills, California at the age of 48.
29	February	2012	English singer and member of media pop band The Monkees, Davy Jones died from a heart attack in Florida at the age of 66.
5	April	2012	English innovator, entrepreneur, businessman and founder of iconic Marshall amplifiers, ‘The Father of Loud’, Jim Marshall OBE, died from cancer in Milton Keynes, Buckinghamshire at the age of 88.
14	April	2012	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2012’, including The Beastie Boys, Donovan, Guns N’ Roses, The Red Hot Chili Peppers, The Small Faces/The Faces, Freddie King and Tom Dowd.
16	April	2012	English indie rock band Spiritualized released their 7^th studio album, ‘Sweet Heart Sweet Light’.
10	July	2012	English-American guitarist Slash (a.k.a. Saul Hudson) received a solo star on the Hollywood Walk of Fame at 6901 Hollywood Boulevard.
31	August	2012	Northern Irish indie rock band Two Door Cinema Club released their 2^nd studio album, ‘Beacon’.
2	October	2012	Highly acclaimed English session guitarist ‘Big Jim’ Sullivan died of complications from heart disease and diabetes in Billingshurst, West Sussex at the age of 71.
10	January	2013	Swiss founder and manager of the famous Montreux Jazz Festival since 1967, Claude Nobs, died in Lausanne at the age of 76.
18	February	2013	Alternative rock band, Nick Cave & The Bad Seeds released their outstanding reflective 15^th studio album, ‘Push the Sky Away’.
6	March	2013	English blues/rock guitarist and singer, Alvin Lee died of complications following surgery in Estepona, Spain at the age of 68.
18	April	2013	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2013’, including Heart, Albert King, Randy Newman, Public Enemy, Rush and Donna Summer.
20	May	2013	American keyboard player with, and co-founder of, The Doors, Ray Manzarek died from bile duct cancer in Rosenheim, Germany at the age of 74.
3	June	2013	American rock band Queens Of The Stone Age released their 6^th studio album ‘…Like Clockwork’.
26	July	2013	Reclusive and influential American blues/rock guitarist, singer and songwriter, J.J. Cale died from a heart attack in La Jolla, California at the age of 74.
9	September	2013	English indie rock band, Arctic Monkeys released their 5^th studio album, ‘AM’.
27	October	2013	Legendary American singer, songwriter, guitarist, member of the Velvet Underground and successful solo artist, Lou Reed died of liver disease at his home in New York at the age of 71.
4	November	2013	American singer and cultural icon, Janis Joplin received a posthumous star on the Hollywood Walk of Fame at 6752 Hollywood Boulevard.
3	January	2014	American singer and guitarist, Phil Everly, half of the vocal harmony duo The Everly Brothers, died of lung disease in Burbank, California at the age of 74.
25	February	2014	Spanish virtuoso flamenco guitarist and composer, Paco de Lucía died from a heart attack while on holiday in Playa del Carmen, Mexico at the age of 66.
18	March	2014	American indie rock band The War On Drugs released their 3^rd studio album, ‘Lost In The Dream’.
10	April	2014	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2014’, including KISS, Nirvana, Cat Stevens, Peter Gabriel, Linda Rondstadt and Hall & Oates.
17	June	2014	American singer and songwriter, Lana Del Rey released her 3^rd studio album, ‘Ultraviolence’.
16	July	2014	Renowned American blues/rock guitarist, Johnny Winter died from emphysema and pneumonia near Zurich, Switzerland, at the age of 70.
25	October	2014	Scottish bass guitarist with blues/rock super group Cream, Jack Bruce died of liver disease in Suffolk, England at the age of 71.
27	October	2014	American singer and songwriter Taylor Swift released her commercially successful 5^th studio album, ‘1989’.
13	March	2015	Australian guitarist, singer, songwriter, poet and co‑founder of psychedelic rock bands Soft Machine and Gong, Daevid Allen died from cancer in Australia at the age of 77.
30	March	2015	English dance/rock band The Prodigy released their 6^th studio album, ‘The Day Is My Enemy’.
14	May	2015	Legendary blues guitarist, singer, songwriter and producer, B.B. King died from a stroke caused by type 2 diabetes in Las Vegas, Nevada at the age of 89.
21	May	2015	American bass guitarist Louis Johnson of funk band Brothers Johnson died from internal bleeding in Las Vegas, Nevada at the age of 60.
30	May	2015	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2015’, including Green Day, Joan Jett & The Blackhearts, Lou Reed, Ringo Starr, Stevie Ray Vaughan & Double Trouble and Bill Withers.
27	June	2015	English bass guitarist with progressive band Yes, Chris Squire died from leukaemia in Phoenix, Arizona at the age of 67.
11	September	2015	English indie rock band The Libertines released their highly anticipated 3^rd studio album, ‘Anthems for Doomed Youth’.
10	November	2015	American musician, songwriter, arranger and record producer Allen Toussaint died of a heart attack while on tour in Madrid, Spain at the age of 77.
13	November	2015	Islamic terrorists attacked a concert where American rock band Eagles of Death Metal were performing at the Bataclan Theatre in Paris, France. A total of 89 innocent people lost their lives.
4	December	2015	A commemorative statue of The Beatles was unveiled in their home city of Liverpool, 50 years after their last gig there.
28	December	2015	English singer, songwriter, bass guitarist, founder and front man of rock band Motörhead, Ian ‘Lemmy’ Kilmister, died of cancer in Los Angeles, California at the age of 70.
8	January	2016	Iconic English singer, David Bowie released his final studio album, ‘Blackstar’, on his 69^th birthday, just 2 days before his untimely death.
10	January	2016	Chameleonic English singer, rock legend, actor and cultural icon, David Bowie died from liver cancer at his apartment in New York City at the age of 69.
18	January	2016	Highly regarded American singer, songwriter and guitarist with country rock band Eagles, Glenn Frey died from complications of rheumatoid arthritis in New York City at age of 67.
4	February	2016	Northern Irish singer Sir Van Morrison OBE was knighted by Prince Charles at Buckingham Palace, London, UK for services to the music industry and tourism.
13	February	2016	Four members of English indie band Viola Beach and their manager were tragically killed in a car accident in Södertälje, Sweden.
8	March	2016	Legendary English record producer, Sir George Martin CBE, known by many as the ‘Fifth Beatle’, died at his home in Wiltshire at the age of 90.
11	March	2016	English keyboard player with progressive rock group Nice and a founding member of super group Emerson, Lake & Palmer (ELP), Keith Emerson died from a self-inflicted gunshot wound in Santa Monica California at the age of 71.
6	April	2016	American country singer and guitarist Merle Haggard died on his birthday as a result of complications from pneumonia at his home in Palo Cedro, California at the age of 79.
8	April	2016	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2016’, including Cheap Trick, Chicago, Deep Purple, Steve Miller and NWA.
21	April	2016	American singer, guitarist, producer and actor, Prince died from an accidental drug overdose of the pain killer fentanyl at his home in Chanhassen, Minnesota at the age of 57.
21	April	2016	Influential American blues/rock guitarist Lonnie Mack died of natural causes in hospital near his home in Smithville Tennessee at the age of 74.
10	June	2016	British pop/rock singer and songwriter Sir Rod Stewart CBE was knighted in the Queen’s Birthday Honours list for services to music and charity.
28	June	2016	American singer Elvis Presley’s main guitarist in the early rock ‘n’ roll years, Scotty Moore died in Nashville, Tennessee at the age of 84.
15	July	2016	English virtuoso rock guitarist Jeff Beck released his fascinating change-of-direction 11^th studio album, ‘Loud Hailer’.
9	September	2016	Alternative rock band, Nick Cave & The Bad Seeds released their desperately melancholic 16^th studio album, ‘Skeleton Tree’.
13	October	2016	Legendary American singer, songwriter and guitarist Bob Dylan was awarded the prestigious Nobel Prize for Literature in Stockholm, Sweden. He skipped the official awards ceremony and delivered his acceptance lecture in April 2017.
21	October	2016	Canadian singer, songwriter and guitarist, Leonard Cohen released his elegiac final studio album, ‘You Want It Darker’.
7	November	2016	Canadian singer, songwriter, poet and guitarist, Leonard Cohen died after a fall at his home in Los Angeles, California at the age of 82.
13	November	2016	Legendary American musician and songwriter, Leon Russell died in his sleep at his home in Mount Juliet, Tennessee at the age of 74.
2	December	2016	English rock band Rolling Stones released their great back-to-basics blues/rock studio album, ‘Blue & Lonesome’ in the UK.
7	December	2016	English bass guitarist, singer, songwriter and founding member of progressive rock bands King Crimson and ELP, as well as a solo artist, Greg Lake died from cancer in London at the age of 69.
24	December	2016	English guitarist with pop/rock band Status Quo, Rick Parfitt died from sepsis caused by a shoulder infection in hospital in Marbella, Spain at the age of 68.
25	December	2016	English singer, songwriter and member of pop band Wham!, George Michael died of heart failure at his home in Goring-on-Thames, Oxfordshire at the age of 53.
31	January	2017	Welsh guitarist and regular on-off member of the progressive jam rock bands Man and Iceberg, as well as a solo artist, Deke Leonard died at the age of 72.
4	February	2017	English heavy metal pioneers, Black Sabbath performed their final live concert of their ‘The End’ tour at the NEC Arena in their home city of Birmingham, UK.
19	February	2017	Influential American virtuoso jazz fusion guitarist, Larry Coryell died of heart failure in New York City at the age of 73.
16	March	2017	English singer and member of pop/rock band The Kinks, Sir Ray Davies CBE received a knighthood from Prince Charles at Buckingham Palace, London, UK for his service to the arts.
18	March	2017	Legendary American rock ‘n’ roll singer, songwriter and guitarist Chuck Berry died of a reported cardiac arrest at his home in Wentzville, Missouri at the age of 90.
7	April	2017	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2017’, including ELO, Joan Baez, Journey, Pearl Jam, Tupac Shakur and Yes.
15	April	2017	Influential virtuoso English jazz/rock fusion guitarist Allan Holdsworth died from heart disease at his home in Vista, California at the age of 70.
18	May	2017	American singer, songwriter and front man of hard rock bands Soundgarden and Audioslave, Chris Cornell committed suicide in his hotel room in Detroit, Michigan at the age of 52.
27	May	2017	American musician and co-founder of The Allman Brothers Band, Gregg Allman died from a heart attack in Richmond Hall, Georgia at the age of 69.
8	August	2017	American country singer and guitarist, Glen Campbell died of Alzheimer’s disease in Nashville, Tennessee at the age of 81.
25	August	2017	American indie rock band The War On Drugs released their 4^th studio album, ‘A Deeper Understanding’.
3	September	2017	American guitarist and bass guitarist, songwriter and co‑founder of rock band Steely Dan, Walter Becker died from oesophageal cancer at his home in Manhattan, New York at the age of 67.
2	October	2017	American singer, songwriter and guitarist Tom Petty died of an accidental overdose of prescription painkillers at his home in Santa Monica, California at the age of 66.
18	November	2017	Scottish-born guitarist and co-founder of Australian rock band AC/DC, Malcom Young died following a long battle with dementia in Elizabeth Bay, New South Wales at the age of 64.
10	January	2018	English guitarist and one-time member of the rock band Motörhead, ‘Fast’ Eddie Clarke died from pneumonia in hospital in London at the age of 67.
9	March	2018	After 66 years, the UK weekly music magazine The New Musical Express (a.k.a. NME) published its final printed copy, signalling the end of an era in British music press.
9	March	2018	British indie rock band Editors released their 6^th studio album, ‘Violence’.
20	March	2018	English drummer and former member of The Beatles, Sir Richard Starkey (a.k.a. Ringo Starr) MBE was knighted by HRH Prince William at Buckingham Palace, London, UK.
14	April	2018	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2018’, including Bon Jovi, The Cars, Dire Straits, Moody Blues, Nina Simone and Sister Rosetta Tharpe.
8	June	2018	English guitarist, singer, songwriter and member of Anglo-American rock group Fleetwood Mac from 1968 to 1972, Danny Kirwan died from pneumonia in London at the age of 68.
2	July	2018	Scottish bass guitarist and founding member of 1970s pop group The Bay City Rollers, Alan Longmuir died in Larbert, Scotland, following an illness while on holiday in Mexico at the age of 70.
16	August	2018	Legendary American singer, songwriter and the ‘Queen of Soul’, Aretha Franklin died of pancreatic cancer at her home in Detroit, Michigan at the age of 76.
22	August	2018	American guitarist and bass guitarist with southern rock band Lynyrd Skynyrd, Ed King died following a battle with cancer at his home in Nashville, Tennessee at the age of 68.
22	September	2018	English guitarist and singer, best known as half of London duo Chas & Dave and as a session musician, Chas Hodges died from organ failure following treatment for cancer at the age of 74.
29	September	2018	Great American blues guitarist, singer and songwriter, Otis Rush died from complications resulting from a stroke in Chicago, Illinois at the age of 83.
16	March	2019	Influential American guitarist, ‘the king of surf guitar’, Dick Dale died of heart failure in hospital in Loma Linda, California at the age of 81.
17	March	2019	Irish guitarist and member of heavy rock bands Gillan and Ozzy Osbourne, Bernie Tormé died of pneumonia in London, England at the age of 66.
29	March	2019	The American Rock & Roll Hall Of Fame inducted its ‘Class of 2019’, including The Cure, Def Leppard, Janet Jackson, Stevie Nicks, Radiohead, Roxy Music and The Zombies.
29	March	2019	Emerging American indie/pop singer and songwriter Billie Eilish released her phenomenally successful debut album, ‘When We All Fall Asleep, Where Do We Go?’.
30	April	2019	English guitarist and co-founder of jazz/funk band Level 42, Boon Gould died at his home in Dorset at the age of 64.
13	May	2019	American singer and Hollywood actress Doris Day died of pneumonia in Carmel Valley Village, California at the age of 97.
30	May	2019	Cypriot/Canadian jazz/blues singer, songwriter, guitarist and actor Leon Redbone died following complications from dementia in hospice care in Bucks County, Pennsylvania, USA at the age of 69.
31	May	2019	Pioneering American guitarist, singer and songwriter with psychedelic rock band 13^th Floor Elevators Roky Erickson died in Austin Texas at the age of 71.
6	June	2019	Great American singer, songwriter, pianist and occasional guitarist Dr John died of a heart attack in New Orleans, Louisiana at the age of 77.
20	June	2019	English guitarist and former member of Pink Floyd, David Gilmour auctioned 120 of his guitars in New York, raising nearly £17m to help fight climate change. His famous Black Strat sold for £3.1m.
30	August	2019	American singer and songwriter, Lana Del Rey released her standout 6^th studio album, ‘Norman Fucking Rockwell!’ (a.k.a. ‘NFR!’).
6	October	2019	Legendary English drummer and co-founder of the rock bands Cream, Blind Faith and Baker Gurvitz Army, as well as solo artist, Ginger Baker died in hospital after a long illness in Canterbury, Kent at the age of 80.

Tailpiece

So, finally, that’s the major part of the extensive adventure now covered. Along the way, way more than 100 additional facts have been squeezed into the timeline, so somewhere around 1,700 music‑related facts. That doesn’t include the hundreds of ‘Historical Context’ facts that I think brought some of the more obscure musical events to life.

Undoubtedly, over time, more ideas and data will expand the long list of factoids further. Fortunately, these supplemental incidences won’t be lost, as they will appear on CRAVE Guitars’ quotidian ‘Musical Facts Of The Day’, which are posted daily on Twitter and Facebook.

The next article… or two… or three… will be wrapping up the voluminous subject matter in a way that I hope provides adequate closure to the lengthy journey. As there are no more decades to cover, the next episode will take a different look at what has already been covered. Intrigued by what the next slice of exposition might comprise? I hope so. Come back and find out.

In the meantime, I will be continuing my personal quest to bring you ‘Cool & Rare American Vintage Electric’ Guitar heritage for your entertainment (?!?!). This chore inevitably means the routine business of accumulating and appreciating some hopefully interesting old guitar gear. Hey, it’s a tough job but someone’s got to do it and, quite frankly, I ain’t complainin’. Much. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “The purpose of art is to stimulate an emotional reaction, regardless of what that reaction is.”

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29 Nov 2019

November 2019 – The Story of Modern Music in 1,500+ Facts – Part IX

by Tony Drew | posted in: History, Introduction, Observations | 0

Introduction

Welcome to the end of the 20^th Century. Not actually, of course, that was 20 years ago now. I mean, in the ‘Story of Modern Music’, having covered almost 350 years so far, welcomes you to the very end of the century that really transformed mankind’s potential and bestowed opportunities hitherto unforeseen and unthought‑of, including musically.

If you would like to (re)visit any of the first eight chapters of the story to‑date, you can do so here (each link opens a new browser tab):

I did think of trying to compress the last three decades into a single article and then thought better of it on the grounds that doing so might diminish the impact of the period within the overall picture. So, just for now, the millennial years will have to wait. The result is that the 1990s will have its own dedicated article, although it will be a slightly more diminutive read compared to the previous five decades/articles.

The Story of Modern Music Part IX 1990-1999

It is quite tricky to pinpoint exactly what the ‘90s meant to music devotees. It seemed to depend where you lived, your age and, perhaps, what socio‑economic ‘class’ you belonged to. Whether it was grunge, alternative, Britpop or dance music that floated your boat, there was a new and exciting scene to associate with and belong to. The psychological attachment to a musical style was important to many, especially young people who were looking for some structure to life while the old order of social and political systems seemed to be disintegrating around them. Although not quite as disobedient and defiant as previous musical archetypes, there was still an underlying seething resentment of ‘the man’, which various groups saw as attempting to control their chosen form of exuberant self‑expression. In a sense, they were tapping into the anger of the marginalised.

With previous decades, it was notable that births of familiar artists outnumbered deaths, while the ‘90s saw that trend beginning to reverse. Many future artists that may well achieve sustained fame may have been born in the ‘90s but not yet discovered, while the stars of previous eras are getting, let’s be honest, a bit long in the tooth.

Similarly, it is becoming difficult to distinguish what definitive musical gems will rise from the seeming homogeneity of releases to become revered as ‘classic’ in years to come. Arguably, the 1990s marked the last vestiges of milestone singles and albums. From then on, listening habits began to change fundamentally and that, in turn, changed the way we regard significance, at least through the traditional lens of sales figures.

Historical Context 1990-1999

Some commentators called the 1990s as the ‘best decade’, although that clearly depended on your circumstances and point of view! The dawn of the 1990s experienced widespread international political restructuring, especially in Eastern Europe following the end of the Cold War and the fracturing of the communist Eastern Bloc. The 1990s also saw the growth in environmental consciousness based on dire scientific predictions about global warming and climate change. Ironically, scaremongering about ‘greenhouse gases’ led to an expansion of ‘green’ industries in developed countries. Similarly, many commentators observed signs of societal dysfunctionality, leading to prescient dystopian novels such as ‘Generation X’ by Douglas Coupland (1991), ‘Random Acts Of Senseless Violence’ by Jack Womack (1992), and ‘Prozac Nation’ by Elizabeth Wurtzel (1994). The wealth gap between the haves and have‑nots was striking; a morally unjustifiable trend that would only worsen from the 1990s onwards. The increase in the pace of technological change in post‑industrial countries fuelled the migration towards ‘digitocracies’ and resulted in manufacturing being outsourced to low‑cost developing countries on a massive scale. A period of unprecedented growth in the use of the Internet fuelled unsustainable speculation in the value of high‑tech companies, known broadly as the ‘dot‑com bubble’, a phenomenon that was bound to burst, which it ultimately did. Many companies that had become reliant on IT during the decade were fearful of the impact of Y2K on computer systems that were not prepared for the turn of the millennium.

Year	Global Events
1990	Following the fall of the Berlin Wall and the collapse of soviet communism, East and West Germany were reunited as the Federal Republic of Germany. Political internee and equal rights campaigner, Nelson Mandela was released from prison after serving 27 years. His return to freedom effectively marked the end of apartheid in South Africa. The ground breaking American cult TV series Twin Peaks burst onto screens. Created by David Lynch and Mark Frost, and starring Kyle MacLachlan. It is considered a landmark in television drama. NASA’s Hubble Space Telescope, named after American astronomer Edwin Hubble, was launched into low Earth orbit. The telescope was designed to look into deep space. The first Middle East Gulf War started after Iraq invaded and annexed neighbouring Kuwait. A U.S.‑led coalition of 35 countries responded with Operation Desert Storm resulting in a coalition victory.
1991	Communist rule of the soviet USSR ended, resulting in a break up into a number of separate countries. The dismantling of the communist state effectively ended the 45‑year old Cold War between Russia and America. British computer scientist and engineer, Tim Berners-Lee posted a short summary of the World Wide Web project, effectively launching the Internet, initially to research institutions and then to the general public.
1992	The infamous Los Angeles riots took place after 4 LAPD officers were acquitted of using excessive force in the arrest of African-American Rodney King the previous year. The incident had been videotaped and broadcast widely on TV, sparking renewed civil rights activism. Founded in 1918, Central European country Yugoslavia descended into bitter civil war in Bosnia and Herzegovina, a devastating military conflict that lasted until 1995.
1993	Democrat politician Bill Clinton became the 42^nd president of the U.S.A. Another massive American cult TV series, The X-Files was first broadcast, created by Chris Carter and starring David Duchovny and Gillian Anderson. The European Union (EU) succeeded the European Economic Community (EEC) when 12 countries signed the Maastricht Treaty, signalling a process of closer political and economic union.
1994	The trilateral North American Free Trade Agreement (NAFTA) between the U.S.A., Canada and Mexico came into effect. Anti-apartheid revolutionary and politician Nelson Mandela was elected as president of South Africa. He was the country’s first black head of state and the first to be elected in a fully representative democratic election. The Provisional Irish Republican Army (IRA) declared a cease fire in Northern Ireland, paving the way for de‑armament and the subsequent peace process. The 38Km (23.5mile) Channel Tunnel rail link beneath the English Channel from Folkestone in England to Calais in France was opened for business.
1995	The phenomenally successful multi‑national online auction and e‑commerce website eBay was launched, founded by entrepreneur Pierre Omidyar and based in San Jose, California. Former professional American footballer O.J. Simpson was found not guilty of the double murder of former wife Nicole Simpson and her friend, Ronald Goldman. The criminal trial, held in Los Angeles, was widely broadcast on TV.
1996	Dolly the sheep became the first mammal to be cloned from an adult cell by using nuclear transfer in Scotland, UK. Dolly died in 2003 at the age of 6. Heir to the British throne, Prince Charles was formally divorced from Diana, Princess of Wales in London.
1997	The British crown colony of Hong Kong was returned to Chinese sovereignty as a Special Administrative Region of the People’s Republic of China after 156 years of British rule. Diana, Princess of Wales, was killed in a car crash in the Pont de l’Alma tunnel in Paris, France at the age of 36. Her lover, Egyptian socialite Dodi Fayed, was also killed in the crash, sparking many conspiracy theories. Albanian-Indian Roman Catholic nun and humanitarian missionary Mother Teresa died of a heart attack in Rome at the age of 87. The Pacific Rim countries were hit by the major Asian Financial Crisis, starting in Thailand and spreading rapidly across east and southeast Asia, resulting in an international financial contagion that threatened a severe worldwide economic meltdown.
1998	The male virility drug Sildenafil, commonly known as Viagra, became available for use in America. It was originally discovered by pharmaceutical company Pfizer as a treatment for heart‑related chest pain. The Internet search engine Google Search was launched. It is the most widely used search engine on the World Wide Web, with over 90% market share in 2019, handling more than 5 billion searches per day. Multinational technology giant, Apple Inc. launched the highly successful iMac computer. The multilateral Good Friday Agreement was signed in Belfast by the Republic of Ireland and Britain as part of the on-going Northern Ireland peace process. The first module of the International Space Station (ISS) was launched into low Earth orbit. The ISS has served as a multinational microgravity research laboratory.
1999	The Euro became the official single currency for the majority of European Union (EU) countries, known commonly as the Eurozone. The security of the Euro is overseen by the European Central Bank in Frankfurt, Germany. Politician, Vladimir Putin became President of Russian Federation, succeeding former president, Boris Yeltsin.

Musical Genre Development 1990-1999

The 1990s was a decade of sometimes dysfunctional music set against a background of major political change and social polarisation/alienation.

One phenomenon of the 1990s that isn’t genre‑specific but which built on the perennial success of pop music was the ‘boy band’ and its all‑girl equivalent. Artists included Backstreet Boys, Boyz II Men, *NSYNC, Take That, Westlife, All Saints, S Club 7, Spice Girls and Destiny’s Child. The record company ‘manufactured’ bands didn’t have it all their own way; solo pop music artists were also highly successful during the 1990s, including Britney Spears, Christina Aguilera, Justin Timberlake, Jessica Simpson, and Mandy Moore.

American heavy metal saw a resurgence including bands like Metallica, Megadeth, Slayer and Pantera achieving massive popularity. Meanwhile, British heavy metal was also prospering with NWOBHM bands such as Def Leppard, Judas Priest and Iron Maiden.

Hip‑hop became increasingly divisive, inciting gang warfare, gun violence and drug use, fuelling rivalry between east and west coast artists, and resulting in a number of high profile deaths including Tupac Shakur and the Notorious B.I.G.

The English ‘Manchester movement’ (or ‘Madchester’ as it was often called) was strong in the late 1980s and early ‘90s. The scene centred on venues like the Haçienda nightclub in Manchester, run by post‑punk band New Order and led by local bands such as Stone Roses, Happy Mondays and The Charlatans, although the latter were actually based in the west midlands. The music isn’t necessarily a genre per se, it was more of a loose social and cultural grouping that also encompassed fashion, art and media. The OTT craziness of the Manchester scene was faithfully represented in the film ’24 Hour Party People’, made in 2002, directed by Michael Winterbottom. Other artists associated with the vital hotpot based around the UK’s North West were The Verve, Inspiral Carpets and James, as well as Scottish band Primal Scream. The Manchester ‘baggy’ zeitgeist would be important in the growth of the drug‑fuelled rave scene later in the decade.

A fusing of genres led to the emergence of trip hop as a discrete genre that grew from its roots in Bristol, UK and was pioneered by artists like Massive Attack, Tricky, Portishead, Morcheeba and Sneaker Pimps. Sometimes referred to as ‘downtempo’, it is typified by taking electronica, hip‑hop, house, funk, dub, soul and psychedelia and creating something altogether different and fresh. While its roots were clearly experimental and atmospheric, trip hop was influential in that it led to other popular mainstream forms that became subsumed in the electronic dance craze (see below) of the 1990s and early 2000s, including breakbeat, bigbeat, drum ‘n’ bass, IDM, dubstep and acid jazz. Like the Manchester movement, trip hop was very much a UK‑led genre, which had little mainstream success in the U.S.

Like punk before it, alternative rock and its counterpart, experimental noise rock, is a musical genre that railed against the major record corporations that ran the music business and the mainstream pop and rock products they marketed. Independent producers and record labels that existed outside the studio system were very much part of an active underground movement, particularly in America, and this is where a number of bands came to public attention at the start of the 1990s. Compared to the mainstream, alternative artists found it relatively difficult to garner wide audience appeal, so word of mouth, radio and record releases were the way that the message got out. The alternative moniker is more of an umbrella term relating to artists’ status in the system, rather than having definitive identifiable genre characteristics. Notable alternative artists include Sonic Youth, Dinosaur Jr., Nine Inch Nails, Beck, Jane’s Addiction, Smashing Pumpkins and Pixies. Before they signed to a major label, R.E.M. were seen as alternative and this started a broadening of the definition that included other major artists such as Rage Against the Machine, Red Hot Chili Peppers, Foo Fighters, Queens Of The Stone Age, Radiohead and Nick Cave & The Bad Seeds. The start of the new millennium saw other alternative rock artists emerge including The Strokes, Interpol and The Rapture, extending and ensuring alternative rock’s destiny into the 21^st Century.

Grunge is a specific genre of music that developed in the Pacific North West of the United States and more specifically its epicentre in and around Seattle in Washington State. Like alternative/noise rock, grunge was an underground movement centred on an independent record label, in this case, Sub Pop records based in Seattle. Grunge is influenced by punk, metal and alternative styles resulting in something altogether different from all of them. Grunge is characterised by slow, raw arrangements and a distinctly distorted lo‑fi sound. Compositions often followed a quiet‑loud‑quiet structure. Lyrics tended to be downbeat, melancholic, anti‑consumerist and often depraved with a focus on cultural alienation and social isolation. While all of the following rejected the term ‘grunge’ as defining their music, especially after signing to major labels, the early pioneers of Seattle’s grunge scene included Nirvana, Soundgarden, Pearl Jam, Mudhoney and Alice In Chains. The core grunge scene had largely fizzled out and diversified by the end of the 20^th Century. A revival of the grunge ethic evolved in the 2010s to include artists like Courtney Barnett, Wolf Alice and Yuck.

Britpop was essentially an upbeat and positive British reaction to the dark and depressing American grunge scene. The music and its cultural background (nicknamed ‘Cool Britannia’) lasted approximately from 1993‑1997 before fizzling out. The major bands of the Britpop period included the ‘big four’; Oasis, Blur, Pulp and Suede. Collectively they expanded popularity to include other artists such as Supergrass, Cast, The Lightning Seeds, Sleeper and Elastica. The so‑called ‘Battle of Britpop’ between Oasis and Blur around 1995 was a media‑fuelled highlight catching the public’s imagination at the time. Britpop was important for influencing many quintessentially British bands that came along for the ride including Coldplay, Travis, Feeder, Stereophonics, Elbow, Snow Patrol and Keane. Further influences included Kaiser Chiefs and Arctic Monkeys in the 2000s.

Dance music (in this context, Electronic Dance Music – EDM) was a phenomenon that had its roots in the late 1980s but exploded in the early 1990s and lasted well into the 2000s. Dance music comprises largely electronically produced progressive dance music intended for use at nightclubs, festivals and (often illegal) raves by DJs who mixed and re‑mixed heavy beats through loud PA systems to audience rapture. In fact, many record labels and DJs became far more celebrated than the musical artists they played in their DJ sets. The predominant sub‑genres of dance music include house, techno, trance, drum ‘n’ bass and dubstep, although these only represent the tip of the dance sub‑genre iceberg. Dance beats generally comprise programmed synthesizers, samplers and drum machines to produce buoyant, insistent 4/4 dance rhythms. Dance music also became synonymous with recreational drug use such as ecstasy (MDMA) as well as party holiday destinations such as Ibiza and Mykonos islands in the Mediterranean Sea. Some of the famous artists of the dance scene include The Chemical Brothers, The Prodigy, Underworld, Orbital, KLF, The Shamen, The Future Sound of London, 808 State, Groove Armada, Aphex Twin, Basement Jaxx and Daft Punk. Later artists built on the foundation, include Pendulum, SBTRKT and Skream. DJs became pivotal in promoting the dance craze and became famous in their own right, including Carl Cox, Fatboy Slim, Pete Tong, Paul Van Dyk and Armin van Buuren. There are many sub‑genres of dance including acid house, IDM (Intelligent Dance Music), ambient, breakbeat, downtempo, jungle and UK garage, all ensuring that dance music remains up‑to‑date and relevant in the 21^st Century.

Musical Facts 1990-1999

Day	Month	Year	Music Fact
23	January	1990	American guitarist and co-founder of southern rock band Lynyrd Skynyrd, Allen Collins died from pneumonia in Jacksonville, Florida at the age of 37.
8	February	1990	American country and rock & roll singer and songwriter, Del Shannon committed suicide as a result of depression at his home in California at the age of 55.
18	February	1990	English singer Freddie Mercury made his final public appearance with other members of pop/rock band Queen at the Brit Awards ceremony, held in London.
20	March	1990	English electronic/alternative rock band Depeche Mode released their career-defining classic 7^th studio album, ‘Violator’ in the UK.
26	March	1990	Northern Irish blues/rock guitarist, Gary Moore released his classic studio album, ‘Still Got The Blues’.
3	April	1990	Highly acclaimed Grammy award winning American jazz singer Sarah Vaughan died from cancer at her home in Hidden Hills, California at the age of 66.
10	April	1990	American East Coast rappers Public Enemy released their politically charged 3rd studio album, ‘Fear of a Black Planet’.
16	April	1990	Indie rock giants, Nick Cave & The Bad Seeds released their 6^th studio album, ‘The Good Son’.
26	June	1990	Prolific American alternative rock band Sonic Youth released their successful and significant 6^th studio album, ‘Goo’.
24	July	1990	American heavy metal rock band Pantera released their classic 5^th studio album ‘Cowboys From Hell’.
21	August	1990	Legendary American blues guitarist and singer B.B. King received a star on the Hollywood Walk of Fame at 6771 Hollywood Boulevard.
27	August	1990	American blues guitarist, singer and songwriter, Stevie Ray Vaughan and four others died tragically in a helicopter crash in East Troy, Wisconsin at the age of 35.
31	August	1990	The funeral service of American blues/rock guitarist Stevie Ray Vaughan took place at Laurel Land Cemetery in Dallas, Texas.
3	September	1990	English heavy metal rock band Judas Priest released their 12^th studio album, ‘Painkiller’.
21	September	1990	American thrash metal rock band Megadeth released their superb classic 4^th studio album, ‘Rust In Peace’.
6	October	1990	American Heavy metal band Metallica began recording their massive studio album ‘Metallica’ (aka the ‘black album’) in Los Angeles, California.
9	October	1990	American thrash metal band, Slayer, released their mega 5^th studio album, ‘Seasons In The Abyss’.
29	October	1990	Legendary award-winning American blues guitarist, singer and songwriter John Lee Hooker was inducted into the Rock and Roll Hall of Fame.
8	January	1991	English guitarist and songwriter, Steve Clark of hard rock band Def Leppard died of alcohol poisoning at his home in London, at the age of 30.
15	February	1991	Successful English pop singer, songwriter, guitarist, record producer, and actor Ed Sheeran was born in Halifax, West Yorkshire.
21	March	1991	Legendary American inventor and founder of Fender Electric Instrument Manufacturing Company, Leo Fender died from Parkinson’s disease in Fullerton, California at the age of 81.
8	April	1991	English trip-hop pioneers, Massive Attack, released their successful debut studio album, ‘Blue Lines’ in the UK, including the dance anthem, ‘Unfinished Sympathy’.
20	April	1991	English guitarist and front man of rock bands Small Faces and Humble Pie, Steve Marriott died in a house fire at his home in Essex at the age of 44.
23	April	1991	American guitarist, singer and songwriter with New York Dolls, Jonny Thunders died in mysterious circumstances in a hotel room in New Orleans, Louisiana at the age of 38.
30	July	1991	American heavy metal rock band Metallica released their massively successful single ‘Enter Sandman’.
12	August	1991	American heavy metal band Metallica released their career-defining 5^th studio album, ‘Metallica’, often referred to as ‘the black album’.
27	August	1991	American alternative rock band from Seattle, the home of grunge rock pioneers, Pearl Jam burst onto the scene with the release of their astonishing platinum-selling debut studio album, ‘Ten’.
10	September	1991	American grunge rock pioneers Nirvana released their ‘90s anthem for disaffected youth, the near perfect hit single ‘Smells Like Teen Spirit’.
17	September	1991	American hard rock band, Guns n’ Roses, released their 3^rd and 4^th studio albums ‘Use Your Illusion’ parts I & II on the same day in the U.S.
23	September	1991	Scottish alternative rock band, Primal Scream released their massive 3^rd studio album, ‘Screamadelica’.
24	September	1991	American grunge rock pioneers Nirvana released their career-defining classic 2^nd studio album ‘Never Mind’ in the U.S. Well over 30 million copies have been sold so far.
24	September	1991	American alternative rock band Red Hot Chili Peppers released their 5^th studio album, ‘Blood Sugar Sex Magik’, produced by Rick Rubin.
28	September	1991	American jazz trumpeter, Miles Davis died of complications from a stroke, pneumonia, and respiratory failure in a hospital in Santa Monica, California at the age of 65.
14	November	1991	Legendary American guitarist and singer Jimi Hendrix received a posthumous star on the Hollywood Walk of Fame at 6627 Hollywood Boulevard.
18	November	1991	Massive Irish rock band, U2, released their storming 7^th studio album, ‘Achtung Baby’ in the UK.
24	November	1991	English singer with pop/rock band Queen, Freddie Mercury died of pneumonia resulting from AIDS at his home in London at the age of 45.
15	January	1992	Rock band, The Jimi Hendrix Experience and country music legend, Johnny Cash were both inducted into the American Rock and Roll Hall of Fame.
29	January	1992	Influential American blues singer, songwriter, upright bass player and guitarist, Willie Dixon died of heart failure in Burbank, California at the age of 76.
21	February	1992	American heavy metal rock band Pantera released their classic 6^th studio album ‘Vulgar Display Of Power’.
31	March	1992	English heavy metal rock band Def Leppard released their classic 5^th studio album, ‘Adrenalize’.
20	April	1992	English indie rock icons, The Cure released their upbeat, commercial 10^th studio album, ‘Wish’.
21	April	1992	American rap rockers, Beastie Boys, released their 3^rd studio album, ‘Check Your Head’.
27	April	1992	Indie rock giants, Nick Cave & The Bad Seeds released their great 7^th album, ‘Henry’s Dream’.
9	May	1992	American guitarist, singer and songwriter Bruce Springsteen made his live American TV network debut on ‘Saturday Night Live’ with show host Tom Hanks.
21	July	1992	American alternative rock band Sonic Youth released their cult, cool, classic 8^th studio album, ‘Dirty’.
29	September	1992	American alternative rock band Alice In Chains released their sophomore studio album, ‘Dirt’.
6	October	1992	American rock band R.E.M. released their classic top‑selling studio album, ‘Automatic For The People’.
3	November	1992	American rock band Bon Jovi released their classic 5^th studio album, ‘Keep The Faith’.
10	November	1992	American rock band Rage Against The Machine released their outstanding and career defining eponymous debut album ‘Rage Against The Machine’.
9	December	1992	Although not officially announced until January 1993, English bass guitarist Bill Wyman left The Rolling Stones.
21	December	1992	Legendary American blues guitarist, Albert King died from a heart attack at his home in Memphis Tennessee at the age of 69, just 2 days after his last concert.
6	January	1993	English bass guitarist Bill Wyman officially announced that he was leaving The Rolling Stones after more than 3 decades with the band.
23	March	1993	English alternative/electronic rock band Depeche Mode released their 8^th studio album, ‘Songs Of Faith And Devotion’ in the UK.
20	April	1993	Emerging English alternative rock band Radiohead released their debut album, ‘Pablo Honey’ in the UK.
29	April	1993	English session guitarist, songwriter and producer who played extensively with David Bowie’s Spiders From Mars among others, Mick Ronson died from liver cancer in London at the age of 46.
23	August	1993	English new romantic band Duran Duran received a star on the Hollywood Walk of Fame at 1770 Vine Street.
21	September	1993	American alternative grunge rock band, Nirvana released their 3^rd and final studio album, ‘In Utero’.
19	October	1993	American rock band Pearl Jam released their major 2^nd studio album, ‘Vs.’.
9	November	1993	American East Coast rappers Wu-Tang Clan released their incendiary debut studio album, ‘Enter the Wu-Tang (36 Chambers)’.
19	November	1993	American grunge rock band Nirvana recorded their classic live acoustic concert and album, ‘MTV Unplugged In New York’ at Sony Music Studios.
23	November	1993	American rock band, Guns N’ Roses, released their 5^th studio album, ‘The Spaghetti Incident?’
24	November	1993	Legendary American blues/rock guitarist, nicknamed The ‘Master of the Telecaster’ and ‘The Ice Man’, Albert Collins died from lung cancer at his home in Las Vegas, Nevada at the age of 61.
4	December	1993	Non-conformist American guitarist and composer extraordinaire, Frank Zappa died of prostate cancer at his home in Los Angeles at the age of 52.
1	February	1994	American pop punk rock band Green Day released their breakthrough 3^rd studio album, ‘Dookie’.
1	March	1994	American grunge band Nirvana played their last ever live concert, interrupted by a power cut, in Munich, Germany.
1	March	1994	American alternative rock artist, Beck released his 3^rd studio album, ‘Mellow Gold’.
8	March	1994	American alternative rock band, Nine Inch Nails released their career-peak 2^nd studio album, ‘The Downward Spiral’.
5	April	1994	American singer, songwriter, guitarist and member of grunge rock band Nirvana, Kurt Cobain died from a self‑inflicted shotgun wound in Seattle, Washington at the age of 27.
19	April	1994	Alternative rock band Nick Cave & The Bad Seeds released their classic, career-defining 8^th studio album, ‘Let Love In’.
26	April	1994	American country music legend Johnny Cash embarked on a whole new period of his career with the release of his classic studio album, ‘American Recordings’.
27	April	1994	The famous San Francisco music venue the Fillmore reopened its doors at 1805 Geary Boulevard. It had been closed since 1989 after being damaged in an earthquake.
23	May	1994	Influential American virtuoso jazz guitarist, Joe Pass died from liver cancer in Los Angeles, California at the age 65.
24	May	1994	American rappers, Beastie Boys, released their classic 4^th studio album, ‘Ill Communication’ in the U.S.
14	July	1994	English rave band The Prodigy released their breakout 2^nd studio album ‘Music for the Jilted Generation’.
22	August	1994	Pioneering English trip-hop band, Portishead released their ground breaking debut studio album, ‘Dummy’.
23	August	1994	Acclaimed American singer, songwriter and guitarist Jeff Buckley released his first and only studio album, ‘Grace’. A modern classic.
26	September	1994	English trip-hop outfit, Massive Attack, released their great sophomore studio album, ‘Protection’ in the UK.
4	October	1994	Versatile American ‘redneck jazz’ guitarist Danny Gatton died from self-inflicted gunshot wounds at his home in Newburg, Maryland at the age of 49.
1	November	1994	American grunge band Nirvana released their impressive award-winning live album, ‘MTV Unplugged in New York’, 6 months after Kurt Cobain’s death.
5	December	1994	English indie rock group The Stone Roses released their sophomore studio album, ‘Second Coming’.
13	March	1995	English alternative rock band Radiohead released their breakout 2^nd studio album, ‘The Bends’ in the UK.
13	June	1995	Canadian singer, songwriter, musician and producer Alanis Morissette released her classic 3^rd studio album, ‘Jagged Little Pill’.
14	June	1995	Renowned Irish blues/rock guitarist Rory Gallagher died of MRSA following liver failure caused by medication and alcohol in London at the age of 47.
9	August	1995	American guitarist Jerry Garcia of psychedelic rock band Grateful Dead died from a heart attack while at a rehabilitation centre in California at the age of 53.
2	September	1995	12 years after it was founded, America’s homage to contemporary music, the Rock And Roll Hall of Fame Museum opened on the shore of Lake Erie in Cleveland, Ohio and was celebrated with an all-star concert.
26	September	1995	American alternative rock band Sonic Youth released their great 10^th studio album, ‘Washing Machine’.
2	October	1995	Australian artists, Nick Cave and Kylie Minogue released the haunting and elegiac duet single ‘Where the Wild Roses Grow’.
7	November	1995	American alternative rock band Alice In Chains released their eponymous 3^rd studio album, ‘Alice In Chains’.
21	November	1995	American rock legend, Bruce Springsteen released his 11^th studio album, ‘The Ghost of Tom Joad’.
17	January	1996	Music greats, David Bowie, Pink Floyd and Velvet Underground were all inducted into the American Rock and Roll Hall of Fame.
5	February	1996	Australian alternative rockers, Nick Cave & The Bad Seeds released their dark 9^th studio album, ‘Murder Ballads’.
16	April	1996	American alternative rock group Rage Against The Machine released their sophomore studio album, ‘Evil Empire’.
17	May	1996	American blues, soul and funk singer, songwriter and guitarist, Johnny ‘Guitar’ Watson died of a heart attack after collapsing on stage in Yokohama, Japan at the age of 61.
15	June	1996	Legendary American jazz singer Ella Fitzgerald died of complications from diabetes in Beverley Hills, California, at the age of 79.
18	June	1996	American alternative rock artist, Beck, released his classic, top-selling 5^th studio album, ‘Odelay’.
17	July	1996	English bass guitarist with R&B band The Animals and Jimi Hendrix’s manager, Chas Chandler died of an aneurism in Newcastle, at the age of 57.
10	September	1996	American alt-rock group R.E.M. released their classic 10^th studio album, ‘New Adventures In Hi-Fi’.
13	September	1996	American rapper Tupac Shakur died of gunshot wounds following a drive-by shooting in Las Vegas, Nevada at the age of 25.
19	September	1996	American jazz guitarist George Benson received a star on the Hollywood Walk of Fame at 7055 Hollywood Boulevard.
31	October	1996	English/American guitarist Slash announced that he was leaving rock band Guns N’ Roses after a relationship breakdown with the group’s lead singer Axl Rose.
2	November	1996	Sublime American singer and guitarist, known as ‘the songbird’, Eva Cassidy died from cancer in Bowie, Maryland at the age of 33.
10	January	1997	American soul legend James Brown received a star on the Hollywood Walk of Fame at 1501 Vine Street.
12	February	1997	English singer and songwriter David Bowie received a star on the Hollywood Walk of Fame at 7021 Hollywood Boulevard.
4	March	1997	Alternative rock band, Nick Cave & The Bad Seeds released their classic 10^th studio album, ‘The Boatman’s Call’.
9	March	1997	American rapper Christopher Wallace (a.k.a. The Notorious B.I.G.) was shot and killed in Los Angeles, California at the age of 24.
11	March	1997	English former member of The Beatles, Paul McCartney was knighted by Her Majesty Queen Elizabeth II at Buckingham Palace, London.
7	April	1997	British dance/electronica/big beat duo, The Chemical Brothers, released their massive studio album, ‘Dig Your Own Hole’ in the UK.
14	April	1997	English electronic/alternative rock band Depeche Mode released their classic 9^th studio album, ‘Ultra’ in the UK.
29	May	1997	Renowned American singer, songwriter and guitarist Jeff Buckley died tragically from accidental drowning in Wolf River Harbor, Memphis, Tennessee at the age of 30.
4	June	1997	English bass guitarist and founder of rock band Small Faces, Ronnie Lane died from pneumonia resulting from multiple sclerosis in Trinidad, Colorado at the age of 51.
16	June	1997	English alternative rock band Radiohead released their top-selling 3^rd studio album, ‘OK Computer’ in the UK.
30	June	1997	British rave band, Prodigy, released their massive zeitgeist‑defining 3^rd studio album, ‘The Fat Of The Land’ in the UK.
22	August	1997	German industrial metal rock band Rammstein released their massive 2^nd studio album, ‘Sensucht’ (translated crudely as ‘Desire’).
11	September	1997	American blues legend John Lee Hooker received a star on the Hollywood Walk of Fame at 7080 Hollywood Boulevard.
30	September	1997	English trip-hop band, Portishead released their eponymous sophomore album, ‘Portishead’ in the UK.
12	October	1997	American folk singer, songwriter and guitarist John Denver died tragically in plane crash in Monterey Bay, California, at the age of 53.
19	October	1997	American guitarist, best known for his work with Alice Cooper, Glen Buxton, died of complications from pneumonia in a hospital in Mason City, Iowa at the age of 49.
10	November	1997	Highly-regarded American session guitarist and one of the most recorded musicians in popular music history, Tommy Tedesco died of lung cancer in Northridge, California at the age of 67.
22	November	1997	Australian singer and front man of the rock band INXS, Michael Hutchence committed suicide in Sydney, Australia at the age of 37.
19	January	1998	American singer, songwriter and guitarist, Carl Perkins died from throat cancer in Jackson-Madison County Hospital, Tennessee, at the age of 65.
30	January	1998	English pop singer and songwriter Sir Elton John received his knighthood from Her Majesty The Queen.
19	February	1998	Legendary American jazz trumpeter Miles Davis received a posthumous star on the Hollywood Walk of Fame at 7060 Hollywood Boulevard.
20	April	1998	English trip-hop outfit, Massive Attack, released their classic 3^rd studio album, ‘Mezzanine’ in the UK.
14	May	1998	American singer and actor, Frank Sinatra died from a heart attack at the Cedars-Sinai Medical Center in Los Angeles, California at the age of 82.
6	July	1998	Legendary American singer, guitarist and actor, nicknamed the ‘King of the Cowboys’, Roy Rogers died of heart failure in Apple Valley, California at the age of 86.
25	July	1998	American virtuoso jazz guitarist, Tal Farlow died of oesophageal cancer in New York City at the age of 77.
17	August	1998	Mexican-American guitar legend Carlos Santana received a star on the Hollywood Walk of Fame at 7080 Hollywood Boulevard.
15	September	1998	American heavy metal rock artist, Marilyn Manson released his massively successful classic 3^rd studio album, ‘Mechanical Animals’.
24	September	1998	American icon and rock ‘n’ roll legend Elvis Presley was inducted into the Country Music Hall of Fame.
1	October	1998	American guitarist, singer and songwriter and founder of rock band Creedence Clearwater Revival, John Fogerty received a star on the Hollywood Walk of Fame at 7000 Hollywood Boulevard.
2	October	1998	American country & western ‘singing cowboy’ Gene Autry died of lymphoma at his home in Studio City, California at the age of 91.
6	October	1998	American rock band Queens Of The Stone Age (QOTSA) released their self-titled debut album, ‘Queens Of The Stone Age’.
13	October	1998	The Crossroads Centre in Antigua, founded by English blues/rock guitarist and singer Eric Clapton, opened its doors to help clients with drug and alcohol rehabilitation.
3	November	1998	American alternative rock singer, songwriter, musician and producer, Beck, released his 6^th studio album, ‘Mutations’, the follow up to the massive ‘Odelay’.
29	November	1998	American jazz pioneer of the 7-string guitar, George Van Eps, died of pneumonia in Newport Beach, California at the age of 85.
25	December	1998	English pop/rock band, The Beatles, received a star on the Hollywood Walk Of Fame at 7080 Hollywood Boulevard.
30	December	1998	American surf rock band The Beach Boys received a star on the Hollywood Walk of Fame at 1500 Vine Street.
15	March	1999	Legendary American singer and songwriter Bruce Springsteen was inducted into the American Rock and Roll Hall of Fame.
28	April	1999	American rock band Tom Petty & The Heartbreakers received a star on the Hollywood Walk of Fame at 7018 Hollywood Boulevard.
17	May	1999	Award-winning American singer, songwriter, guitarist, electronica musician and producer Moby released his mega-successful 5^th studio album, ‘Play’.
15	June	1999	After a long break, American Latin rock band Santana released their highly successful 17^th studio album, ‘Supernatural’.
16	June	1999	English rock singer, drummer and member of progressive rock band Genesis, Phil Collins received a star on the Hollywood Walk of Fame at 6834 Hollywood Boulevard.
24	June	1999	English blues/rock guitarist, Eric Clapton auctioned many of his guitars in New York City. The proceeds were used in support of the Crossroads Centre he founded in Antigua as a residential treatment centre for alcohol and chemical dependencies.
11	August	1999	American rock band KISS received a star on the Hollywood Walk Of Fame at 7080 Hollywood Boulevard.
7	September	1999	American virtuoso guitarist, singer, songwriter and producer Steve Vai released his astonishing 5^th studio album, ‘The Ultra Zone’.
2	November	1999	American alternative rock band Rage Against The Machine released their 3^rd studio album, ‘The Battle Of Los Angeles’ in the UK.
23	November	1999	American alternative rock artist, Beck, released his adventurous 7^th studio album, ‘Midnite Vultures’.
17	December	1999	American smooth jazz, funk and soul saxophonist, Grover Washington Jr. died of a heart attack in New York City at the age of 56.
26	December	1999	Highly acclaimed American soul singer, songwriter, guitarist and producer, Curtis Mayfield, died from complications of diabetes in a hospital in Roswell, Georgia at the age of 57.

Tailpiece

The 1990s was certainly a strange decade both musically and culturally, notably as a segue to the 21^st Century. While it seems very recent, it is actually receding into long‑term memory, thereby affecting our perceptions of what it meant to us at the time. Still to come, the new millennium is temptingly beckoning and it will prove as frustrating as it was liberating.

Now… we have a minor problemo. I was hoping to conclude this series of articles conveniently in December at the very end of the current decade. However, there are still one, two or maybe even three articles still to write before we are done. December 2019’s article will therefore, ceteris paribus, interrupt the sequence in that it will cover a summary of 2019 through the eyes of CRAVE Guitars, meaning that the ‘History of Modern Music’ will resume early in 2020, all being well. This series has been a gargantuan task thus far, so perhaps a short break in proceedings won’t do any harm. Heaven knows what will follow after it has been concluded though. Looking into the crystal ball of the future is largely futile, so I’ll have to start thinking hard about the ‘next big thing’ very soon. However, that can wait for next year/decade. Until next time…

CRAVE Guitars’ ‘Quote of the Month’: “It is a moral travesty that, if you have got everything, you think you can get away with anything.”

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