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|Cultural origins||Early to mid-1970s, United Kingdom and United States|
New wave is a loosely-defined music genre that encompasses numerous pop-oriented styles from the late 1970s and the 1980s.The term derived from the unrelated "French New Wave" and was originally used as a catch-all for the music that emerged after punk rock, including punk itself, but may be viewed retrospectively as a less challenging counterpart of post-punk. Although new wave shared punk's DIY philosophy, the artists were more influenced by the lighter strains of 1960s pop while opposed to mainstream "corporate" rock, which they considered creatively stagnant, and the generally abrasive and political bents of punk rock. Common characteristics of new wave music include the use of synthesizers and electronic productions, and a distinctive visual style featured in music videos and fashion.
New wave was promoted heavily by MTV (the Buggles' "Video Killed the Radio Star" was broadcast as the first music video to promote the channel's launch).The popularity of several new wave artists is often attributed to their exposure on the channel. In the mid-1980s, differences between new wave and other music genres began to blur. New wave has enjoyed resurgences since the 1990s after a rising nostalgia for several new wave-influenced artists. During the 2000s, a number of acts explored new wave and post-punk influences and were sometimes labeled "new wave of new wave".
New wave represented a break from the blues and rock & roll sounds of late 1960s to mid-1970s music. According to Simon Reynolds, the music had a twitchy, agitated feel. New wave musicians often played choppy rhythm guitars with fast tempos, and keyboards were common, as were stop-start song structures and melodies. Reynolds noted that new wave vocalists sounded high-pitched, geeky and suburban.
In the early 1980s, new wave acts embraced a crossover of rock music with African and African-American styles. Adam and the Ants and Bow Wow Wow, both acts with ties to former Sex Pistols manager Malcolm McLaren, used Burundi-style drumming.The Talking Heads album Remain in Light was marketed and positively reviewed as a breakthrough melding of new wave and African styles, although drummer Chris Frantz said that he found out about this supposed African influence after the fact. Second British Invasion acts were influenced by funk and disco.
A nervous, nerdy persona was a common characteristic of new wave fans as well as acts such as Talking Heads, Devo and Elvis Costello. This took the forms of robotic dancing, jittery high-pitched vocals and clothing fashions such as suits and big glasses that hid the body. [ page needed ] This seemed radical to audiences accustomed to post-counterculture forms such as disco dancing and macho "cock rock" that had emphasized a "hang loose" philosophy, open sexuality and sexual bravado.
The majority of American male new wave acts of the late 1970s were from Caucasian middle-class backgrounds. Scholar Theo Cateforis theorized that these acts intentionally presented these exaggerated nerdy tendencies associated with their "whiteness" to criticize it and/or to reflect their identity.Singer-songwriters who were "angry" and "intelligent" and who "approached pop music with the sardonic attitude and tense, aggressive energy of punk" such as Elvis Costello, Joe Jackson and Graham Parker were also part of the new wave music scene. These artists were often referred to as "angry young men" for their aggressive style.
The idea of rock music as a serious art form started in the late 1960s and was the dominant view of the genre at the time of new wave's arrival. New wave looked back or borrowed in various ways from the years just prior to this occurrence. One way this was done was by taking an ironic look at consumer and pop culture of the 1950s and early 1960s. The B-52's became most noted for a kitsch and camp presentation with their bouffant wigs and beach party and sci-fi movie references. Other groups that referenced the pre-progressive rock era were the Go-Go's, Blondie and Devo.
The catch-all nature of new wave music has been a source of much confusion and controversy. The 1985 discography Who's New Wave in Music listed artists in over 130 separate categories. [ verification needed ] Reflecting its British origins, the 2004 study Popular Music Genres: An Introduction had one paragraph dedicated to 1970s new wave artists in its punk chapter in contrast to a 20-page chapter on early 1980s synth-pop.The New Rolling Stone Encyclopedia of Rock calls the term "virtually meaningless". Decades after the fact, in the US, late 1970s new wave acts such as the Pretenders were more likely to be found on classic rock playlists than on new wave playlists there.
As early as 1973, critics including Nick Kent and Dave Marsh were using the "new wave" tag to classify such New York-based groups as the Velvet Underground and New York Dolls.In the US, many of the first new wave groups were the not-so-punk acts associated with CBGB (e.g. Talking Heads, Mink DeVille and Blondie), as well as the proto-punk scene in Ohio, which included Devo, the electric eels, Rocket from the Tombs and Pere Ubu. Some important bands, such as Suicide and the Modern Lovers, debuted even earlier. CBGB owner Hilly Kristal, referring to the first show of the band Television at his club in March 1974, said, "I think of that as the beginning of new wave." Furthermore, many artists who would have originally been classified as punk were also termed new wave. A 1977 Phonogram Records compilation album of the same name (New Wave) features American artists including the Dead Boys, Ramones, Talking Heads and the Runaways.
Between 1976 and 1977, the terms "new wave" and "punk" were somewhat interchangeable.Music historian Vernon Joynson claimed that new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk. That year, the term gained currency when it appeared in UK punk fanzines such as Sniffin' Glue and newsagent music weeklies such as Melody Maker and New Musical Express . In November 1976, Caroline Coon used Malcolm McLaren's term "new wave" to designate music by bands not exactly punk, but related to the same musical scene. The term was also used in that sense by music journalist Charles Shaar Murray in his comments about the Boomtown Rats. By the end of 1977, "new wave" had replaced "punk" as the definition for new underground music in the UK. The mid-1970s British pub rock scene was ultimately the source of many of the most commercially successful new wave acts, such as Ian Dury, Nick Lowe, Eddie and the Hot Rods and Dr. Feelgood.
Sire Records chairman Seymour Stein, believing that the term "punk" would mean poor sales for Sire's acts who had frequently played the New York club CBGB, launched a "Don't Call It Punk" campaign designed to replace the term with "new wave".As radio consultants in the US had advised their clients that punk rock was a fad, they settled on the new term. Like the filmmakers of the French new wave movement (after whom the genre was named), new wave artists were anti-corporate and experimental (e.g. Ramones and Talking Heads). At first, most American writers used the term "new wave" exclusively in reference to British punk acts. Starting in December 1976, The New York Rocker , which was suspicious of the term "punk", became the first American journal to enthusiastically use the term, starting with British acts and later appropriating it to acts associated with the CBGB scene. Part of what attracted Stein and others to new wave was the music's stripped-back style and upbeat tempos, which they viewed as a much-needed return to the energetic rush of rock and roll and 1960s rock that had dwindled in the 1970s with the ascendance of overblown progressive rock and stadium spectacles.
Power pop continued the guitar-based, singles-oriented British invasion sound of the mid-1960s into the 1970s and the present day. Although the term "power pop" had been around before punk (it is believed to have been coined by Pete Townshend in 1967), it became widely associated with new wave when Bomp and Trouser Press magazines (in March and April 1978, respectively) wrote cover stories touting power pop as a sound that could continue new wave's directness without the negativity associated with punk.By the end of 1979, a backlash had developed against power pop in general, particularly in regard to the Los Angeles scene. The skinny ties worn by L.A. power pop groups, epitomized by the Knack, became symbolic of the supposed lack of authenticity of the genre. Power pop's association with the genre was later forgotten.
"Post-punk" was coined to describe groups who were initially considered part of new wave but were more ambitious, serious and challenging, as well as being darker and less pop-oriented. Some of these groups would later adopt synths. [ verification needed ] While punk rock wielded a major influence on the popular music scene in the UK, in the US it remained a fixture of the underground. In the UK, post-punk music developments became mainstream and were considered unique cultural events. New wave was much more closely tied to punk, and came and went more quickly in the UK (and in the rest of Western Europe) than in the US. At the time punk began, it was a major phenomenon in the UK and a minor one in the US. Thus when new wave acts started getting noticed in America, punk meant little to the mainstream audience and it was common for rock clubs and discos to play British dance mixes and videos between live sets by American guitar acts.
By the early 1980s, British journalists largely had abandoned the term "new wave" in favor of subgenre terms such as "synth-pop".By 1983, the term of choice for the US music industry had become "new music", while to the majority of American fans it was still a "new wave" reacting to album-based rock.
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In the summer of 1977 both Timeand Newsweek wrote favorable lead stories on the "punk/new wave" movement. Acts associated with the movement received little or no radio airplay or music industry support. Small scenes developed in major cities. Continuing into the next year, public support remained limited to select elements of the artistic, bohemian and intellectual population, as arena rock and disco dominated the charts.
Starting in late 1978 and continuing into 1979, acts associated with punk and acts that mixed punk with other genres began to make chart appearances and receive airplay on rock stations and rock discos.Blondie, Talking Heads, the Police and The Cars charted during this period. "My Sharona", a single from the Knack, was Billboard magazine's number one single of 1979. The success of "My Sharona", combined with the fact that new wave albums were much cheaper to produce during a time when the music industry was in its worst slump in decades, prompted record companies to sign new wave groups. New wave music scenes developed in Ohio and the college town of Athens, Georgia, with legendary bands such as the B-52s and R.E.M.. 1980 saw brief forays into new wave-styled music by non-new wave artists Billy Joel, Donna Summer and Linda Ronstadt.
An African-American "new wave" of sorts also arose in the US in the late 1970s and early 1980s, driven, as AllMusic points out, by "drum machines, synthesizers and programming [becoming] common studio tools." Following the musically stripped-down approach of Stevie Wonder and Parliament-Funkadelic, post-disco explored a more electronic and experimental side of African-American music by incorporating an eclectic range of styles, e.g. Jamaican music, electronic art music, jazz, blues and, in the latter years, European and Japanese synthesizer music.Stretching the boundaries of disco music, post-disco took many forms, some entirely R&B-based (NYC boogie), some post-punk–based (alternative dance), underground club culture-centered (Chicago house with its own style of dance called jacking) and futurism–leaning (Detroit techno). Embracing new wave music (synth-pop) proper was proven to be influential, as Afrika Bambaataa ("Renegades of Funk") and Arthur Baker point out, on both underground and mainstream black dance music (electro, dance-rock, Minneapolis sound).
Early in 1980, influential radio consultant Lee Abrams wrote a memo saying that, with a few exceptions, "we're not going to be seeing many of the new wave circuit acts happening very big over here (referring to America). As a movement, we don't expect it to have much influence." Lee Ferguson, a consultant to KWST, said in an interview that Los Angeles radio stations were banning disc jockeys from using the term and noted, "Most of the people who call music new wave are the ones looking for a way not to play it."Despite the success of Devo's socially critical but widely misperceived song "Whip It", second albums by artists who had successful debut albums, along with newly signed artists, failed to sell, and radio pulled most new wave programming.
The arrival of MTV in 1981 would usher in new wave's most successful era in the US. British artists, unlike many of their American counterparts, had learned how to use the music video early on.Several British acts on independent labels were able to outmarket and outsell American artists on major labels. Journalists labeled this phenomenon a "Second British Invasion". MTV continued its heavy rotation of videos by new wave-oriented acts until 1987, when it changed to a heavy metal and rock dominated format.
In a December 1982 Gallup poll, 14% of teenagers rated new wave as their favorite type of music, making it the third most popular.New wave had its greatest popularity on the West Coast. Unlike other genres, race was not a factor in the popularity of new wave music, according to the poll. Urban Contemporary radio stations were the first to play dance-oriented new wave artists such as the B-52's, Culture Club, Duran Duran and ABC.
New wave soundtracks were used in mainstream Brat Pack films such as Valley Girl , Sixteen Candles , Pretty in Pink and The Breakfast Club .John Hughes, the director of several of these films, was enthralled with British new wave music and placed songs from acts such as the Psychedelic Furs, Simple Minds, Orchestral Manoeuvres in the Dark and Echo and the Bunnymen in his films, helping to keep new wave in the mainstream. Several of these songs remain standards of the era. Critics described the MTV acts of the period as shallow or vapid. The homophobic slurs "faggot" and "art fag" were openly used to describe new wave musicians. Despite the criticism, the danceable quality of the music and the quirky fashion sense associated with new wave artists appealed to audiences.
In September 1988, Billboard launched its Modern Rock chart. While the acts on the chart reflected a wide variety of stylistic influences, new wave's legacy remained in the large influx of acts from Great Britain and acts that were popular in rock discos, as well as the chart's name, which reflected how new wave had been marketed as "modern".New wave's indie spirit would be crucial to the development of college rock and grunge/alternative rock in the latter half of the 1980s and beyond.
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New wave died out after the mid-1980s, knocked out by guitar-driven rock reacting against new wave.In the aftermath of grunge, the British music press launched a campaign to promote the new wave of new wave. This campaign involved overtly punk and new wave-influenced acts such as Elastica, but it was eclipsed by Britpop. Other acts of note during the 1990s included No Doubt, Metric, Six Finger Satellite and Brainiac. During that decade, the synthesizer-heavy dance sounds of British and European new wave acts influenced various incarnations of Euro disco and trance. Chris Martin was inspired to start Coldplay by a-ha.
During the 2000s, a number of acts emerged that mined a diversity of new wave and post-punk influences. Among these were the Strokes, the Bravery, Interpol, Yeah Yeah Yeahs, Franz Ferdinand, the Epoxies, VHS or Beta, the Rapture, She Wants Revenge, Bloc Party, Foals,Kaiser Chiefs and the Killers. These acts were sometimes labeled "New New Wave". The new wave revival reached its apex during the mid-2000s with acts such as the Sounds, the Ting Tings, Melody Club, Hot Chip, Passion Pit, the Presets, La Roux, Ladytron, Shiny Toy Guns, Hockey, Gwen Stefani and Ladyhawke. While some journalists and fans regarded this as a revival, others argued that the phenomenon was a continuation of the original movements.
The Drums are an example of the trend in the US indie pop scene that employs both the sounds and attitudes of the British new wave era.A new wave-influenced genre called chillwave also developed in the late 2000s, exemplified by artists like Toro Y Moi, Neon Indian, Twin Shadow and Washed Out.
New wave had a seminal role in the development and popularity of contemporary electronic music.[ vague ]
During the late 1990s, new wave received a sudden surge of attention when it was fused with electro and techno during the short-lived electroclash movement.It received popular attention from musical acts such as I-F, Peaches, Fischerspooner and Vitalic, but largely faded when it combined with tech house to form the electro house genre.
During the mid 2000s, new rave combined new wave with elements from several other genres, such as indie rock and electro house,and added aesthetic elements archetypal of a rave, such as light shows and glow sticks. Despite the term itself stimulating controversy to the point where many affiliated artists rejected it, new rave as a musical genre was adopted by artists such as the Klaxons, NYPC, Shitdisco and Hadouken!
In the 2010s, nostalgia for 1980s new wave saw a resurgence in the form of synthwave, which is primarily characterized by new wave, soundtrack influences and a retrofuturistic, cyberpunk-like visual aesthetic. [ dubious ]This term is applied to the music of artists such as Kavinsky, College, Power Glove, Mitch Murder and Her, as well as to soundtracks of films and video games such as Drive , Tron: Legacy , Hotline Miami , Kung Fury , Turbo Kid and Far Cry 3: Blood Dragon .
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New wave music[ failed verification ] experienced a lot of mainstream success during the late 1970s and also during the 1980s. During the late 1970s and early 1980s, Blondie had 4 songs on at number 1 on the Billboard Hot 100. The Clash's song "Rock the Casbah" went to number 8 on the Billboard Hot 100 on 22 January 1983. The Clash's album Combat Rock was certified platinum by the Recording Industry Association of America (RIAA) on 10 January 1983 was later certified 2x platinum by the RIAA in 1995. Men at Work's albums Business as Usual and Cargo were certified 4x platinum by the RIAA on 19 October 1984 and 2x platinum by the RIAA on 19 October 1984, respectively. Men at Work's song "Who Can It Be Now?" peaked at number 1 on the Billboard Hot 100 in 1982 and the band's song "Down Under" peaked at number 1 on the Billboard Hot 100 in 1983. In 1983, Men at Work's songs "Overkill" and "It's a Mistake" peaked at number 3 and number 6 on the Billboard Hot 100, respectively. Men at Work's album Business as Usual peaked at number 1 on the Billboard 200 on 13 November 1982 and was at number 1 on the chart from 13 November 1982 – 19 February 1983.
The Police had four consecutive number one albums in the UK, and six top ten hits on the US Billboard Hot 100, during the first half of the 1980s, with "Every Breath You Take" peaking at number 1 on the UK Singles Chart and the US Billboard Hot 100 in 1983. During that time, the band's songs "Spirits in the Material World" and "Synchronicity II" peaked at number 11 on the Billboard Hot 100 and number 16 on the Billboard Hot 100, respectively.The Police's album Synchronicity , released in June 1983, was certified 4x platinum by the RIAA on 14 November 1984 and was later certified 8x platinum by the RIAA in December 2001. The Police's album Ghost in the Machine , released at the beginning of October 1981, was certified platinum by the RIAA less than 3 months after being released. The album was certified 2x platinum by the RIAA in November 1984 and was certified 3x platinum by the RIAA in December 2001. The Police's album Synchronicity peaked at number 1 on the Billboard 200 on 23 July 1983. Synchronicity was at number 1 on the Billboard 200 both from 23 July 1983 – 3 September 1983 and from 17 September 1983 – 19 November 1983.
The Cars' self-titled debut album was certified 6x platinum by the RIAA.The band's album Candy-O was certified 4x platinum by the RIAA. The Cars' album Heartbeat City , released in March 1984, was certified 2x platinum in October 1984 and was certified 3x platinum in July 1985 by the RIAA. The Cars had four top ten hits on the Billboard Hot 100 during the 1980s. The Cars' song "Magic" peaked at number 12 in July 1984 and the band's song "Let's Go" peaked at number 14 on the Billboard Hot 100 in 1979. Duran Duran had nine top ten hits on the Billboard Hot 100 during the 1980s, with two of those top ten hits, "A View to a Kill" and "The Reflex", peaked at number 1 on the Billboard Hot 100 in 1985 and 1984, respectively. Duran Duran's live album Arena , released in November 1984, was certified 2x platinum by the RIAA on 5 February 1985. Duran Duran's album Notorious , released in November 1986, was certified platinum by the RIAA on 20 January 1987. The Fixx's "Reach The Beach" album was certified 2x platinum in 1983, its first year of release. The band also had seven songs reach the top ten throughout the decade, with three of those, "Are We Ourselves?", "Secret Separation" and "Driven Out" reaching number 1 on the Billboard Mainstream Rock Chart. Devo's song "Whip It" went to number 14 on the Billboard Hot 100 in the year 1980. Kim Wilde's song "Kids in America" peaked at number 25 on the Billboard Hot 100 in 1982. "Kids in America" was at number 2 on the UK Singles Chart in March 1981.
Tears for Fears' album Songs from the Big Chair was certified 4x platinum by the RIAA less than a year after being released.Tears for Fears had four top ten hits on the Billboard Hot 100 during the second half of the 1980s, with two of those hits both peaking at number 1 on the Billboard Hot 100 in 1985. Talking Heads' song "Burning Down the House" peaked at number 9 on the Billboard Hot 100 in 1983. The song "Love Shack" by the band the B-52's peaked at number 3 on the Billboard Hot 100 in 1989. The band's album Cosmic Thing , released on 27 June 1989, was certified 2x platinum by the RIAA a little less than nine months after being released. The Human League had three top ten hits on the Billboard Hot 100 during the 1980s, with two of those hits peaking at number 1 on the Billboard Hot 100. In 1982, the songs "We Got the Beat" and "Vacation" by the band the Go-Go's peaked at number 2 on the Billboard Hot 100 and number 8 on the Billboard Hot 100, respectively. The band's song "Head Over Heels" peaked at number 11 on the Billboard Hot 100 in 1984. The album Beauty and the Beat by the Go-Go's, released in July 1981, was certified 2x platinum by the RIAA on 14 November 1984. The album Beauty and the Beat peaked at number 1 on the Billboard 200 in 1982 and was at number 1 on the chart from 6 March 1982 – 10 April 1982.
Nu metal is a subgenre of alternative metal that combines elements of heavy metal music with elements of other music genres such as hip hop, alternative rock, funk, industrial, and grunge. Nu metal bands have drawn elements and influences from a variety of musical styles, including multiple genres of heavy metal. Nu metal rarely features guitar solos; the genre is heavily syncopated and based on guitar riffs. Many nu metal guitarists use seven-string guitars that are down-tuned to play a heavier sound. DJs are occasionally featured in nu metal to provide instrumentation such as sampling, turntable scratching and electronic backgrounds. Vocal styles in nu metal include singing, rapping, screaming and growling. Nu metal is one of the key genres of the new wave of American heavy metal.
Industrial music is a genre of music that draws on harsh, transgressive or provocative sounds and themes. AllMusic defines industrial music as the "most abrasive and aggressive fusion of rock and electronic music" that was "initially a blend of avant-garde electronics experiments and punk provocation". The term was coined in the mid-1970s with the founding of Industrial Records by members of Throbbing Gristle and Monte Cazazza. While the genre name originated with Throbbing Gristle's emergence in the United Kingdom, concentrations of artists and labels vital to the genre also emerged in America, namely in Chicago.
Emo is a rock music genre characterized by an emphasis on emotional expression, sometimes through confessional lyrics. It emerged as a style of post-hardcore from the mid-1980s hardcore punk movement in Washington, D.C., where it was known as emotional hardcore or emocore and pioneered by bands such as Rites of Spring and Embrace. In the early–mid 1990s, emo was adopted and reinvented by alternative rock, indie rock and pop punk bands such as Sunny Day Real Estate, Jawbreaker, Weezer and Jimmy Eat World, with Weezer breaking into the mainstream during this time. By the mid-1990s, bands such as Braid, the Promise Ring and the Get Up Kids emerged from the burgeoning Midwest emo scene, and several independent record labels began to specialize in the genre. Meanwhile, screamo, a more aggressive style of emo using screamed vocals, also emerged, pioneered by the San Diego bands Heroin and Antioch Arrow. Screamo achieved mainstream success in the 2000s with bands like Hawthorne Heights, Silverstein, Story of the Year, Thursday, The Used, and Underoath.
Industrial rock is an alternative rock genre that fuses industrial music and rock music. It initially originated in the 1970s, and drew influence from early experimental and industrial acts such as Cromagnon, Throbbing Gristle, Einstürzende Neubauten, and Chrome. Industrial rock became more prominent in the 1980s with the success of artists such as Killing Joke, Swans, and partially Skinny Puppy, and later spawned the offshoot genre known as industrial metal. The genre was made more accessible to mainstream audiences in the 1990s with the aid of acts such as Nine Inch Nails and Marilyn Manson, both of which have released platinum-selling records.
Synth-pop is a subgenre of new wave music that first became prominent in the late 1970s and features the synthesizer as the dominant musical instrument. It was prefigured in the 1960s and early 1970s by the use of synthesizers in progressive rock, electronic, art rock, disco, and particularly the "Krautrock" of bands like Kraftwerk. It arose as a distinct genre in Japan and the United Kingdom in the post-punk era as part of the new wave movement of the late 1970s to the mid-1980s.
Glam metal, also known as hair metal or pop metal, is a subgenre of heavy metal, which features pop-influenced hooks and guitar riffs, and borrows heavily from the fashion and image of 1970s glam rock.
Pop punk is an alternative rock genre that combines the textures and fast tempos of punk rock with musical structures common to power pop. Prominent electric guitars with distortion, and power chord changes are typically played under pop-influenced melodies and vocal styles with lighthearted lyrical themes including boredom, rebellion and teenage romance.
Ska punk is a fusion genre that mixes ska music and punk rock music together. Ska-core is a subgenre of ska punk that mixes ska with hardcore punk. Early ska punk mixed both 2 Tone and ska with hardcore punk. Ska punk tends to feature brass instruments, especially horns such as trumpets, trombones and woodwind instruments like saxophones, making the genre distinct from other forms of punk rock. It is closely tied to third wave ska which reached its zenith in the mid 1990s.
Skate punk is both a skater subculture and a subgenre of punk rock music. Originally a genre of hardcore punk closely associated with skate culture, skate punk changed into a more melodic genre of punk rock in the 1990s. Since the 1990s, skate punk has been a genre that features fast tempos, lead guitar playing, fast drumming, and singing. Featuring the fast tempos of hardcore punk and melodic hardcore, skate punk occasionally combines these with the catchy hooks of pop punk. Skate videos have traditionally featured this fast style of punk rock. This played a big part in the coining of the term "skate punk".
Tony! Toni! Toné! is an American soul/R&B group from Oakland, California, popular during the late 1980s and early to mid-1990s. During the band's heyday, it was composed of D'wayne Wiggins on lead vocals and guitar, his brother Raphael Saadiq on lead vocals and bass, and their cousin Timothy Christian Riley on drums and keyboards. Other members were Elijah Baker, Carl Wheeler, Randall Wiggins, and Amar Khalil, and Antron Haile. Personnel changes include lead singer Dyson Tate and vocalist Frank Stickemz.
Sade are an English band, formed in London in 1982 and named after their lead singer, Sade Adu. Three of their members were originally from Hull in the East Riding of Yorkshire. Their music features elements of soul, quiet storm, smooth jazz and sophisti-pop.
Rap rock is a fusion genre that fuses vocal and instrumental elements of hip hop with various forms of rock. Rap rock's most popular subgenres include rap metal and rapcore, which include heavy metal- and hardcore punk-oriented influences, respectively.
Post-grunge is a rock music subgenre that emerged in the 1990s. Originally, the term was used almost pejoratively to label bands such as Bush, Candlebox and Collective Soul that emulated the original sound of grunge.
Bad Girls is the seventh studio album by American singer and songwriter Donna Summer, released on April 25, 1979, on Casablanca Records. Originally issued as a double album, Bad Girls became the best-selling and most critically acclaimed album of Summer's career. It was also her final studio album for Casablanca Records. In 2003, Universal Music re-issued Bad Girls as a digitally remastered and expanded deluxe edition.
Trace Adkins is an American country music singer. His discography consists of twelve studio albums and six greatest hits albums. Of his eleven studio albums, six have been certified by the RIAA: 1997's Big Time is certified Gold, as are 2001's Chrome, and 2006's Dangerous Man. His 1996 debut Dreamin' Out Loud and 2003's Comin' On Strong are certified Platinum. 2005's Songs About Me is his best-selling album, certified 2× Platinum by the RIAA. Two of Adkins' compilation albums, Greatest Hits Collection, Vol. 1 and American Man: Greatest Hits Volume II are certified Platinum
Top Latin Albums is a record chart published by Billboard magazine and is labeled as the most important music chart for Spanish language, full-length albums in the American music market. Like all Billboard album charts, the chart is based on sales. Nielsen SoundScan compiles the sales data from merchants representing more than 90 percent of the U.S. music retail market. The sample includes sales at music stores, the music departments of electronics and department stores, direct-to-consumer transactions, and Internet sales of physical albums or digital downloads. A limited array of verifiable sales from concert venues is also tabulated. To rank on this chart, an album must have 51% or more of its content recorded in Spanish. Listings of Top Latin Albums are also shown on Telemundo's music page through a partnership between the two companies. Before this, the first chart regarding Latin music albums in the magazine was published on the issue dated December 30, 1972. Then, all Latin music information was featured on the Latin Pop Albums chart, which began on June 29, 1985, and is still running along with the Regional Mexican Albums and Tropical Albums chart. The Latin Pop Albums chart features music only from the pop genre, while the Regional Mexican Albums chart includes information from different genres like duranguense, norteño, banda and mariachi, and the Tropical Albums includes different genres particularly salsa, merengue, bachata, and cumbia. In 2005, another chart; Latin Rhythm Albums was introduced in response to growing number of airplays from reggaeton. On the week ending January 31, 2017, Billboard updated the methodology to compile the Top Latin Albums chart into a multi-metric methodology to include track equivalent album units and streaming equivalent albums units.
Big beat is an electronic music genre that usually uses heavy breakbeats and synthesizer-generated loops and patterns – common to acid house/techno. The term has been used by the British music industry to describe music by artists such as The Prodigy, The Chemical Brothers, Fatboy Slim, The Crystal Method, Propellerheads, Cut La Roc, Basement Jaxx and Groove Armada.
New Pop was a loosely defined British-centric pop music movement consisting of ambitious, DIY-minded artists who achieved commercial success in the early 1980s through sources such as MTV. Rooted in the post-punk movement of the late 1970s, the movement spanned a wide variety of styles and artists, including acts such as Orange Juice, the Human League and ABC. The term "rockist", a pejorative against people who shunned this type of music, coincided and was associated with New Pop.
Post-punk is a broad genre of rock music which emerged in the late 1970s as artists departed from the raw simplicity and traditionalism of punk rock, instead adopting a variety of avant-garde sensibilities and non-rock influences. Inspired by punk's energy and DIY ethic but determined to break from rock cliches, artists experimented with styles like funk, electronic music, jazz, and dance music; the production techniques of dub and disco; and ideas from art and politics, including critical theory, modernist art, cinema and literature. These communities produced independent record labels, visual art, multimedia performances and fanzines.
The Second British Invasion consisted of music acts from the United Kingdom that became popular in the United States during the early-to-mid 1980s primarily due to the cable music channel MTV. The term derives from the similar British Invasion of the U.S. in the 1960s. These acts primarily brought with them synthpop and new wave styles of music to the American charts, and according to Rolling Stone, brought "revolution in sound and style".
As disco waned in the late 70s, so did Chic's album sales. But its influence lingered on as new wave, rap and dance-pop bands found inspiration in Chic's club anthems
For a while in 1976 and 1977 the terms punk and new wave were largely interchangeable. By 1978, things were beginning to change, although the dividing line between punk and new wave was never very clear.
[T]echno was a music that attempted to dislocate and deterritorialize itself, in looking to European electronic music, to new musical forms and technologies and 'western' futurist political theory. However, techno was not a rejection of an African American heritage but an attempt to engage with and consider the 'full meaning of black identity.' Atkins in particular adopted and adapted what was viewed by some as the most 'white' of 'white music'[;] Cosgrove seemed more than a little surprised that Visage, Depeche Mode and the Human League could be the inspiration for techno.
Just as Italo-disco had, new wave caught on with African American audiences in Detroit nowhere else in the United States. One could hear new wave's offbeat and eclectic ingredients working themselves out in Detroit's early electronic dance records, where groups like Human League, B-52s, and Visage were reconciled with Eurodisco, the Midwestern funk of George Clinton, Zapp, the Ohio Players, and, subconsciously, the soul of Motown.
Electronic music has lost a lot of its musicality lately. It's all drops and bass lines looped for five minutes non-stop. Back in the '80s, you had classic themes and iconic melodies. I try to take the best of '80s music and the best of what modern electro has. The 80s were the golden age of synths too, with master composers like Vangelis and Tangerine Dream, who are huge inspirations for most of us in this genre. There's this special imagery that comes up in your mind when you think about this decade. There's a lot of '80s cliché that I find to be extremely cool, like gory practical effects or over-saturated neon colours.
It was in the early 2000s when a big movement of electroclash being mixed with synthpop. Meanwhile, tech house was also becoming more known and gaining some serious buzz. When the two were combined that is when Electro House came to be the way it is now. ... 'Satisfaction' was one of those songs that people would have stuck in their head for days. This song still continues to receive a lot of attention even now. It won world wide rewards as well as make Benny Benassi the father of Electro House.
A critic looks back at her teenage fan days in the Philippines and Los Angeles