Dance-rock
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| - | '''Gina X Performance''' was a [[Germany|German]] [[dance-rock]]/[[electropop]] ensemble from [[Cologne]], consisting of vocal artist and lyricist Gina Kikoine and writer/producer [[Zeus B. Held]], [[Ralph Morgenstern]] (backing vocals), Hinrich Sickenberger (backing vocals, drums) and Lazlo Czigany (drums). | + | '''Dance-rock''' is a [[post-disco]] genre connected with [[pop rock]] and [[post-punk]] with fewer [[rhythm and blues]] influences, originated in the early 1980s, following the mainstream death of [[punk rock|punk]] and [[disco]].<ref name=Bill/> |
| - | Held had previously been a member of the group [[Birth Control (band)|Birth Control]], and split to record solo in 1978, beginning work with Kikoine that year. Gina X Performance released several albums in the late 1970s and early 1980s, and were frequently played in North American and European [[dance club]]s at the height of their popularity. Their most well-known songs are the singles "No G.D.M." and "Nice Mover". | + | Examples of early dance-rock include [[Gina X Performance|Gina X]]'s "No G.D.M.",<ref>{{cite journal|publisher=University of Michigan|year=2002|journal=[[The Fader]]|url=https://www.google.com/books?id=Y2-fAAAAMAAJ&q=No+GDM+gina+X++post-disco+++The+Fader&dq=No+GDM+gina+X++post-disco+++The+Fader Google books|title=The Fader, Issues 14-15|quote=[the] classic post-disco track "No GDM" by Gina X|page=38}}</ref> [[Russ Ballard]]'s "On The Rebound",<ref>{{cite web|last1=Erlewine|first1=Stephen|first2=Thomas|title=AllMusic Review by Stephen Thomas Erlewine|url=http://www.allmusic.com/album/barnet-dogs-mw0000855726|website=AlMusic.com|publisher=Allmusic|accessdate=11 December 2016}}</ref> artists such as [[Arthur Russell (musician)|Dinosaur L]], [[Liquid Liquid]] and [[Polyrock]],<ref>{{cite book|last=Fink|first=Robert|year=2005|title=Repeating Ourselves: American Minimal Music As Cultural Practice|publisher=University of California Press|page=26|isbn=0-520-24550-4}}</ref> and the compilation album ''[[Disco Not Disco]]''.<ref>{{cite web|url={{AllMusic|class=album|id=r560174|pure_url=yes}} Albums|title=Disco Not Disco (2000)|publisher=[[AllMusic]]|accessdate=2009-08-10}}</ref><ref>{{cite web|last=Battaglia|first=Andy|year=2008|publisher=[[Pitchfork Media]]|url=http://pitchfork.com/reviews/albums/11055-disco-not-disco-post-punk-electro-leftfield-disco-classics-1974-1986|title=Album Reviews: ''VA - Disco Not Disco (Post-Punk, Electro & Leftfield Disco Classics)''|accessdate=2009-08-13}}</ref> |
| - | ==Discography== | + | ==Characteristics== |
| - | *''Nice Mover'' ([[Crystal Records]]/[[EMI]], 1979) | + | Michael Campbell, in his book ''Popular Music in America'', defines the genre as "post-punk/post-disco fusion". Campbell also cited [[Robert Christgau]], who described dance-oriented rock (or DOR) as an umbrella term used by various DJs in the 1980s.<ref>{{cite book|last=Campbell|first=Michael|year=2008|title=Popular Music in America: And the Beat Goes On|publisher=Cengage Learning|page=359|isbn=0-495-50530-7}}</ref> |
| - | *''X-traordinaire'' (EMI, 1980) | + | |
| - | *''Voyeur'' (EMI, 1981) | + | However, [[AllMusic]] defines "dance-rock" as 1980s and 1990s music practiced by rock musicians, influenced by [[Philadelphia soul|Philly soul]], disco and funk, fusing those styles with rock and dance. Artists like [[The Rolling Stones]], [[David Bowie]], [[Duran Duran]], [[Simple Minds]], [[INXS]], [[Eurythmics]], [[Depeche Mode]], [[The Clash]], [[New Order (band)|New Order]] and [[Devo]] belong, according to Allmusic, to this genre. Dance-rock embraces some experimental funk acts like [[A Certain Ratio]], [[Gang of Four (band)|Gang of Four]], and also musicians, for example [[Robert Palmer (singer)|Robert Palmer]], [[Billy Idol]] and [[Hall & Oates]]. This kind of dance-rock influenced [[Garbage (band)|Garbage]], [[No Doubt]], [[Robbie Williams]], [[Scissor Sisters]],<ref name=DanceRock>{{cite web|url={{Allmusic|class=explore|id=style/d13748|pure_url=yes}}|title=Explore music... Genre: Dance-Rock|publisher=Allmusic|accessdate=2009-08-12}}</ref> [[Young Love (band)|Young Love]], [[Franz Ferdinand (band)|Franz Ferdinand]] and [[The Killers]].<ref>{{cite journal|last=Paoletta|first=Michael|date=December 25, 2004|journal=Billboard Magazine|title=Music [Dance]: Mash-Ups, Dance-Rock Lead Breakthroughs|publisher=Nielsen Business Media, Inc.|page=38|issn=0006-2510}}</ref> |
| - | *''Yinglish'' ([[Statik Records]], 1984; credited to Gina X) | + | |
| + | ==History== | ||
| + | Despite predictions that [[New wave music|new wave]] and rock would replace disco in the dance clubs, a mix of post-disco, rock and new wave took its place instead. The first wave of artists arrived with [[New Order (band)|New Order]], [[Prince (musician)|Prince]], [[The Human League|Human League]], [[Blondie (band)|Blondie]], [[Tom Tom Club]] and [[Devo]], followed by [[Hall & Oates|Darryl Hall & John Oates]], [[Thompson Twins]], [[Haircut One Hundred|Haircut 100]], [[ABC (band)|ABC]], [[Depeche Mode]] and [[Spandau Ballet]].<ref name=Bill>{{cite journal|publisher=Nielsen Business Media, Inc|date=19 Jun 1982|journal=[[Billboard (magazine)]]|title=The Music Steps Beyond Disco: Where The Beat Meets The Street/Danceable Rock Generates First Bevy of Crossover Stars|issue=94|issn=0006-2510}}</ref> The scene also produced a lot of crossovers, including [[Kraftwerk]] getting [[Urban contemporary|R&B]] audiences with their 1981 influential album ''[[Computer World]]'', which paved the way for [[Afrika Bambaataa]]'s "[[Planet Rock (song)|Planet Rock]]" and [[electro (music)|electro]] in general. Reinstated interest in dance-rock and post-disco caused popularity of 12-inch singles and EPs around that era.<ref name=Bill/><ref>[http://www.allmusic.com/album/computer-world-japan-bonus-track-r11204 ''Computer World ''(1981)] by Krafwerk. Review. Allmusic. Rovi Corporation. Retrieved 22-12-2011.</ref> | ||
| + | |||
| + | Key influences of the genre include [[New Romanticism|New Romantic]] [[synthpop]] acts [[Human League]] and [[Spandau Ballet]] while, according to ''[[Billboard (magazine)|Billboard]]'', the pivotal record of the genre is Human League's "[[Don't You Want Me]]". [[Arthur Baker (musician)|Arthur Baker]] argued that synthesizers helped to shape the new music: "I'm into synthesizers right now. The options are limitless. It cuts costs and gives you more ultimate control, but it doesn't sound made up. It still has a human feel", while the sound, composed of electronic [[Euro disco|Eurodisco]] influences, was generally regarded as "cold, anti-human and mechanical".<ref name=Bill/> | ||
| + | |||
| + | ==Artists== | ||
| + | {{col-begin}} | ||
| + | {{col-2}} | ||
| + | <span style="font-size: 95%">First-level or first-wave musicians include:</span> | ||
| + | *[[New Order (band)|New Order]]<ref name=DanceRock/> | ||
| + | *[[Eurythmics]]<ref name=DanceRock/> | ||
| + | *[[Talking Heads]]<ref name=DanceRock/> | ||
| + | *[[Blondie (band)|Blondie]]<ref name=Bill/> | ||
| + | *[[Tom Tom Club]]<ref name=Bill/> | ||
| + | *[[Devo]]<ref name=Bill/> | ||
| + | {{col-2}} | ||
| + | <span style="font-size: 95%">Second-level or second-wave musicians include:</span> | ||
| + | *[[Altered Images]]<ref name=Bill/> | ||
| + | *[[The Waitresses|Waitresses]]<ref name=Bill/> | ||
| + | *[[Classix Nouveaux]]<ref name=Bill/> | ||
| + | *[[Icehouse (band)|Icehouse]]<ref name=Bill/> | ||
| + | *[[Missing Persons (band)|Missing Persons]]<ref name=Bill/> | ||
| + | *[[Kid Creole and the Coconuts]]<ref name=Bill/> | ||
| + | *[[ABC (band)|ABC]]<ref name=Bill/> | ||
| + | *[[Ultravox]]<ref name=Bill/> | ||
| + | *[[Bow Wow Wow]]<ref name=Bill/> | ||
| + | *[[Spandau Ballet]]<ref name=Bill/> | ||
| + | *[[Duran Duran]]<ref name=Bill/> | ||
| + | {{col-end}} | ||
| + | |||
| + | ==See also== | ||
| + | *[[List of dance-rock artists]] | ||
| + | *[[Alternative dance]] | ||
| + | *[[Electronic rock]] | ||
| + | *[[Dance-punk]] | ||
| + | *[[Electropunk]] | ||
| + | *[[New wave music]] | ||
| {{GFDL}} | {{GFDL}} | ||
Revision as of 20:33, 25 March 2017
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Dance-rock is a post-disco genre connected with pop rock and post-punk with fewer rhythm and blues influences, originated in the early 1980s, following the mainstream death of punk and disco.<ref name=Bill/>
Examples of early dance-rock include Gina X's "No G.D.M.",<ref>Template:Cite journal</ref> Russ Ballard's "On The Rebound",<ref>{{
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Contents |
Characteristics
Michael Campbell, in his book Popular Music in America, defines the genre as "post-punk/post-disco fusion". Campbell also cited Robert Christgau, who described dance-oriented rock (or DOR) as an umbrella term used by various DJs in the 1980s.<ref>Template:Cite book</ref>
However, AllMusic defines "dance-rock" as 1980s and 1990s music practiced by rock musicians, influenced by Philly soul, disco and funk, fusing those styles with rock and dance. Artists like The Rolling Stones, David Bowie, Duran Duran, Simple Minds, INXS, Eurythmics, Depeche Mode, The Clash, New Order and Devo belong, according to Allmusic, to this genre. Dance-rock embraces some experimental funk acts like A Certain Ratio, Gang of Four, and also musicians, for example Robert Palmer, Billy Idol and Hall & Oates. This kind of dance-rock influenced Garbage, No Doubt, Robbie Williams, Scissor Sisters,<ref name=DanceRock>{{
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History
Despite predictions that new wave and rock would replace disco in the dance clubs, a mix of post-disco, rock and new wave took its place instead. The first wave of artists arrived with New Order, Prince, Human League, Blondie, Tom Tom Club and Devo, followed by Darryl Hall & John Oates, Thompson Twins, Haircut 100, ABC, Depeche Mode and Spandau Ballet.<ref name=Bill>Template:Cite journal</ref> The scene also produced a lot of crossovers, including Kraftwerk getting R&B audiences with their 1981 influential album Computer World, which paved the way for Afrika Bambaataa's "Planet Rock" and electro in general. Reinstated interest in dance-rock and post-disco caused popularity of 12-inch singles and EPs around that era.<ref name=Bill/><ref>Computer World (1981) by Krafwerk. Review. Allmusic. Rovi Corporation. Retrieved 22-12-2011.</ref>
Key influences of the genre include New Romantic synthpop acts Human League and Spandau Ballet while, according to Billboard, the pivotal record of the genre is Human League's "Don't You Want Me". Arthur Baker argued that synthesizers helped to shape the new music: "I'm into synthesizers right now. The options are limitless. It cuts costs and gives you more ultimate control, but it doesn't sound made up. It still has a human feel", while the sound, composed of electronic Eurodisco influences, was generally regarded as "cold, anti-human and mechanical".<ref name=Bill/>
