Electronic dance music
Electronic dance music known as dance music, club music, or dance, is a broad range of percussive electronic music genres made for nightclubs and festivals. It is produced for playback by disc jockeys who create seamless selections of tracks, called a mix by segueing from one recording to another. EDM producers perform their music live in a concert or festival setting in what is sometimes called a live PA. In Europe, EDM is more called'dance music', or simply'dance'. In the late 1980s and early 1990s, following the emergence of raving, pirate radios and an upsurge of interest in club culture, EDM achieved widespread mainstream popularity in Europe. In the United States at that time, acceptance of dance culture was not universal. There was a perceived association between EDM and drug culture, which led governments at state and city level to enact laws and policies intended to halt the spread of rave culture. Subsequently, in the new millennium, the popularity of EDM increased globally in Australia and the United States.
By the early 2010s, the term "electronic dance music" and the initialism "EDM" was being pushed by the American music industry and music press in an effort to rebrand American rave culture. Despite the industry's attempt to create a specific EDM brand, the initialism remains in use as an umbrella term for multiple genres, including house, trance and bass and dubstep, as well as their respective subgenres. Various EDM genres have evolved for example. Stylistic variation within an established EDM genre can lead to the emergence of what is called a subgenre. Hybridization, where elements of two or more genres are combined, can lead to the emergence of an new genre of EDM. In the late 1960s bands such as Silver Apples created electronic music, intended to be danced to. Other early examples of music that influenced electronic dance music include Jamaican dub music during the late 1960s to 1970s, the synthesizer-based disco music of Italian producer Giorgio Moroder in the late 1970s, the electro-pop of Kraftwerk and Yellow Magic Orchestra in the mid-to-late 1970s.
Author Michael Veal considers dub music, a Jamaican music stemming from roots reggae and sound system culture that flourished between 1968 and 1985, to be one of the important precursors to contemporary electronic dance music. Dub productions were remixed reggae tracks that emphasized rhythm, fragmented lyrical and melodic elements, reverberant textures; the music was pioneered by studio engineers, such as Sylvan Morris, King Tubby, Errol Thompson, Lee "Scratch" Perry, Scientist. Their productions included forms of tape editing and sound processing that Veal considers comparable to techniques used in musique concrète. Dub producers made improvised deconstructions of existing multi-track reggae mixes by using the studio mixing board as a performance instrument, they foregrounded spatial effects such as reverb and delay by using auxiliary send routings creatively. The Roland Space Echo, manufactured by Roland Corporation, was used by dub producers in the 1970s to produce echo and delay effects.
Despite the limited electronic equipment available to dub pioneers such as King Tubby and Lee "Scratch" Perry, their experiments in remix culture were musically cutting-edge. Ambient dub was pioneered by King Tubby and other Jamaican sound artists, using DJ-inspired ambient electronics, complete with drop-outs, echo and psychedelic electronic effects, it featured layering techniques and incorporated elements of world music, deep bass lines and harmonic sounds. Techniques such as a long echo delay were used. Hip hop music has played a key role in the development of electronic dance music since the 1970s. Inspired by Jamaican sound system culture Jamaican-American DJ Kool Herc introduced large bass heavy speaker rigs to the Bronx, his parties are credited with having kick-started the New York hip-hop movement in 1973. A technique developed by DJ Kool Herc that became popular in hip hop culture was playing two copies of the same record on two turntables, in alternation, at the point where a track featured a break.
This technique was further used to manually loop a purely percussive break, leading to what was called a break beat. Turntablism has origins in the invention of the direct-drive turntable, by Shuichi Obata, an engineer at Matsushita. In 1969, Matsushita released it as the SP-10, the first direct-drive turntable on the market, the first in their influential Technics series of turntables; the most influential turntable was the Technics SL-1200, developed in 1971 by a team led by Shuichi Obata at Matsushita, which released it onto the market in 1972. In the 1980s and 1990s hip-hop DJs used turntables as musical instruments in their own right and virtuosic use developed into a creative practice called turntablism. In 1974, George McCrae's early disco hit "Rock Your Baby" was one of the first records to use a drum machine, an early Roland rhythm machine, its use of a drum machine was anticipated by Sly and the Family Stone's "Family Affair", which anticipated the sound of disco, with its rhythm echoed in "Rock Your Baby".
The use of drum machines in "Family Affair" and Timmy Thomas' "Why Can't We Live Together", which used a 1972 Roland rhythm machine, influenced the adoption of drum machines by disco artists. Disco producer Biddu used synthesizers in several disco songs from 1976 to 1977, including "Bionic Boogie" from Rain Forest, "Soul Coaxing", and
Stay (Zedd and Alessia Cara song)
"Stay" is a song by Russian-German electronic music producer Zedd and Canadian singer Alessia Cara. The single was released on 23 February 2017 through Interscope Records; the official music video was released on YouTube on 18 April 2017. The song is performed in the key of F minor in common time with a tempo of 102 beats per minute, it follows a chord progression of D♭–F5–E♭, Cara's vocals span from F3 to D♭5. "Stay" peaked at number seven on Billboard Hot 100 and number one on the Mainstream Top 40, becoming both Zedd and Cara's third top ten song on the chart. Lyrics of this song at MetroLyrics
Stay the Night (Zedd song)
"Stay the Night" is a song by Russian-German electronic dance music producer Zedd, from the deluxe edition of his debut studio album, Clarity. It features vocals from the lead singer of American rock group Paramore; the song was written by Zedd, Benjamin Eli Hanna, Carah Faye. "Stay the Night" was released to digital retailers on September 10, 2013, by Interscope Records as the lead single off the deluxe edition of Clarity, the fourth overall single from the album. The song has been compared to Zedd's previous electro house ballad "Clarity", with Critic of Music saying "Stay the Night" is primed for "pop radio". Digital Spy said the song was "generic EDM", Idolator pointed to its EDM-style club-ready dance beats, "dreamy" synths, a pop-style vocal. "Stay the Night" received critical acclaim, with some critics noting the song's potential for crossover appeal to audiences of mainstream pop. The single reached the number one spot on both Billboard's Hot Dance Club Songs and Dance/Mix Show Airplay charts in its December 7, 2013 issue, giving Zedd his second number one at Dance Airplay and his third chart-topper at Dance Club Play, while Williams marks her first number one on a Billboard chart as a solo artist.
The song has sold over a million copies in the U. S. as of March 2014. Idolator editor Mike Wass call the song "another soaring house anthem with massive crossover potential" and praised the "inspired" choice of vocalist: "Hayley Williams puts her trademark angsty rock leanings to the side... and she lends the track a certain credibility outside the ever-growing EDM market."James Shotwell of the entertainment news blog Under the Gun Review gave "Stay the Night" a mixed review. While stating the song "is destined for dance club glory" and will "fit nicely" on contemporary hit radio, Shotwell criticized its lack of uniqueness. Music blog Critic of Music gave the song an A– rating, noting that while the song suffers in comparison to previous single "Clarity" in the weakness of its lyrics, "Stay the Night" is still successful at highlighting Williams' "vocal versatility" and Zedd's "excellent, radio-friendly" dance beats."Stay the Night" won the MTV Clubland Award in the 2014 MTV Video Music Awards.
List of number-one dance singles of 2013 Official Music Video on YouTube Lyrics of this song at MetroLyrics
The Candy Man
"The Candy Man" is a song that appeared in the 1971 film Willy Wonka & the Chocolate Factory. It was written by Leslie Bricusse and Anthony Newley for the film. Although the original book by Roald Dahl contains lyrics adapted for other songs in the film, the lyrics to "The Candy Man" do not appear in the book; the soundtrack version of the song was sung by Aubrey Woods, who played Bill the candy store owner in the film. Lyricist Anthony Newley has said in interviews that upon hearing Woods' rendition for the first time, he was appalled at the lack of commerciality in the performance – worrying that it would be depriving the duo of not only a hit record but an Oscar nomination as well. Newley's distaste for the performance became so intense that he was willing to forego his own performance fee if he were to be allowed to re-arrange and re-record the song himself, pay for the session as well; when this was denied by producer David Wolper due to contractual stipulations by film composer Walter Scharf, Newley tried another tactic: lobbying to be allowed to at least re-dub his own vocal becoming the ghost voice for Woods.
Anthony Newley would record his own version for MGM Records in 1971, prior to Sammy Davis Jr.'s hit. Sammy Davis Jr.'s version appears on the Sammy Davis Jr. Now album. Though Davis admitted to disliking the song, finding it too saccharine, it became his only number-one hit, spending three weeks at the top of the Billboard Hot 100 chart starting 10 June 1972, two weeks at the top of the easy-listening chart. Billboard ranked it as the No. 5 song for 1972. The track featured backing vocals by the Mike Curb Congregation, who had earlier released their own unsuccessful version of the song, it is recognized as one of Davis's signature songs, "The Candy Man" came to be his moniker in his career. The song was nominated for a Grammy Award for Best Pop Vocal Performance, Male at the 15th Annual Grammy Awards. In 2014, Sammy Davis Jr.'s lead vocals from the original 1972 recording were sampled to create a "virtual duet" with singer Barry Manilow, which appeared on Manilow's album My Dream Duets. "Candyman" is a song by Russian-German electronic music producer Zedd featuring Aloe Blacc.
It was released February 26, 2016. It is a remake of the song "The Candy Man", is to celebrate the 75th anniversary of M&M's; the song was recorded by Zedd with help from Joseph Trapanese. Although the song was produced for a brand, M&M's, the track received positive reviews. Hugh McIntyre wrote that the song is fun. Aloe Blacc's vocals were praised by Ryan Middleton, who thought that they fit well with Zedd's music; the song was criticized, although, by Diplo. "The Candy Man" has been featured in a number of radio, films and TV shows after its introduction in Willy Wonka & the Chocolate Factory. In the 1980s, the tune was adapted as a commercial jingle for Sunshine Biscuits. Cibo Matto recorded a version of the song on their 1996 album Viva! La Woman. Sloppy Seconds recorded a cover of the song for their 1989 LP Destroyed. In the animated television series The Simpsons episode "Trash of the Titans", Homer sings "The Garbage Man", a parody; as the Springfield Sanitation Commissioner, Homer sings about all the things the garbage men will do, assisted by a montage, guest starring U2.
Jennifer Tilly's character, Monica Moran, sings the song in an audition to be a lounge singer in the film The Fabulous Baker Boys. Chris Evans played the song on his popular drive time BBC Radio 2 show every Friday afternoon. Once he replaced Terry Wogan on the breakfast show in January 2010, he has continued to play the tune every Friday morning following the 8:00 am news; the song was used on a TV trailer, promoting his new breakfast show. Danny Baker used the song extensively as a theme during his breakfast show for BBC London 94.9. He would reward listeners who greeted him as Candy Man. During his time on the show, he amassed a large number of existing versions of the song and commissioned guests such as Ray Gelato to produce new versions, he continued to use the song as a theme tune for his afternoon show on BBC London 94.9 until its cancellation. In an episode of the American TV series My Name Is Earl, Randy Hickey finds a coin in a drain, accompanied by an instrumental rendition of "The Candy Man".
On Krayzie Bone's 1999 album Thug Mentality 1999, he uses the melody and meter of "Candy Man" for the intro to the song "Dummy Man". Comedian Tim Hawkins released a parody of the song, "The Government Can", in 2009; the video for the song has garnered over 5.7 million hits on YouTube. M&M Mars used the song from time to time as a jingle for "The M&M's Man". EDM artist Zedd released his single "Candyman", which samples the original song, to commemorate the 75th anniversary of M&M's candy. An M&M's ad featuring the song shows Red and Yellow trying to remix the "M&M's Man" jingle with help from Zedd and Aloe Blacc. In "New Neighbours", an episode of the American TV series Malcolm in the Middle, Commandant Spangler makes the cadets sing the song to impress his hero, Oliver North; the Kidsongs singers include this song in their 1986 video, "What I Want to Be". Rockapella sang their own version of the song on February 2016 in honor of Valentine's Day. In the Dreamworks Animation movie Madagascar, the song was used twice – the first was in normal speed when Alex the lion is tranquilise
A talk box is an effects unit that allows musicians to modify the sound of a musical instrument by shaping the frequency content of the sound and to apply speech sounds onto the sounds of the instrument. A talk box directs sound from the instrument into the musician's mouth by means of a plastic tube adjacent to their vocal microphone; the musician controls the modification of the instrument's sound by changing the shape of the mouth, "vocalizing" the instrument's output into a microphone. A talk box is an effects pedal that sits on the floor and contains a speaker attached with an airtight connection to a plastic tube; the speaker is in the form of a compression driver, the sound-generating part of a horn loudspeaker with the horn replaced by the tube connection. The box has connectors for the connection to the speaker output of an instrument amplifier and a connection to a normal instrument speaker. A foot-operated switch on the box directs the sound either to the talk box speaker or to the normal speaker.
The switch is a push-on/push-off type. The other end of the tube is taped to the side of a microphone, extending enough to direct the reproduced sound in or near the performer's mouth; when activated, the sound from the amplifier is reproduced by the speaker in the talk box and directed through the tube into the performer's mouth. The shape of the mouth filters the sound, with the modified sound being picked up by the microphone; the shape of the mouth changes the harmonic content of the sound in the same way it affects the harmonic content generated by the vocal folds when speaking. The performer can vary the shape of the mouth and position of the tongue, changing the sound of the instrument being reproduced by the talk box speaker; the performer can mouth words, with the resulting effect sounding as though the instrument is speaking. This "shaped" sound exits the performer's mouth, when it enters a microphone, an instrument/voice hybrid is heard; the sound can be that of any musical instrument, but the effect is most associated with the guitar.
The rich harmonics of an electric guitar are shaped by the mouth, producing a sound similar to voice allowing the guitar to appear to "speak". The effect produced by talk boxes and vocoders are conflated by listeners. However, they have radically different mechanisms for achieving the effect. Talk boxes send the carrier signal into the singer's mouth, where it is modulated by the singer themselves. On the other hand, vocoders process both the carrier and the modulator signal integrally, producing the output as a separate electric signal. In addition, they are more common in different genres: a talk box is found in rock music due to its typical pairing with a guitar, whereas vocoders are always paired with synthesizers, as such, are ubiquitous in electronic music. In 1939, Alvino Rey, amateur radio operator W6UK, used a carbon throat microphone wired in such a way as to modulate his electric steel guitar sound; the mic developed for military pilot communications, was placed on the throat of Rey's wife Luise King, who stood behind a curtain and mouthed the words, along with the guitar lines.
The novel-sounding combination was called "Singing Guitar", employed on stage and in the movie Jam Session, as a "novelty" attraction, but was not developed further. Rey created a somewhat similar "talking" effect by manipulating the tone controls of his Fender electric guitar, but the vocal effect was less pronounced. Another early voice effect using the same principle of the throat as a filter was the Sonovox, invented by Gilbert Wright in 1939. Instead of a throat microphone modulating a guitar signal, it used small transducers attached to the performer's throat to pick up voice sounds; the Sonovox was marketed and promoted by the Wright-Sonovox company, an affiliate of the Free & Peters advertising agency. The Sonovox was used in many radio station IDs and jingles produced by JAM Creative Productions and the PAMS advertising agency of Dallas, Texas. Lucille Ball made one of her earliest film appearances during the 1930s in a Pathé Newsreel demonstrating the Sonovox; the first use in music was a score by Ernst Toch in the Paramount Picture "The Ghost Breakers", in June 1940.
The Sonovox appeared in the 1940 film You'll Find Out starring Kay Kyser and his orchestra, Bela Lugosi, Boris Karloff, Peter Lorre. Lugosi uses the Sonovox to portray the voice of a dead person during a seance; the Sonovox was used in films such as A Letter to Three Wives, The Secret Life of Walter Mitty, The Good Humor Man, the voice of Casey Junior the train in Dumbo and The Reluctant Dragon. It was heard on the piano in Sparky's Magic Piano, the airplane in Whizzer The Talking Airplane; the Sonovox was used to give the impression instruments "talking" in the children's album Rusty in Orchestraville. British rock band The Who included a piece on their 1967 album, The Who Sell Out, that consisted of the days of the week "spoken" by electric guitar chords using the Sonovox; this recording was in fact a radio jingle created by PAMS. Pete Drake, a Nashville mainstay on the pedal steel guitar, used a talk box on his 1964 album Forever, in what came to be called his "talking steel guitar"; the following year Gallant released three albums with the box, Pete Drake & His Talking Guitar, Talking Steel and Singing Strings, Talking Steel Guitar.
Drake's device consisted of an 8-inch paper cone speaker driver attached to a funnel from which a clear tube brought the sound to the performer's mouth. It was only
Find You (Zedd song)
"Find You" is a song by Russian-German musician and producer Zedd for the soundtrack for the film Divergent. It was released as the first single from the soundtrack on 26 January 2014; the song features vocals from Swedish singer Miriam Bryant and American pop singer Matthew Koma, was written by all three artists alongside Victor Radstrom, a frequent collaborator of Bryant. A lyric video was released on 30 January 2014; the song is written in the key of E♭ major, with a tempo of 128 beats per minute and a vocal range from E♭4 to E♭5. The music video for "Find You" was uploaded to YouTube on 16 March 2014; the video has over 40.4 million views as of 12 December 2017. List of number-one dance singles of 2014
Get Low (Zedd and Liam Payne song)
"Get Low" is a song by Russian-German DJ and record producer Zedd and English singer and songwriter Liam Payne. The song was written by Charles Hinshaw, Tristan Landymore and Fabienne Holloway, with production handled by Zedd, it was released on 6 July 2017, through Interscope Records. As of September 2017, "Get Low" has moved around 61,800 digital copies in the United States according to Nielsen SoundScan. In an interview with Beats 1, Zedd described the song as his definition of a summer song, has a "Drake-ish influenced sound"."We created a song that I would say is the most urban-ish influenced song I've done, it's insanely catchy and I feel like you're gonna hate it after a while because it's so catchy. I think it's a good balance between where he is going with his solo project and where I'm going with my own music, it's right in between."He described the collaboration similar to what he did with Alessia Cara for his previous single "Stay". "Without Liam, I might've never finished this song.
He pulled it towards a direction that I would not have, I love where it is." On 3 July 2017, both artists confirmed the single's release date on social media. Alongside was the single's artwork, in which a clear blue sky were featured. "Get Low" is a quick-spaced tropical dance, club-pop song that contains light percussion and a lead tropical house synth line. Amid sexually-charged lyrics, Payne talks to a potential lover over "buoyant" synths on the chorus. Writing for Billboard, Sadie Bell felt the song "takes you on a trip to paradise inspired by its house bass and fantastical production." Bell wrote that the track feels like "the soundtrack to a summer getaway," with Payne's "mature" pop performance and the song's "sultry" lyrics. Jon Blistein of Rolling Stone described the song as "sultry and snappy," and Entertainment Weekly's Nick Roman called it a "sizzling summer jam." Much's Allison Bowsher felt the duo has "a bona fide earworm on their hands," where Payne delivered sexually-charged lyrics "with attitude."
Writing for Spin, Rob Arcand called it a "stomping summer house jam sure to conquer radio airwaves near-immediately" where Payne "croons with a steady swagger bigger than any of his work with One Direction." Erin Jensen for USA Today opined although the lyrics lack "depth," the "catchy summer anthem" has a "very danceable" beat, serving as a "perfect soundtrack for a day at the pool or a night at the club." Mike Neid of Idolator criticized the lack of "a drop or some heavier bass," while Joe Anderton of Digital Spy opined the tropical-pop vibe is "not revolutionary." Official website Lyrics of this song at MetroLyrics "Get Low" on YouTube "Get Low" on YouTube "Get Low" on YouTube