Dance to the Music (song)
"Dance to the Music" is a 1967 hit single by soul/funk/rock band Sly and the Family Stone for the Epic/CBS Records label. It was the first single by the band to reach the Billboard Pop Singles Top 10, peaking at #8 and the first to popularize the band's sound, which would be emulated throughout the black music industry and dubbed "psychedelic soul", it was ranked #223 on Rolling Stone's list of the 500 Greatest Songs of All Time. None of the band members liked "Dance to the Music" when it was first recorded and released; the song, the accompanying Dance to the Music LP, were made at the insistence of CBS Records executive Clive Davis, who wanted something more commercially viable than the band's 1967 LP, A Whole New Thing. Bandleader Sly Stone crafted a formula, blending the band's distinct psychedelic rock leanings with a more pop-friendly sound; the result was what saxophonist Jerry Martini called "glorified Motown beats.'Dance to the Music' was such an unhip thing for us to do." However, "Dance to the Music" did what it was supposed to do: it launched Sly and the Family Stone into the pop consciousness.
Toned down for pop audiences, the band's radical sound caught many music fans and fellow recording artists off guard. "Dance to the Music" featured four co-lead singers, black musicians and white musicians in the same band, a distinct blend of instrumental sounds: rock guitar riffs from Sly's brother Freddie Stone, a funk bassline from Larry Graham, Greg Errico's syncopated drum track, Sly's gospel-styled organ playing, Jerry Martini and Cynthia Robinson on the horns. An unabashed party record, "Dance to the Music" opens with Robinson screaming to the audience, demanding that they "get on up...and dance to the music!" before the Stone brothers and Graham break into an a cappella scat before the song's verses begin. The actual lyrics of the song are self-referential; the song serves as a Family Stone theme song of sorts, introducing Errico and Martini by name. After calling on Robinson and Martini for their solo, Sly tells the audience that "Cynthia an' Jerry got a message that says...", which Robinson finishes: "All the squares go home!"
The Stone Brothers and Graham repeat the a cappella portion before the refrain of the repeated title is mentioned over and over with the sound of the instruments dropping out, except for the electric guitar, being played in the upper register, before the song's fade. The song mentions the line: "Ride, Ride", a lyric from the Wilson Pickett hit song "Mustang Sally". "Dance to the Music" was one of the most influential songs of the late-1960s. The Sly and the Family Stone sound became the dominating sound in African-American pop music for the next three years, many established artists, such as The Temptations and their producer Norman Whitfield, Diana Ross & the Supremes, The Impressions, The Four Tops, The 5th Dimension, War began turning out Family Stone-esque material; the Temptations' single "Cloud Nine" was inspired by "Dance to the Music" and was a top ten hit, winning a Grammy Award. "Dance to the Music" and the Family Stone singles helped lead to the development of funk music. In 1968, Sly and the Family Stone released an alternate version of "Dance to the Music" as a novelty single, under the guise The French Fries.
This recording was a French language version called "Danse à la Musique", with the group's vocals sped-up in a style similar to that of The Chipmunks. In the song "Thank You", the title is mentioned in the third verse, along with "Everyday People". Sly and the Family Stone performed a medley of "Dance to the Music" and "I Want to Take You Higher" on Soul Train on June 29, 1974. In 1980, famous Belgian electro-pop band Telex covered "Dance to the Music" for their second album, Neurovision, it is sampled by The KLF on their 1988 single "Burn the Bastards", where they chant "Jams have a party" instead of "Dance to the Music". It was performed on stage in HBO's 1981 television special The Pee-wee Herman Show; the song was covered by the Simple Minds as part of the medley "Love Song/Sun City/Dance to the Music" on their live album Live in the City of Light. "Dance for Me", a song on Queen Latifah's 1989 debut album All Hail the Queen samples "Dance to the Music". In 1998, "Dance to the Music" was admitted into the Grammy Hall of Fame.
The song is one of many covers the accordion-based comedy rock band Those Darn Accordions have performed at live shows. Billy Joel covered the song and it is featured on his live album 2000 Years: The Millennium Concert. In 2001, the DVD for the animated film Shrek added "Dance to the Music" to the additional segment "Shrek in the Swamp Karaoke Dance Party", alongside other classic songs such as "YMCA", "Like a Virgin" and "Baby Got Back"; the song was covered by Martin Lawrence in the film Black Knight. The song was featured in the 2008 Will Ferrell sports comedy Semi-Pro; the cast of the TV show Smash performed this song in the episode "The Coup". Sly Stone: vocals, Hammond organ Freddie Stone: vocals, guitar Larry Graham: vocals, bass guitar Cynthia Robinson: trumpet, vocal ad-libs Jerry Martini: saxophone Greg Errico: drums Written and produced by Sly Stone Selvin, Joel. For the Record: Sly and the Family Stone: An Oral History. New York: Quill Publishing. ISBN 0-380-79377-6
Electro (music)
Electro is a genre of electronic music and early hip hop directly influenced by the use of the Roland TR-808 drum machines, funk. Records in the genre feature drum machines and heavy electronic sounds without vocals, although if vocals are present they are delivered in a deadpan manner through electronic distortion such as vocoding and talkboxing; this is the main distinction between electro and prominent genres such as disco, in which the electronic sound was only part of the instrumentation. It palpably deviates from its predecessor boogie for being less vocal-oriented and more focused on electronic beats produced by drum machines. Following the decline of disco music in the United States, electro emerged as a fusion of funk and New York boogie. Early hip hop and rap combined with German and Japanese electropop influences such as Kraftwerk and Yellow Magic Orchestra inspired the birth of electro. In 1982, producer Arthur Baker with Afrika Bambaataa released the seminal "Planet Rock", built using samples from Kraftwerk's Trans-Europe Express and drum beats supplied by the TR-808.
Planet Rock was followed that year by another breakthrough electro record, Nunk by Warp 9. In 1983, Hashim created an electro funk sound which influenced Herbie Hancock, resulting in his hit single "Rockit"; the early 1980s were electro's mainstream peak. By the mid 1980s, the genre moved away from its electronic and funk influences, using harder edged beats and rock samples, exemplified by Run DMC. Electro became popular again in the late 1990s with artists such as Anthony Rother and DJs such as Dave Clarke. A third wave of popularity occurred in 2007. Electro has branched out into subgenres, including Electrocore and Skweee, which developed in Sweden and Finland. From its inception, one of the defining characteristics of the electro sound was the use of drum machines the Roland TR-808, as the rhythmic basis of the track; as the genre evolved and sampling replaced drum machines in electronic music, are now used by the majority of electro producers. It is important to note, that although the electro of the 1980s and contemporary electro both grew out of the dissolution of disco, they are now different genres.
Classic electro drum patterns tend to be electronic emulations of breakbeats, with a syncopated kick drum, a snare or clap accenting the backbeat. The difference between electro drumbeats and breakbeats is that electro tends to be more mechanical, while breakbeats tend to have more of a human-like feel, like that of a live drummer; the definition however is somewhat ambiguous in nature due to the various uses of the term. The Roland TR-808 drum machine hit the market in 1980, defining early electro with its recognizable sound. Staccato, percussive drumbeats tended to dominate electro exclusively provided by the TR-808; as an inexpensive way of producing a drum sound, the TR-808 caught on with the producers of early electro because of the ability of its bass drum to generate extreme low-frequencies. This aspect of the Roland TR-808 was appealing to producers who would test drive their tracks in nightclubs, where the bass drum sound was essential for a record's success, its unique percussion sounds like handclaps and closed high-hat and cowbell became integral to the electro sound.
A number of popular songs in the early 1980s employed the TR-808, including Marvin Gaye's “Sexual Healing,” Cybotron's “Clear,” and Afrika Bambaataa's “Planet Rock.” The Roland TR-808 has attained iconic status being used on more hits than any other drum machine. Through the use of samples, the Roland TR-808 remains popular in electro and other genres to the present day. Other electro instrumentation was electronic, favoring analog synthesis, programmed bass lines, sequenced or arpeggiated synthetic riffs, atonal sound effects all created with synthesizers. Heavy use of effects such as reverbs, chorus or phasers along with eerie synthetic ensemble strings or pad sounds emphasized the science fiction or futuristic themes of classic electro, represented in the lyrics and/or music. Electro hip hop group Warp 9's 1983 single, Light Years Away and written by Lotti Golden and Richard Scher, exemplifies the Sci-Fi, afrofuturist aspect of electro, reflected in both the lyrics and instrumentation; the imagery of its lyrical refrain space is the place for the human race pays homage to Sun Ra's 1974 film, while its synth lines and sound effects are informed by sci-fi, computer games, cartoons,"born of a science-fiction revival.".
Most electro is instrumental. Additionally, speech synthesis may be used to create robotic or mechanical lyrical content, as in the iconic Planet Rock and the automatous chant in the chorus of Nunk by Warp 9. Although instrumental, early electro utilized rap. Male rap dominated the genre, however female rappers are an integral part of the electro tradition, whether featured in a group as in Warp 9 or as solo performers like Roxanne Shante; the lyrical style that emerged along with electro became less popular by the 1990s, as rapping continued to evolve, becoming the domain of hip hop music. About electro origins, Greg Wilson claims: Following the decline of disco music in the late 1970s, various funk artists such as Zapp & Roger began experimenting with talk boxes and the use of heavier, more distinctive beats. Boogie played a role during the formative years of electro, notably "Feels Good" by Electra, the post-disco production "You're the One for Me" by D. Trai
On the Road Again (Canned Heat song)
"On the Road Again" is a song recorded by the American blues-rock group Canned Heat in 1967. A driving blues-rock boogie, it was adapted from earlier blues songs and includes mid-1960s psychedelic rock elements. Unlike most of Canned Heat's songs from the period, second guitarist and harmonica player Alan Wilson provides the distinctive falsetto vocal. "On the Road Again" first appeared on their second album, Boogie with Canned Heat, in January 1968. With his record company's encouragement, Chicago blues musician Floyd Jones recorded a song titled "On the Road Again" in 1953, it was a remake of his successful 1951 song "Dark Road". Both songs are based on Mississippi Delta bluesman Tommy Johnson's 1928 song "Big Road Blues". Johnson's lyrics include: "Well I ain't goin' down that big road by myself... If I don't carry you gonna carry somebody else". Jones "reshaped Tommy Johnson's verses into an eerie evocation of the Delta". In "Dark Road" he added: And in "On the Road Again" he added Both songs share a "hypnotic one-chord drone piece"-arrangement that one-time Floyd Jones musical partner Howlin' Wolf used for his songs "Crying at Daybreak" and the related "Smokestack Lightning".
"On the Road Again" was among the first songs Canned Heat recorded as demos in April 1967 at the RCA Studios in Chicago with original drummer Frank Cook. At over seven minutes in length, it has the basic elements of the album version, but is two minutes longer with more harmonica and guitar soloing. During the recording for their second album, Canned Heat recorded "On the Road Again" with new drummer Adolfo "Fito" de la Parra; the session took place September 1967, at the Liberty Records studio in Los Angeles. Alan Wilson used verses from Floyd Jones' "On the Road Again" and "Dark Road" and added some lines of his own: For the instrumental accompaniment, Canned Heat uses a "basic E/G/A blues chord pattern" or "one-chord boogie riff" adapted from John Lee Hooker's 1949 hit "Boogie Chillen'". Expanding on Jones' hypnotic drone, Wilson used an Eastern string instrument called a tambura to give the song a psychedelic ambience. Although Bob Hite was the group's primary vocalist, "On the Road" features Wilson as the singer, "utilizing his best Skip James-inspired falsetto vocal".
Wilson provides the harmonica parts. The basic riff is used again by Canned Heat on "Fried Hockey Boogie", an eleven-minute boogie by Larry Taylor which showcases the band's musicality with a series of virtuoso solo performances by members. Alan Wilson – vocal, electric guitar, tambura Henry Vestine – electric guitar Larry Taylor – bass guitar Adolfo de la Parra – drums "On the Road Again" is included on Canned Heat's second album, Boogie with Canned Heat, released January 21, 1968, by Liberty Records. After receiving strong response from airplay on American "underground" FM radio, Liberty issued the song as a single on April 24, 1968. To make the song more Top-40 AM radio-friendly, Liberty edited it from the original length of 4:55 to a 3:33 single version, it became. On the singles, Floyd Jones and Alan Wilson are listed as the composers, while the album credits Jim Oden/James Burke Oden. "On the Road Again" appears on several Canned Heat compilation albums, including Let's Work Together: The Best of Canned Heat and Uncanned!
The Best of Canned Heat. It is featured on the soundtrack to Wim Wenders 1974 film Alice in the Cities. Although songs inspired by John Lee Hooker's "Detroit-era boogie" had been recorded over the years by a variety of blues musicians, Canned Heat's "On the Road Again" popularized the guitar-boogie or E/G/A riff in the rock world; as a result, "it's been a standard rock and roll pattern since". Canned Heat used it as the starting point for several of their extended jam songs, including the 40 minute live opus "Refried Boogie" from their late 1968 Living the Blues album; when Hooker recorded an updated version of "Boogie Chillen'", titled "Boogie Chillen No. 2", with the group in 1970 for Hooker'n Heat, it had come full circle. Several other musicians have recorded "On the Road Again", including Katie Melua on her album Piece by Piece and Canadian band Sloan in a medley with the Stereolab song "Transona Five" on Recorded Live at a Sloan Party!. Footnotes Citations References Evans, David; the NPR Curious Listener's Guide to Blues.
Penguin. ISBN 978-0-399-53072-2. Gioia, Ted. Delta Blues. W. W. Norton. ISBN 978-0-393-33750-1. Koda, Cub. Erlewine, Michael, ed. All Music Guide to the Blues. Miller Freeman Books. ISBN 0-87930-424-3. Murray, Charles Shaar. Boogie Man: The Adventures of John Lee Hooker in the American Twentieth Century. Macmillan. ISBN 978-0-312-27006-3. Palmer, Robert. Deep Blues. Penguin Books. ISBN 0-14-006223-8. Rowe, Mike. Blues Is Killing Me. Various artists. Paula Records. PCD-19. Russo, Greg. Uncanned! The Best of Canned Heat. Canned Heat. EMI/Liberty. 7243 8 29165 2 9. Lyrics of this song at MetroLyrics
Sparks (band)
Sparks is an American pop rock band formed in Los Angeles in 1972 by brothers Ron and Russell Mael. The duo formed in 1968 under the name Halfnelson. Known for their quirky approach to songwriting, Sparks' music is accompanied by intelligent and acerbic lyrics, an idiosyncratic, theatrical stage presence, typified in the contrast between Russell's animated, hyperactive frontman antics and Ron's deadpan scowling, they are noted for Russell's distinctive wide-ranging voice and Ron's intricate and rhythmic keyboard playing style. While achieving chart success in various countries around the world including the United Kingdom, France and the United States, they have enjoyed a cult following since their first releases. During the late 1970s, when in collaboration with Giorgio Moroder, Sparks reinvented themselves as a new wave/synth-pop band, abandoned the traditional rock band line-up, their changing styles and visual presentations have kept the band at the forefront of modern, artful pop music.
The 2002 release of Lil' Beethoven, their "genre-defying opus", as well as the more recent albums Hello Young Lovers, Exotic Creatures of the Deep, their latest fantasy musical The Seduction of Ingmar Bergman have brought Sparks renewed critical and commercial success, seen them continue to "steer clear of pop conventions." The band released an album with Scottish indie rock band Franz Ferdinand, as the supergroup FFS, titled FFS, released in 2015. In 2017, Sparks released Hippopotamus. 7, marking Sparks' first UK top-ten appearance in over 40 years. Sparks are best known for the songs "This Town Ain't Big Enough for Both of Us", which reached No. 2 on the UK Singles Chart in 1974. Brothers Ron and Russell Mael grew up in Pacific Palisades, in western Los Angeles County, during the "Golden Age" of the LA club scene, with the Doors and the Standells playing the Whisky a Go Go on Sunset Strip and the Beach Boys playing the afternoon event Teenage Fair. Both Ron and Russell Mael are seen in the audience during the Ronettes' section of the concert film The Big T.
N. T. Show, filmed in 1966. Both attended Ron studying cinema and graphic art, Russell theatre arts and filmmaking. Detesting the folk music scene, which they considered "cerebral and sedate and we had no time for that", they developed a particular taste in English bands of the time such as the Who, Syd Barrett's Pink Floyd, the Kinks and the Move, which led to their description of themselves as "Anglophiles", their first recordings were made under the name of "Urban Renewal Project", on January 14, 1967 at the Fidelity Recording Studios in Hollywood. Four tracks were recorded with married couple Fred and Ronna Frank, who were close friends of the Maels at the time; the songs were pressed on two acetates and have never been released, apart from the track "Computer Girl", featured on a CD included with the Japanese semi-biography from 2006. The other three tracks were entitled "The Windmill", "A Quick Thought" and "As You Like It". Of all four songs, "Computer Girl" was the least traditional. Forming Halfnelson in 1968, they soon came to the attention of producer Todd Rundgren, at whose urging Albert Grossman signed the band to his Bearsville record label.
Their eponymous debut album – with the line-up consisting of college friend Earle Mankey on guitar, Mankey's brother James on bass, Harley Feinstein on drums and Rundgren producing – sold poorly, but after switching labels to Warner Bros. Records and renaming themselves Sparks, a play on the Marx Brothers, the re-issued debut spawned the minor regional hit "Wonder Girl", their follow-up album, A Woofer in Tweeter's Clothing, led to a tour of the United Kingdom, including a residency at the Marquee Club in London, These London appearances helped them to secure a significant cult following. Relocating to England in 1973 with a new manager, John Hewlett, founder of John's Children, a deal from Island Records, thanks in part to the exposure garnered by their BBC Two Whistle Test performance, they placed an ad in music weekly Melody Maker and through this hired Martin Gordon. With Adrian Fisher on guitar and Norman "Dinky" Diamond on drums, in the midst of power cuts and a threatened vinyl shortage, they recorded their breakthrough Kimono My House in 1974, scoring a No. 2 hit with the single "This Town Ain't Big Enough for Both of Us", despite Elton John betting producer Muff Winwood that the song would not break into the charts.
Sparks became a UK teen sensation appearing on the cover of Melody Maker, Record Mirror and countless other pop magazines in the UK and Europe. Hits such as "This Town Ain't Big Enough for Both of Us", "Amateur Hour" and "Never Turn Your Back on Mother Earth" led to many appearances on the BBC's flagship music show Top of the Pops. Russell's hyperactive movements were in sharp contrast to the keyboard-bound, soberly dressed Ron's expressionless squint and Charlie Chaplin-esque moustache. Gordon and Fisher were replaced by Trevor White and Ian Hampton. In 1975, the revised band returned to the US to tour supporting the Kimono and Propaganda albums which had gained strong
Cover version
In popular music, a cover version, cover song, revival, or cover, is a new performance or recording by someone other than the original artist or composer of a recorded, commercially released song. Before the onset of rock'n' roll in the 1950s, songs were published and several records of a song might be brought out by singers of the day, each giving it their individual treatment. Cover versions could be released as an effort to revive the song's popularity among younger generations of listeners after the popularity of the original version has long since declined over the years. On occasion, a cover can become more popular than the original, such as Elvis Presley's version of Carl Perkins' original "Blue Suede Shoes", Santana's 1970 version of Peter Green's and Fleetwood Mac's 1968 "Black Magic Woman", Johnny Cash's version of Nine Inch Nails' "Hurt", Whitney Houston's versions of Dolly Parton's "I Will Always Love You" and of George Benson's "The Greatest Love of All", Glenn Medeiros's version of George Benson's "Nothing's Gonna Change My Love for You" or Jimi Hendrix's version of Bob Dylan's "All Along the Watchtower".
The Hendrix recording, released six months after Dylan's original, became a Top 10 single in the UK in 1968 and was ranked 48th in Rolling Stone magazine's 500 Greatest Songs of All Time. Another famous example is the Beatles' cover of "Twist and Shout" by the Top Notes, their cover of the song, "Til There Was You", by Meredith Willson, among many others; the term "cover" goes back decades when cover version described a rival version of a tune recorded to compete with the released version. The Chicago Tribune described the term in 1952: "trade jargon meaning to record a tune that looks like a potential hit on someone else's label". Examples of records covered include Paul Williams' 1949 hit tune "The Hucklebuck" and Hank Williams' 1952 song "Jambalaya". Both had numerous hit versions. Before the mid-20th century, the notion of an original version of a popular tune would have seemed odd – the production of musical entertainment was seen as a live event if it was reproduced at home via a copy of the sheet music, learned by heart or captured on a gramophone record.
In fact, one of the principal objects of publishing sheet music was to have a composition performed by as many artists as possible. In previous generations, some artists made successful careers of presenting revivals or reworkings of once-popular tunes out of doing contemporary cover versions of current hits. Musicians now play what they call "cover versions" of songs as a tribute to the original performer or group. Using familiar material is an important method of learning music styles; until the mid-1960s most albums, or long playing records, contained a large number of evergreens or standards to present a fuller range of the artist's abilities and style. Artists might perform interpretations of a favorite artist's hit tunes for the simple pleasure of playing a familiar song or collection of tunes. A cover band plays such "cover versions" exclusively. Today three broad types of entertainers depend on cover versions for their principal repertoire: Tribute acts or bands are performers who make a living by recreating the music of one particular artist or band.
Bands such as Björn Again, Led Zepagain, The Fab Four, Australian Pink Floyd Show, The Iron Maidens and Glory Days are dedicated to playing the music of ABBA, Led Zeppelin, The Beatles, Pink Floyd, Iron Maiden and Bruce Springsteen respectively. Some tribute acts salute the Who, many other classic rock acts. Many tribute acts target artists who remain popular but no longer perform, allowing an audience to experience the "next best thing" to the original act; the formation of tribute acts is proportional to the enduring popularity of the original act. Many tribute bands attempt to recreate another band's music as faithfully as possible, but some such bands introduce a twist. Dread Zeppelin performs reggae versions of the Zeppelin catalog and Beatallica creates heavy metal fusions of songs by the Beatles and Metallica. There are situations in which a member of a tribute band will go on to greater success, sometimes with the original act they tribute. One notable example is Tim "Ripper" Owens who, once the lead singer of Judas Priest tribute band British Steel, went on to join Judas Priest himself.
Cover acts or bands are entertainers who perform a broad variety of crowd-pleasing cover songs for audiences who enjoy the familiarity of hit songs. Such bands draw from current Top 40 hits and/or those of previous decades to provide nostalgic entertainment in bars, on cruise ships and at such events as weddings, family celebrations and corporate functions. Since the advent of inexpensive computers, some cover bands use a computerized catalog of songs, so that the singer can have the lyrics to a song displayed on a computer screen; the use of a screen for lyrics as a memory aid can increase the number of songs a singer can perform. Revivalist artists or bands are performers who are inspired by an entire genre of music and dedicate themselves to curating and recreating the genre and introducing it to younger audiences who have not experienced that music first hand. Unlike tribute bands and cover bands who rely on audiences seeking a nostalgic experience, revivalist bands seek new young audiences for whom the music is fresh and has no nostalgic value.
For example, Sha Na Na
House music
House music is a genre of electronic dance music created by club DJs and music producers in Chicago in the early 1980s. Early house music was characterized by repetitive 4/4 beats, rhythms provided by drum machines, off-beat hi-hat cymbals, synthesized basslines. While house displayed several characteristics similar to disco music, which preceded and influenced it, as both were DJ and record producer-created dance music, house was more electronic and minimalistic; the mechanical, repetitive rhythm of house was one of its main components. Many house compositions were instrumental, with no vocals. House music developed in Chicago's underground dance club culture in the early 1980s, as DJs from the subculture began altering the pop-like disco dance tracks to give them a more mechanical beat and deeper basslines; as well, these DJs began to mix synth pop, rap and jazz into their tracks. Latin music salsa clave rhythm, became a dominating riff of house music, it was pioneered by Chicago DJs such as Steve Hurley.
It was influenced by Chicago DJ and record producer Frankie Knuckles, the Chicago acid-house electronic music group Phuture, the Tennessee DJ/producer Mr. Fingers; the genre was associated with the Black American LGBT subculture but has since spread to the mainstream. From its beginnings in the Chicago club and local radio scene, the genre spread internationally to London to American cities such as New York City and Detroit, globally. Chicago house music acts from the early to mid-1980s found success on the US dance charts on various Chicago independent record labels that were more open to sign local house music artists; these same acts experienced some success in the United Kingdom, garnering hits in that country. Due to this success, by the late 1980s, Chicago house music acts found themselves being offered major label deals. House music proved to be a commercially successful genre and a more mainstream pop-based variation grew popular. Since the early to mid-1990s, house music has been infused into mainstream pop and dance music worldwide.
In the 2010s, the genre, while keeping several of its core elements, notably the prominent kick drum on most beats, varies in style and influence, ranging from soulful and atmospheric to the more minimalistic microhouse. House music has fused with several other genres creating fusion subgenres, such as euro house, tech house, electro house and jump house. One subgenre, acid house, was based around the squelchy, deep electronic tones created by Roland's TB-303 bass synthesizer. Major acts such as Madonna, Janet Jackson, Paula Abdul, Martha Wash, CeCe Peniston, Robin S. Steps, Kylie Minogue, Björk, C+C Music Factory were influenced by House music in the 1990s and beyond. After enjoying significant success which started in the late 1980s, house music grew larger during the second wave of progressive house; the genre has remained popular and fused into other popular subgenres, notably ghetto house, deep house, future house and tech house. As of today, house music remains popular on radio and in clubs while retaining a foothold on the underground scenes across the globe.
House music is created by DJs, record producers, music artists with contributions from other performers on synthesizer and other electronic instruments. The structure of house music songs involves an intro, a chorus, various verse sections, a midsection and an outro; some songs do not have a verse, repeating the same cycle. The drum beat is one of the more important elements within the genre and is always provided by an electronic drum machine Roland's TR-808 or TR-909, rather than by a live drummer; the drum beats of house are "four on the floor", with bass drums played on every beat and they feature off-beat drum machine hi-hat sounds. House music is based on bass-heavy loops or basslines produced by a synthesizer and/or from samples of disco or funk songs. One subgenre, acid house, was based around the squelchy, deep electronic tones created by Roland's TB-303 bass synthesizer; the tempo of most house songs is between 115 BPM and 132 BPM. Various disco songs incorporated sounds produced with synthesizers and electronic drum machines, some compositions were electronic.
As well, the audio mixing and editing techniques earlier explored by disco, garage music and post-disco DJs, record producers, audio engineers such as Walter Gibbons, Tom Moulton, Jim Burgess, Larry Levan, Ron Hardy, M & M, others was important. These artists produced longer, more repetitive, percussive arrangements of existing disco recordings. Early house producers such as Frankie Knuckles created similar compositions from scratch, using samplers, synthesizers and drum machines; the electronic instrumentation and minimal arrangement of Charanjit Singh's Synthesizing: Ten Ragas to a Disco Beat, an album of Indian ragas performed in a disco style, anticipated the sounds of acid house music, but it is not known to have had any influence on the genre prior to the album's rediscovery in the 21st century. Rachel Cain, co-founder of influential dance label Trax Records, was involved in the burgeoning punk scene. Ca
