Eurodance

Template:Short description Template:Distinguish Template:Use dmy dates {{#invoke:Infobox|infobox}}Template:Template other{{#invoke:Check for unknown parameters|check|unknown=Template:Main other|preview=Page using Template:Infobox music genre with unknown parameter "_VALUE_"|ignoreblank=y| alt | caption | cultural_origins | current_year | current_year_override | current_year_title | derivatives | etymology | footnotes | fusiongenres | image | image_size | instruments | local_scenes | name | native_name | native_name_lang | other_names | other_topics | regional_scenes | stylistic_origins | subgenrelist | subgenres |showblankpositional=1}} Eurodance (sometimes referred to as Euro-NRG) is a genre of electronic dance music that originated in the late 1980s in Europe. It combines many elements of rap, techno and Eurodisco.<ref name="allmusic guide"/> This genre of music is heavily influenced by the use of rich vocals, sometimes with rapped verses. This, combined with cutting-edge synthesizers, strong bass rhythm and melodic hooks, establishes the core foundation of Eurodance music.<ref name="allmusic guide"/>

History

Background

Eurodance music originated in the late 1980s in central Europe, especially in Germany, where rave parties were becoming popular. By 1987, a German party scene was started, based on the well established Chicago house sound and Belgian new beat. The following year saw acid house making a significant impact on popular consciousness in Germany and central Europe as it had in England.<ref>Short excerpt from special on German "Tele 5" from 8 December 1988. The show is called "Tanzhouse" hosted by a young Fred Kogel. It includes footage from Hamburg's "Front" with Boris Dlugosch, Kemal Kurum's "Opera House" and the "Prinzenbar". Template:Webarchive</ref> In 1989, German DJs Westbam and Dr. Motte established the Ufo Club, an illegal party venue, and co-founded the Love Parade.<ref name=ROBB>Robb, D. (2002), Techno in Germany: Its Musical Origins and Cultural Relevance, German as a Foreign Language Journal, No.2, 2002, (p. 134).</ref> The parade first occurred in July 1989, when 150 people took to the streets in Berlin.<ref name=Borneman>John Borneman & Stefan Senders, "Politics without a Head: Is the "Love Parade" a New Form of Political Identification?" Cultural Anthropology J5(2) 294-31, American Anthropological Association. 2000</ref> It was conceived as a political demonstration for peace and international understanding through love and music.<ref name=Borneman/> On 19 July 1989, Black Box's single "Ride on Time" was released. The song spent six weeks at No. 1 in the United Kingdom and it was the UK's best-selling single of 1989.<ref name="BSS">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It contained the Korg M1's "house piano"<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> which can be found in many Eurodance releases. On 27 September 1989, Technotronic's single "Pump Up the Jam" was released. It reached number one in Belgium<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and Spain,<ref name="SP">Template:Cite book</ref> and it popularised the house variant called hip house in Europe.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> On 9 November 1989, the Berlin Wall fell; free underground techno parties mushroomed in East Berlin, and a rave scene comparable to that in the UK was established.<ref name="ROBB" /> East German DJ Paul van Dyk has remarked that the techno-based rave scene was a major force in re-establishing social connections between East and West Germany during the unification period.<ref>Messmer, S. (1998), Eierkuchensozialismus, TAZ, 10 July 1998, (p. 26).</ref> In the same year, German producers Michael Münzing and Luca Anzilotti (under the pseudonyms Benito Benites and John "Virgo" Garrett III) formed the Snap! project in Frankfurt. Snap! songs combined imported hip hop and soul vocals adding rhythm by using computer technology and mixing electronic sounds, bass and drums, mainly house music. By doing so a new genre was born: Eurodance.<ref>Template:Cite news</ref>

Rise and fall

Snap!'s first single, "The Power", released in 1990, reached number one in the Netherlands,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Spain, Switzerland<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and the United Kingdom,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and it helped to raise awareness of the genre within Europe. In the following years, other Eurodance acts formed in Frankfurt, including Jam and Spoon, Intermission and Culture Beat. After the breakthrough single "Rhythm is a Dancer" by Snap! in 1992 (number 1 in 12 countries),<ref name="lescharts.com: SNAP!-Rhythm Is a Dancer (Chanson)">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Israel Top-30: 1 week at No. 1 (07.07.92)</ref><ref>Template:Cite magazine</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite book</ref><ref name="Official Charts Company: Snap!">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>* Zimbabwe. Kimberley, C. Zimbabwe: singles chart book. Harare: C. Kimberley, 2000</ref> new groups started to appear all over Europe, mainly in Belgium, the Netherlands and Italy. From 1992 until the genre's decline in popularity after 1995, the sound became increasingly NRG-oriented, leading to songs raising in beats per minute up to 150. Some of the genre's defining songs in this period, dubbed as the "golden era" of Eurodance, are "It's My Life" by Dr. Alban in 1992 (number 1 in 8 countries),<ref>Template:Cite magazine</ref> "No Limit" by Dutch group 2 Unlimited in 1993 (number 1 in 14 countries, it was Europe's biggest-selling song for 1993),<ref name="Europe">Template:Cite magazine</ref><ref>Template:Cite book</ref><ref name="HOW">Template:Cite magazine</ref> "What Is Love" by Haddaway in the same year (number 1 in 13 countries),<ref>Template:Cite magazine</ref><ref>Template:Cite book</ref><ref>Template:Cite magazine</ref><ref name="SP"/><ref name="Kimberley 2000">Template:Cite book</ref> "Mr. Vain" by Culture Beat also in the same year (number 1 in 13 countries),<ref>Template:Cite magazine</ref><ref>Template:Cite book</ref><ref name="Kimberley 2000"/> "Cotton Eye Joe" by Rednex in 1994 (number 1 in 12 countries)<ref>Template:Cite magazine</ref><ref name="FIN">Template:Cite book</ref><ref name="Dutch">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and "Scatman (Ski-Ba-Bop-Ba-Dop-Bop)" by Scatman John in the same year (number 1 in 9 countries).<ref>Template:Cite magazine</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="Lescharts">"Scatman (Ski Ba Bop Ba Dop Bop)", in various singles charts Lescharts.com Template:Webarchive (Retrieved 6 February 2008)</ref><ref>Irish Single Chart Irishcharts.ie Template:Webarchive (Retrieved 7 April 2008)</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In the same period, the genre's popularity also expanded further to East Asia, in nations such as Japan, South Korea and Taiwan; towards the end of the golden era also in Russia.Template:Citation needed

By 1995, Eurodance dominated European charts with 5 singles in the top 10 of the singles charts. Despite its success, many observers within the music industry said that the Eurodance sound had to change or die, and Eurodance producers and singers started to follow different paths and different sounds, such as happy hardcore and house music,<ref name="Billboard">Template:Cite magazine</ref> but not all the groups followed this trend immediately. Notably, the group 2 Unlimited wanted to remain within Eurodance sounds in order to remain chartbusters, although the producer De Coster predicted a retreat from a pop-like to a more club-like sound.<ref name="2 Unlimited - Billboard">Template:Cite magazine</ref> After a string of successful Eurodance hits, the producer Nosie Katzmann called angrily the record label because one of the songs dropped at number 26 in the German charts.<ref>Pump Up the Jam: Heroes of Eurodance (2014) - documentary</ref> Therefore, in the second half of the decade the popularity of Eurodance started to decline. "Scatman's World" by Scatman John was the last major hit of the original Eurodance sound in the Eurochart Hot 100, being number 1 for 3 weeks between late August and early September 1995.Template:Citation needed Just before that, La Bouche released "Be My Lover", which has sold six million copies worldwide to date.

In the late 1990s, the classic Eurodance sound gradually morphed into progressive house.<ref name="wiph">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Notable examples of successful Eurodance songs of this era are "Coco Jamboo" by German band Mr. President in 1996,<ref>"Coco Jamboo", in various Singles Chart Lescharts.com Template:Webarchive</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> "Freed from Desire" and "Let a Boy Cry" by Italian singer Gala, "This is Your Night" by Amber and "Bailando" by Paradisio in the same year,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite magazine</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> "Barbie Girl" by Danish-Norwegian group Aqua in 1997,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> "Boom, Boom, Boom, Boom!!" by Dutch group Vengaboys in 1998,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite magazine</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> "Blue (Da Ba Dee)" by Italian group Eiffel 65 in 1999<ref>Template:Cite news</ref><ref>Template:Cite magazine</ref> and "Around the World (La La La La La)" by German group ATC in 2000.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>Template:Cite magazine</ref> Basshunter, Scooter and Cascada saw significant success during the 2000s,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> however, by the early 2010s, popularity waned, and by about 2012, Eurodance music disappeared almost completely from the majority of European radio airplay.Template:Citation needed

Amid 2024, an influx of videos on social media platforms would be uploaded under the guise of far-right propaganda, using snippets taken from songs of the genre. This primarily adheres to TikTok.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Definition

The term "Eurodance" gradually became associated with a specific style of European dance music. In 1990, the first mention of the Eurodance word appeared as a possible dance genre raising from economic union and commercial co-production.<ref>Template:Cite book</ref> While in 1991 the genre blended with hip hop,<ref>Template:Cite book</ref> by 1993 American press started to use the term Eurodance for the dance records imported from Europe, such as U96's album "Replugged",<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and by 1994 it referred to an NRG-based genre which included a solo vocalist or a rapper/vocalist duet.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Characteristics of the music

Most Eurodance is characterized by synthesizer riffs, one or more vocals with simple chorus, one or more rap parts, sampling and a drum machine clap beat.<ref name="allmusic guide">Template:Cite book</ref><ref name="eurodom">Template:Cite magazine</ref> Sometimes non-rap vocals are used.<ref name="eurodom"/>

Eurodance often carries a positive, upbeat attitude; the lyrics usually involve issues of love and peace, dancing and partying, or expressing and overcoming difficult emotions. The early to mid-1990s Eurodance vocals were frequently done by a solo vocalist or a mixed rapper-vocalist duet such as the male–female duets of 2 Unlimited, La Bouche and Magic Affair.<ref name="eurodom"/><ref name="S3">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Many groups used variations of the rapper-vocalist theme, such as a German rapper with American singers (Real McCoy), or the use of reggae rap as in Ice MC and Fun Factory, or combination of rapper and reggae vocalist like in the Life in the Streets album, or scat singing as in Scatman John.<ref name="eurodom"/> Solo singing artists such as Alexia, Whigfield and DJ BoBo also contributed to the genre. Some acts like the Swedish dance-pop originated group Ace of Base use more pop vocals rather than rap/soul vocals along with Eurodance sound.<ref>Template:Cite news</ref><ref name="BS">Template:Cite journal</ref> Pop vocals were particularly popular in the late 1990s Eurodance productions. The Swedish group Rednex also introduced American country music elements into the sound.<ref name="Rednex">Template:Cite magazine</ref>

Eurodance lyrics are almost always sung in English, regardless of the artist's nationalities.<ref name="eurodom"/> However, there are cases like in the Belgian group's Paradisio where Spanish lyrics are used along with latin music elements.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Almost all Eurodance emphasizes percussion and rhythm. The tempo is typically around 140 beats per minute, but may vary from 110 to 150.<ref name="eurodom"/><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Most Eurodance is very melody-driven. Most Eurodance songs are in minor keys, similarly to techno. This, along with positive lyrics, helps contribute to the overall powerful and emotional sound of Eurodance.<ref name="allmusic guide"/> Besides the contribution of the female or male vocals, there is often a noticeable use of rapid synthesizer arpeggios.<ref name="allmusic guide"/>

Music videos

Eurodance music videos were often seen with dance acts by the main vocals of the songs (or models ad-libbing), often dancing in bright-coloured infinity cove studios or wide, urban spaces (stations, parking garages) with high visual contrast, or in empty nature scenes.

Electronicbeats describes the cliché Eurodance music video as having "strobe-lit rave scenes, pixelated ‘90s computer graphics and, of course, an urban montage: cue the subway stations, streetlights and business commuters". "Pump up the JamTemplate:"'s music video is described as having a "colour scheme of brilliant reds, greens and purples in a staggering array of chequered backdrops [...] [It is] a great insight tot the power of music videos on party wardrobes".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Bright, sometimes over-saturated colour schemes were used, with contemporary party clothing or outfits referring to space-age, with videos that were fully or in part using computer-generated imagery elements and effects. Large, sometimes digitally multiplied, dance troupes also frequently featured.

As the music is largely electronically generated, shots of artists in studios or playing at concerts, frequent in videos of other genres, were infrequent.

Popularity

In Europe

File:Pandora (artist).JPG

Pandora in Karlstad, Sweden, in 2004

From the early to mid-1990s, Eurodance was popular in Europe; the style received extensive airplay on radio stations and television shows, resulting in many singles appearing in the charts. Technotronic from Belgium had hits with "Pump Up the Jam" and "Get Up" (featuring Ya Kid K).<ref>TECHNOTRONIC full Official Chart History Template:Webarchive Retrieved 5 July 2022</ref> In Italy, there were seven singles in the top ten of the chart at the end of May 1995.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> At the height of the popularity of the genre, it influenced other musical genres such as Mákina in Spain and disco polo in Poland, and it spearheaded the birth of the regional variant Italo dance in Italy.

By 1996, the popularity of this genre had started to decline. From then, the classic Eurodance sound gradually morphed into progressive house.<ref name="wiph"/> By 1997 and towards the end of the millennium house and trance music increased popularity over Eurodance in Europe's commercial, chart-oriented dance records.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="AMProgTrance">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In the early 2000s, the mainstream music industry in Europe moved away from Eurodance in favour of other styles of dance music such as nu-disco, electro house, dance-pop and R&B.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

United Kingdom

After Cappella's Gianfranco Bortolotti set up Media Records in Brescia, northern Italy<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> to release his 'commercial European dance music' (a set-up which included fifteen studios featuring various production teams working almost non-stop on a huge number of records) he decided to take the label into other markets and set up a UK office in the UK. Run by Peter Pritchard and featuring many records by Stu Allan's British Eurodance act Clock,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> this record company would eventually turn into hard house label Nukleuz (known for its DJ Nation releases).<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

As Media turned into Nukleuz, it would fall to All Around the World Productions to be the label in the 21st Century which was more likely to release Eurodance tracks in the UK than other, with its Clubland TV music channel still having regular blocks of Eurodance videos in 2020<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> (though extending its scope to include hits by David Guetta as well as Cascada and Scooter)

North America

Canada

During the 1990s, Eurodance became popular in Canada, which produced its own variant called Candance (although it was mostly referred to as "Eurodance" or "dance music").<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Eurodance received significant airplay on radio stations in the Greater Toronto Area such as Power 88.5, Energy 108 and Hot 103.5. Montreal was also a major Eurodance market, with MC Mario's famous radio show on Mix 96, called Party Mix and Bouge de là, a popular TV show on MusiquePlus. Eurodance featured prominently on Electric Circus, a dance-party TV show broadcast nationally in English and French versions.<ref>Template:Cite news</ref> Beginning in mid-1992, Eurodance began to dominate the RPM dance chart in Canada, with acts such as 2 Unlimited, Snap!, Captain Hollywood Project, Culture Beat, Haddaway, Whigfield, each reaching number-one.

From approximately 1992 to 2000, Canadian acts such as Capital Sound, Love Inc., Jacynthe and Emjay had success with the Eurodance sound. The Toronto sound was more pop-oriented, while the Montreal one was more house-oriented.

United States

While Eurodance is well known in major metropolitan areas such as New York City, Los Angeles, Chicago, and Miami, Eurodance did not make as big of an impact in the rest of the country. Exemplifying this is the Eurodance classic "Scatman (Ski-Ba-Bop-Ba-Dop-Bop)", by Scatman John, an American artist; despite topping the charts in multiple European countries and reaching number 3 in the United Kingdom, it only reached as high as "number 60" on the US Hot 100.<ref>Billboard [{{#ifeq: yes | yes | https://www.allmusic.com/artist/p168223/charts-awards/billboard-singles{{

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}} Allmusic.com] (Retrieved 9 July 2014)</ref> Another notable example is the Life in the Streets album, a combined Eurodance music project from American rapper Marky Mark and Caribbean reggae vocalist Prince Ital Joe, which was not released in the United States, but was a huge success in several European countries including singles like "Happy People" and "United" that topped the German charts.<ref>Template:Cite news</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

A few Eurodance artists including 2 Unlimited, Haddaway, La Bouche and Ace of Base made the Rhythmic Top 40, Top 40 Mainstream and the Billboard Hot 100 during the early to mid-1990s. However, the sound tended to be more house and the rap-oriented artists received airplay. For instance, the German hip-house project Snap!, the Belgian hip-house project Technotronic and the Dutch techno dance project L.A. Style received quite a bit of airplay early on.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

The more Hi-NRG-oriented artists were typically played only during special "mix" shows, and it was often necessary to go to a club to hear Eurodance music. While Eurodance did become popular with club DJs in the United States, radio stations were cautious about playing anything that sounded too much like disco during most of the 1980s and 1990s. By the end of the 1990s, however, some of the later acts such as Italian group Eiffel 65 and Danish group Aqua did receive extensive airplay.

Despite lack of widespread radio play, many Hi-NRG and Eurodance songs are popular at professional sporting events in the United States, especially ice hockey and basketball.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Compilation albums, such as the DMA Dance: Eurodance series of compilation albums (1995–1997) from Interhit Records and Dance Music Authority magazine, were popular and helped to define the genre as well as to make it accessible in the U.S. and Canada.<ref>Template:Cite journal</ref>

Hands up

Hands up (also known as handz up! (stylized as HandzUp!) or dancecore in Eastern Europe) is a style of trance music, and a derivation of Eurodance. The genre comes from its name, meaning music that requires listeners to "put their hands up", as well as fitness and danceability.

The genre developed in Germany in the mid- to late 1990s as part of the emerging trance music scene. Representatives of Eurodance such as Starsplash and Mark 'Oh are sometimes regarded as forerunners of hands up. The biggest commercial success was the music until the mid-2000s.Template:Clarify

The synthesizer melodies are often catchy and simple. Often the vocal melody is accompanied by a synthesizer. In contrast to techno, short, high-pitched synthesizer tones are used. Hands up does not rely on the structure of tension build-up, but rather is based on the typical verse-chorus pop music scheme. The main elements are the bassline, drums and a catchy lead sound. A typical stylistic device of hands up is pitched female or resulting feminine vocals, but male vocals are also common. In addition, distorted, autotuned, chopped and repeated spoken phrases are common characteristics.

DJs & groups such as Manian, Rob Mayth, Rocco & Bass-T, DJ Gollum, Scooter, ItaloBrothers, Klubbingman, Discotronic, Ma.Bra., and Megastylez etc. are representative figures of this subgenre in both Germany and around the world.

See also

• Reggae fusion (Euro reggae)
• List of Eurodance artists
• List of Eurodance songs

External links

• EuroDanceHits.com
• Eurodance Magazine
• The Eurodance Encyclopedia, by Karine Sanche

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