French
DeutschGarage house
| Garage house | |
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| Other names |
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| Stylistic origins | |
| Cultural origins | 1985,[1] New York City and Newark, New Jersey, United States |
| Typical instruments | |
| Derivative forms | |
| Other topics | |
Garage house (originally known as "garage";[2] local terms include "New York house"[3] and New Jersey sound) is a dance music style[4] that was developed alongside Chicago house music.[5] The genre was popular in the 1980s in the United States and the 1990s in the United Kingdom, where it developed into UK garage and speed garage.[6]
Characteristics
[edit]In comparison to other forms of house music, garage includes more gospel-influenced piano riffs and female vocals.[6] It has a more soulful R&B-derived sound than Chicago house.[4]
History
[edit]Garage house was developed in the Paradise Garage nightclub in New York City and Club Zanzibar in Newark, New Jersey, United States, during the early-to-mid 1980s. There was much overlap between it and early house music, making it difficult to tell the two apart.[7] It predates the development of Chicago house,[1] and according to All Music, is relatively closer to disco than other dance styles.[4] As Chicago house gained international popularity, New York's garage music scene was distinguished from the "house" umbrella.[4]
Dance music of the 1980s made use of electronic instruments such as synthesizers, sequencers and drum machines. These instruments are an essential part of garage music.[8] The direction of garage music was primarily influenced by the New York City discothèque Paradise Garage where the influential DJ Larry Levan,[9] known for his musical versatility and innovation, played records.
According to Blues & Soul, contemporary garage music started with Boyd Jarvis and Levan's The Peech Boys.[10] Jarvis, using the Visual moniker, was behind 1983 recordings "Somehow, Someway" (Prelude Records – PRL D 650) and "The Music Got Me" (Prelude Records – PRL D 650), the latter especially influential,[10] which later was sampled by mainstream house music record producers Robert Clivillés and David Cole of C+C Music Factory.[11][12]
The popularity of the genre in the UK gave birth to a derivative genre called UK garage.[6]
See also
[edit]References
[edit]- ^ a b "Gwen Guthrie – Padlock (Cassette)". Discogs. 1985. Retrieved 28 March 2021.
- ^ Richler, Howard (1999). A Bawdy Language: How a Second-rate Language Slept Its Way to the Top. Stoddart. p. 22. ISBN 978-0-7737-3186-8.
- ^ Earl, David (2012). LMMS: A Complete Guide to Dance Music Production Beginner's Guide. Packt Publishing Ltd. ISBN 978-1-84951-705-8.
- ^ a b c d "Garage at Allmusic". Rovi Corporation. Retrieved 2011-08-27.
- ^ Saunders, Jesse (Nov 1, 2007). House Music: The Real Story. SandlerComm. p. 118. ISBN 9781604740011.
"However, New York did not truly develop a recognized House music scene of its own until 1988 with the success of DJ Todd Terry—not until then did they understand what House music truly was all about. They did, though, have Garage.
- ^ a b c Verderosa, Tony (2002). The techno primer: the essential reference for loop-based music styles. U.S.: Hal Leonard Corporation, 2002. p. 36. ISBN 0634017888.
- ^ Simpson, Paul (2003). The rough guide to cult pop. U.S.: Rough Guides, 2003. p. 42. ISBN 1843532298.
- ^ Ann Dupuis, Anne De Bruin (2003). Entrepreneurship: new perspectives in a global age. U.S.: Ashgate Publishing, Ltd., 2003. p. 79. ISBN 0754631982.
- ^ Sylvan, Robin (2002). Traces of the spirit: the religious dimensions of popular music. U.S.: NYU Press. p. 120. ISBN 0814798098.
- ^ a b "untitled". Blues & Soul (526–537). Napfield Ltd., the University of Virginia '(originally)'. 1988.
[...] term as garage music now started about five years ago with the first Boyd Jarvis records and the group Visual who did the songs "Somehow, Someway" and "The Music Got Me"
- ^ Jarvis v. A & M Records 827 F. Supp. 282 (D.N.J. 1993) UCLA Archived 2012-04-15 at the Wayback Machine
- ^ Anonymous, (West Publishing Company) (1993). West's federal supplement. U.S.: West Pub. Co., 1993, West Publishing Company. p. 299.