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Garage house

Subgenre of house music

Summary

Subgenre of house music

Field	Value
name	Garage house
other_names	* Garage
stylistic_origins
cultural_origins	1985, New York City and Newark, New Jersey, United States
instruments
derivatives
fusiongenres	Italo house
other_topics

Garage music
New York house
New Jersey sound
New Jersey house

Garage house (originally known as "garage"; local terms include "New York house" and New Jersey sound) is a dance music style that was developed alongside Chicago house music. 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.

Characteristics

In comparison to other forms of house music, garage includes more gospel-influenced piano riffs and female vocals. It has a more soulful R&B-derived sound than Chicago house.

History

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. It predates the development of Chicago house, and according to All Music, is relatively closer to disco than other dance styles. As Chicago house gained international popularity, New York's garage music scene was distinguished from the "house" umbrella.

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.{{cite book

According to Blues & Soul, contemporary garage music started with Boyd Jarvis and Levan's The Peech Boys. 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,{{cite book

The popularity of the genre in the UK gave birth to a derivative genre called UK garage.{{cite book

References

(1985). "Gwen Guthrie – Padlock (Cassette)".
Richler, Howard. (1999). "A Bawdy Language: How a Second-rate Language Slept Its Way to the Top". Stoddart.
Earl, David. (2012). "LMMS: A Complete Guide to Dance Music Production Beginner's Guide". Packt Publishing Ltd.
Saunders, Jesse. (Nov 1, 2007). "House Music: The Real Story". SandlerComm.
"Garage at Allmusic". [[Rovi Corporation]].
Simpson, Paul. (2003). "The rough guide to cult pop". Rough Guides, 2003.
Sylvan, Robin. (2002). "Traces of the spirit: the religious dimensions of popular music". NYU Press.
(1988). "untitled". Napfield Ltd., the University of Virginia '(originally)'.
which later was sampled by mainstream house music record producers [[Robert Clivillés]] and [[David Cole (producer). David Cole]] of [[C+C Music Factory]].Jarvis v. A & M Records 827 F. Supp. 282 (D.N.J. 1993) [http://cip.law.ucla.edu/cases/1990-1999/Pages/jarvisamrecords.aspx#top UCLA] {{Webarchive. link. (2012-04-15)

Wikipedia Source

This article was imported from Wikipedia and is available under the Creative Commons Attribution-ShareAlike 4.0 License. Content has been adapted to SurfDoc format. Original contributors can be found on the article history page.

american-styles-of-music 1980s-in-american-music 1990s-in-american-music 20th-century-music-genres culture-of-new-york-city culture-of-newark,-new-jersey house-music-genres

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