Eurodance

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.[5] In 1989, German DJs Westbam and Dr. Motte established the Ufo Club, an illegal party venue, and co-founded the Love Parade.[6] The parade first occurred in July 1989, when 150 people took to the streets in Berlin.[7] It was conceived as a political demonstration for peace and international understanding through love and music.[7] 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.[8] It contained the Korg M1's "house piano"[9] 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[10][11] and Spain,[12] and it popularised the house variant called hip house in Europe.[13] 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.[6] 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.[14] 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.[15]

Snap!'s first single, "The Power", released in 1990, reached number one in the Netherlands,[16][17] Spain, Switzerland[18] and the United Kingdom,[19] 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),[20][21][22][23][24][25][26][27][28] new groups started to pop up all over Europe, mainly in Belgium, Netherlands and Italy. From 1992 till the decline of popularity after 1995, the sound became more and more NRG-oriented, leading to songs raising in B.P.M. up to 150. The notable songs which defined the genre 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),[29] "No Limit" by Dutch group 2 Unlimited in 1993 (number 1 in 14 countries, it was Europe's biggest-selling song for 1993),[30][31][32] "What Is Love" by Haddaway in the same year (number 1 in 13 countries),[33][34][35][12][36] "Mr. Vain" by Culture Beat also in the same year (number 1 in 13 countries),[37][38][36] "Cotton Eye Joe" by Rednex in 1994 (number 1 in 12 countries)[39][40][41][42] and "Scatman (Ski-Ba-Bop-Ba-Dop-Bop)" by Scatman John in the same year (number 1 in 9 countries).[43][44][45][46][47] In the same period the popularity of the genre 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.

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,[48] 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.[49] Nevertheless, in the second half of the decade the popularity of Eurodance started to decline, and "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.

In late 1990s the classic Eurodance sound gradually morphed into progressive house.[50] Notable examples of successful Eurodance songs of this era are "Coco Jamboo" by German band Mr. President in 1996,[51][52] "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,[53][54][55] "Barbie Girl" by Danish-Norwegian group Aqua in 1997,[56][57] "Boom, Boom, Boom, Boom!!" by Dutch group Vengaboys in 1998,[58][59][60] "Blue (Da Ba Dee)" by Italian group Eiffel 65 in 1999[61][62] and "Around the World (La La La La La)" by German group ATC in 2000.[63][64][65] Basshunter, Scooter and Cascada saw significant success during the 2000s,[66][67][68] however, by the early 2010s, popularity waned, and by about 2012, Eurodance music disappeared almost completely from the majority of European radio airplay.

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 Jam'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".[80] Bright, sometimes over-saturated colour schemes were used, with contemporary party clothing or outfits referring to space-age, such as in Kylie Minogue's Can't Get You Out of My Head, with videos that were fully or in part using Computer-generated imagery elements and effects. Large, sometimes digitally multiplied, dance troupes also frequently feature, such as in Destination Calabria.

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

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. For example, in Italy there were seven singles in the top ten of the chart at the end of May 1995. Technotronic from Belgium had hits with "Pump Up the Jam" and "Get Up" (featuring Ya Kid K).[81]

By 1996, the popularity of this genre had started to decline. From then, the classic Eurodance sound gradually morphed into progressive house.[50] 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.[82][83][84] 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.[85][86]

After Cappella's Gianfranco Bortolotti set up Media Records in Brescia, northern Italy[87][88][89] 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,[90] this record company would eventually turn into hard house label Nukleuz (known for its DJ Nation releases).[91][92]

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[93][94] (though extending its scope to include hits by David Guetta as well as Cascada and Scooter)

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").[95] 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. 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.

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.[96] 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.[97][98]

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.[99]

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.[100][101]

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.[102]