Vangelis would be above May.
Eno, Gary Numan, New Order, Underworld, Moby…Fuck, there are loads (even if I dont like some of 'em).
Ah ok, those I didn’t even consider ‘electronic’.
I just don’t really like techno or dance music.
Mellow I can deal with. Need educating.
Not New Order? Isn’t Blue Monday meant to be one of the most influential songs ever?
Ah yeah I see what you mean.
Definitely still at the table tho. Hogging all the gravy
Blue Monday was 83, which I’d say was influenced more by Chicago house, which morphed from disco. Ron Hardy was the guy who toughened the sound a bit apparently, he gets name dropped a lot in this savage documentary about the birth of house music in the mid 80s which is worth a watch, if you like all that sound.
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I’ve definitely linked to this a few times here, it’s rad.
Blue Monday sampled Kratwerk and brought dance music to guitar fans.
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Original version was 83. Slight remastering and a change of cover (which didn’t lose money on each sale) was 87.
It got completely ruined (in a day) as Blue Monday 1988.
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88 then, sorry. The OG 83 was notorious for having a particularly expensive cover sleeve, made to look like a 5 1/2" floppy disk that was a net loss for Factory, despite it being the most popular 12" ever.
I know, I know, but my reasoning would be the genre crossover stuff - but then Buildafire just outed Howlett by a decade with Blue Monday sampling Kratwerk and bringing dance music to guitar fans.
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That’s what I’m here for.
Actually, in all seriousness - I do learn a thing or two on here.
Also, I’m quite weird with electronic music. I could sit through a week straight of Autechre but would switch Carl Craig off after ten minutes. I find it all quite polarising.
Actually, thats the same with music no matter the genre.
The four songs that Blue Monday sampled, took influence from…
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Nice one Voodoo, didn’t know about that Kraftwerk sample! I can hear a few more New Order tunes in that Donna Summer track, Temptation perhaps?
All those names mentioned earlier are significant in different ways, whether it’s bringing dance music to rock fans (which The Prodigy totally created their reputation doing), or micro genres of DnB, sampling, dubstep, whatever. Even that epic turd Steven Aoki is significant in the cheesy and slimy “entertainment” side of things, which is so far removed from acid house, techno and rave roots that it’s just embarassing.
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Yeah,b ut the claim was “Electronic” in general which I took up as issue. It wasn’t claiming a specific subgenre.
The trouble is that people tend to get mixed up and lump together the two main things with popular music. The musical effects of music and the cultural effects of music. They are not the same thing, although they often entwine. I could say that such and such is an important figure in music for their contribution and you could say no way, this person is more important etc. But the problem is that I am interested in the musical effects and you might be looking at the cultural effects because that is what we personally get from music.
You could care less what musical content is in a track but you know you love it and you know that thousands of others did too all at the same time and it started a movement or opened up doors or ideas for others to play with too.
It’s actually impossible to make a list of influential or significant contributors that isn’t subjective. There are definite key players in how electronic music grew, does not matter how musically talented they are, they made something that caused a reaction from people whether it be behind closed doors or in the clubs. Every name mentioned above has been key figures at some point whether you like them or not.
Another thing is that lots of these artists are always influenced by things too, they have happy accidents, they stumble on something cool. I always struggle with interviews and docus of pivotal moments in music, some artists relish and embellish their contribution, building the event to a higher respect even though at the time it was just moments, unsure moments, moments that could have gone either way, Flukes. Others are more modest and call it for what it was. And that is not to dumb down the actual impact, because many simple things, ideas have had massive impacts and the waves of that are still felt today.
You can always take electronic backwards to musical technology and how people used and abused it. Electronic music, at it’s core has and always will be experimentation but these things may not always be successful, sometimes success comes from someone just looking for success and using elements of others work in order to get it. We are a fickle audience, we build and smash these figures into what they are, some deserved some not.
yeah, each one cost more to make than they sold it for, so every copy they sold it lost money, and the more it sold the more they lost… d’oh
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Stevie Wonder/TONTO, Silver Apples, United States of America, Buffy Saint Marie (!)…
