UK garage

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UK garage
Stylistic origins
Cultural origins
Typical instruments
Mainstream popularity Mainstream success mostly in the UK in the late 1990s - early 2000s
Subgenres
2-step, 4x4, Bassline, Breakstep, Dubstep, Funky, Grime, Speed garage

UK garage (also known as UKG or just garage) refers to several different varieties of modern electronic dance music generally connected to the evolution of house in the United Kingdom in the mid 1990s. Usage of the term "garage" is different in the United States than in the UK, where it refers to the 1980s New York house movement.

The evolution of house music in the UK in the mid 1990s led to the term, as previously coined by the Paradise Garage DJs, being applied to a new form of music also known as speed garage. In the late nineties the term UK garage was settled upon by the scene. This style is now frequently combined with other forms of music like hip hop, rap and R&B, all broadly filed under the description urban music. The pronunciation of UK garage is IPA: /ˈɡærɨdʒ/ (ga-rij, rather than the American pronunciation /ɡəˈrɑ:ʒ/ guh-raj), as this is the most common pronunciation of the word in the British Isles.

Artists like Sillo, The Artful Dodger, So Solid Crew, Heartless Crew, The Streets, Shanks & Bigfoot, DJ Luck and MC Neat, Sunship (Ceri Evans), Oxide and Neutrino and numerous others have made garage music mainstream in the UK, whilst Dizzee Rascal's and Wiley's arrival raised the profile of grime, an offshoot of garage. However on the East London underground scene garage is distinctly different, it has a much more raw sound, placing a greater emphasis on electronic beats and rhythms.

Female garage artists include Lisa Maffia, Ms. Dynamite, Gemma Fox, Kele Le Roc, Shola Ama, Sweet Female Attitude, Mis-Teeq and Ladies First.

There is a successful UK garage CD compilation series called Pure Garage, mixed by DJ EZ.

"'Garage' is one of the most mangled terms in dance music. The term derives from the Paradise Garage itself, but it has meant so many different things to so many different people that unless you're talking about a specific time and place, it is virtually meaningless. Part of the reason for this confusion (aside from various journalistic misunderstandings and industry misappropriations) is that the range of music played at the Garage was so broad. The music we now call 'garage' has evolved from only a small part of the club's wildly eclectic soundtrack." -- Frank Broughton/Bill Brewster in Last Night A DJ Saved My Life

Contents

[edit] History

In the USA, where jungle and techno were very popular at the time, Garage was played in the second room at jungle events (as counterpart to chill-out rooms at techno parties). As jungle tracks are much faster than (US) garage, DJs in the US started to speed up garage tracks to make them more suitable for the jungle audience in the UK. The media started to call this tempo-altered type of garage music "speed garage", 2-step's predecessor. DJs usually played dub versions (arrangements without vocals) of garage tracks, as they do not sound odd when played faster (although sped up and time stretched vocals were an important part of the early jungle sound, and later played a key role in speed garage). The absence of vocals left a lot of empty space for MCs, who started rhyming to the records. Since then MCs have become one of the vital aspects of Speed and UK garage parties and records. Early promoters of speed garage included the Dreem Team and Tuff Jam and pirate radio stations like Freeze FM, Deja Vu, Erotic FM or Kiss FM. During its initial phase, the speed garage scene was also known as "the Sunday scene", as initially speed garage promoters could only hire venues on Sunday evenings (venue owners preferred to save Friday and Saturday nights for more popular musical styles). Labels whose outputs would become synonymous with the emerging speed garage sound included Deja Vu, Spread Love and Twice as Nice. Debate continues to rage over the first true speed garage record; contenders include "So More (I Refuse)" by Industry Standard, "Love Bug" by Ramsey and Fen, 'RIP Groove' by Double-99, and Armand van Helden's remix of Tori Amos's "Professional Widow". Speed garage tracks were characterised by a speeded-up house-style beat, complemented by the rolling snares and a reverse-warped bassline sound that were popular with the drum & bass producers of the time.

Speed garage already incorporated many aspects of today's UK garage sound like sub-bass lines, ragga vocals, spin backs and reversed drums. What changed over time, until the so called 2-step sound emerged, was the addition of further funky elements like R&B vocals, more shuffled beats and a different drum pattern. The most radical change from speed garage to 2-step was the removal of the 2nd and 4th bass kick from each bar (see "Characteristics" for more details). Although tracks with only two kick drum beats to a bar are perceived as being slower than the traditional four-to-the-floor beat, the listener's interest is maintained by the introduction of syncopating bass lines and the percussive use of other instruments such as pads and strings.

Among those credited with honing the speed garage sound, Todd Edwards, is often cited as a seminal influence on the UK garage sound. The producer from New Jersey introduced a new way of working with vocals. Instead of having full verses and choruses, he picked out vocal phrases and played them like an instrument, using sampling technology. Often individual syllables were reversed or pitch-shifted. This type of vocal treatment is still a key characteristic of the whole UK garage vibe.

The UK's "answer" to Todd Edwards was MJ Cole, a classically trained oboe and piano player, who had a string of chart and underground hits in the late 1990s and early 2000s, most notably with "Sincere" and "Crazy Love".

Arguably one of the earliest examples of a 2-step track is 'Baby can I get your number' by Sillo and 'Never Gonna Let You Go' by Tina Moore. Jess Jackson was responsible for many garage records but one which stood out was "Hobsons Choice". The B Side of this record changed the UK garage scene from funky and soulful to dark and bassy.

The producer duos Shanks & Bigfoot with Sweet Like Chocolate and The Artful Dodger, aka Pete Devereux and Mark Hill, who (together with Craig David) were very successful with the track "Re-rewind", which became an anthem for the whole 2-step scene. After the platinum-selling success of Shanks & Bigfoot's Sweet Like Chocolate released the year before, the floodgates had been opened. Although Re-rewind was denied a #1 position by Cliff Richard, it was also a platinum seller, one of the garage scene's first and last.

2002 saw an evolution into two main directions: firstly, 2-step is moving away from its glamorous appeal into a darker direction called grime (now a genre in its own right - not UK Garage, although as with any genre at a similar BPM there are tracks which crossover well). During this period traditional UK Garage was pushed back underground amongst the bad publicity emanating from the tougher side of the genre and has steadily been rebuilding itself.

Now in 2008, new DJ's such as DJ Charma are involved in the UK Garage revival.

[edit] Subgenres

[edit] References

[edit] External links

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