Boogie (sometimes called post-disco and electro-funk) is a rhythm and blues genre of electronic dance music with close ties to the post-disco style, that first emerged in the United States during the late 1970s to mid-1980s.
Boogie-woogie is a music genre that became popular during the late 1920s, developed in African-American communities in the 1870s. It was eventually extended from piano, to piano duo and trio, guitar, big band, country and western music, and gospel.
Boogie is a repetitive, swung note or shuffle rhythm, "groove" or pattern used in blues which was originally played on the piano in boogie-woogie music. The characteristic rhythm and feel of the boogie was then adapted to guitar, double bass, and other instruments. The earliest recorded boogie-woogie song was in 1916.
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Artist Julius Dubose (born December 6, 1995), known professionally as A Boogie wit da Hoodie (or simply A Boogie), is an American rapper, singer, and songwriter.He is signed to his own label, Highbridge the Label, and Atlantic Records.
"Boogie Oogie Oogie" is a song by the American band A Taste of Honey from their 1978 self-titled debut album. Released as their debut single in the summer of 1978, the song became an extremely popular "crossover" [clarification needed] disco song.
Boogie (or electro-funk) is an electronic music mainly influenced by funk and post-disco. The minimalist approach of boogie, consisting of synthesizers and keyboards, helped to establish electro and house music. Boogie, unlike electro, emphasizes the slapping techniques of bass guitar but also bass synthesizers.
"Blame It on the Boogie" is a song released in 1978 by English singer-songwriter Mick Jackson. It has been covered by numerous other artists, including the Jacksons.The song was performed on Musikladen (January 1979), Aplauso (February 1979), Sonja Goed Nieuw's Show (2 February 1979) and ABBA Special: Disco in the Snow Part 1
Boogie rock is a genre of rock music which came out of the hard heavy blues rock of the late 1960s and early 1970s.Largely designed for dance parties , it tends to feature a repetitive driving rhythm in place of instrumental experimentation found in the more progressive blues-rock bands of the period.