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Disco Rap
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Primary Stylistic Influences: Disco, Funk, Reggae sound system toasting, R&B, the dozens (see: Your Mom), Battle Rapping Secondary Stylistic Influences: Rock Music, Pop, Gospel Music, talking Blues Disco Rap, the first genre of Hip-Hop to be called by that name, emerged in the Bronx in The '70s. Ghettoised young people at the time — mostly African-American or Latino, and risking violence in the area's commercial nightlife — had a culture of holding house parties and block parties. The DJs at these parties would play Disco records, extending the instrumental dance breaks by alternating between two turntables playing the same record — a technique pioneered by Reggae artists in Jamaica. Also borrowed from reggae was "toasting", the act of an MC addressing the crowd by talking rhythmically over the instrumental. Over time, this evolved from playback into a style of musical performance — the MC would act as a lead vocalist, dazzling the crowd with rhythms, witty wordplay and braggadocio, while the DJ would incorporate scratching and creative mixing of instrumentals to create new sounds. Because of this, Disco Rap songs are usually long, often going on for longer than the extended version of a disco record. Originally, the beats were edited but otherwise untouched versions of dance recordings, but most commercial recordings used live bands (often interpolating a popular disco song). Rappers use a strong but somewhat conversational delivery, and towards the end of the decade, male rappers began to use deep voices (even though rappers at the time were teenagers, nobody wanted to sound like a squeaky little kid on the mic). Lyrics are improvised, and concentrate on witty brags and hyping up an audience. Disco rappers often use Scatting, which is how the genre got its name — "hip, hop" was a standard nonsense syllable, most prominently appearing in the first lyric of The Sugarhill Gang's "Rapper's Delight". This eventually developed into "human beatboxing", in which a rapper would imitate the sounds of drum machines, DJ scratches and sometimes other instruments. A lot of early disco rap is unrecorded, due to labels and the musicians themselves viewing it as party entertainment rather than music, but by 1979, "Rapper's Delight" by The Sugarhill Gang would crack the mainstream and make hip-hop a vanguard of pop music forever after. Disco rap followed disco itself into incorporating electronic elements, spawning electro. Disco rap began to fade out in The '80s, as disco fell out of fashion, and rappers began making songs that had radio-friendly lengths, Pop Rap and Rap Rock elements, and more confrontational lyrics. However, it was hugely influential on everything that followed, as well as on New Wave Music, Punk Rock, and Post-Punk. Due to being the oldest genre of hip-hop, disco rap is sometimes looked down upon by later generations of hip-hop fans. Aside from its innovations being watered down by Piss Take Raps using a Two Decades Behind style as a shorthand, it has become a flashpoint for debates about rap lyrical content. While some rappers did talk about gang activity, politics or getting high, most disco rap MCs avoided heavy subject matter, but also strong profanity, and used disco-style classy loverman personas that were not violent or misogynistic. This has led to some dismissing the genre as cheesy and shallow, while others look down on all later forms of hip-hop for embracing misogyny, violence and bad language, including some of the disco rap pioneers themselves. (Both sides claim 1981's "The Message" by Grandmaster Flash and the Furious Five as one of theirs — it combines a Disco Rap sound and style with direct social commentary about the poverty in the Bronx, inventing Conscious Hip Hop, and either obsoleting the party rap forever or showing where the genre could have gone if it hadn't been ruined by money and gangs, depending on who you talk to.) However, it is not in question that disco rap displays amazing lexical and musical skills, and documents the lives of New York's Black working class, often through slice-of-life lyrics and interpersonal disputes. Disco rap is also unique due to being the only genre of hip-hop that was developed before it was possible to get rich and famous through rapping. 1970s bootleg recordings reveal hip-hop at its purest, completely by the culture and for the culture, and even the commercial recordings from The '80s (which are most of what survives of this genre) retain a distinctive DIY spirit and lack of consideration to pop crossover appeal. Music historians call Disco Rap "old school hip-hop", with the early 80s Pop Rap and Rap Rock styles being "new school hip-hop". However, the terms 'old school' and 'new school' are used by most hip-hop fans to mean older and newer hip-hop regardless of sound or era, making it easier to describe the specific styles involved. |
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| Disco Rap / int_1fb10ae3 | type |
Disco Rap | |
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Grandmaster Flash and the Furious Five, and their star rapper Melle Mel The Message (1982) |
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| Disco Rap / int_56f7aab4 | type |
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The Sugarhill Gang | |
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The Get Down is set in the Bronx during the 1977 heat wave, when hip-hop was a tiny underground movement and Disco is mainstream. While the story is fictional, hip-hop pioneers like Grandmaster Flash and Kool Herc appear in the series as Historical Domain Characters. | |
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Biz Markie — while better known for his new school work, he started out making disco rap showing off his genius beatboxing abilities. | |
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Kool Moe Dee — The inventor of modern Battle Rapping, his switch towards harder double-time flows and more aggressive, profane, insulting bars invented Hardcore Hip-Hop. | |
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Blondie's "Rapture", which features a long disco rap section at the end, was the first US hip-hop Billboard No. 1. | |
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The Message (1982) | |
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Strong Bad's "Everybody To The Limit" from Strong Bad Sings and Other Type Hits, fitting Strong Bad's painfully stuck-in-the-80s persona. | |
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Music Tropes |
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