Leaders of the Italian house music movement of the late '80s, Black Box was primarily comprised of club DJ Daniele Davoli, computer whiz Mirko Limoni and classical clarinetist Valeric Semplici, a trio of studio musicians known collectively as the Groove Groove Melody production team. Acclaimed among the most successful producers in all of... [+] Read More

Leaders of the Italian house music movement of the late '80s, Black Box was primarily comprised of club DJ Daniele Davoli, computer whiz Mirko Limoni and classical clarinetist Valeric Semplici, a trio of studio musicians known collectively as the Groove Groove Melody production team. Acclaimed among the most successful producers in all of Italian dance music, Groove Groove Melody helmed dozens of singles each year at their peak; in 1989 they teamed with singer and model Katrin (born Catherine Quinol) as Black Box, debuting with the single "Ride on Time." Not only was the record a huge hit at home, but it soon crossed over into the British pop charts, landing at the number one spot for six consecutive weeks despite the controversy which erupted in the wake of the discovery that it included uncredited samples of Loleatta Holloway's disco single "Love Sensation." A series of Black Box hits followed, among them "I Don't Know Anybody Else" (a Top Ten smash in the U.S. as well) and "Everybody Everybody," which featured vocals by Martha Wash; the group's debut LP, 1990's Dreamland, was also a success. They returned in 1991 with "Strike It Up," another American Top Ten entry, as well as the Mixed Up! collection; additionally, the Groove Groove Melody team scored with material recorded under a variety of other aliases, among them Starlight ("Numero Uno") and Mixmaster ("Grand Piano"). After a long hiatus, Black Box returned in 1996 with the album Positive Attitude, which went largely unnoticed. ~ Jason Ankeny, All Music Guide [-] Hide

The ambitious Swiss electronic duo Yello comprised vocalist/conceptualist Dieter Meier -- a millionaire industrialist, professional gambler, and member of Switzerland's national golf team -- and composer/arranger Boris Blank. Meier, a former solo artist who also spent time with the group Fresh Colour, began collaborating with Blank in 1979, and... [+] Read More

The ambitious Swiss electronic duo Yello comprised vocalist/conceptualist Dieter Meier -- a millionaire industrialist, professional gambler, and member of Switzerland's national golf team -- and composer/arranger Boris Blank. Meier, a former solo artist who also spent time with the group Fresh Colour, began collaborating with Blank in 1979, and the duo bowed with the single "I.T. Splash." After signing with the Residents' label, Ralph Records, Yello issued their 1980 debut LP, Solid Pleasure, which spawned the dance hit "Bostitch."

With 1981's Claro Que Si, Yello made its first forays into music video; their clip for the single "Pinball Cha Cha," directed by Meier, garnered considerable acclaim and in 1985 was selected as one of 32 works included in the Museum of Modern Art's Music Video Exhibition. Visual accompaniment remained a pivotal component of the duo's work after they signed to Elektra in 1983 for the LP You Gotta Say Yes to Another Excess, as the videos for "I Love You" and "Lost and Found" received heavy airplay on MTV.

1985's Stella proved to be Yello's commercial breakthrough: while the singles and videos "Desire" and "Vicious Games" found success upon their initial release, the duo enjoyed a delayed hit with the album track "Oh Yeah," which reached the U.S. singles chart after being prominently featured in the films Ferris Bueller's Day Off and The Secret of My Success. After the remix project 1980-1985: The New Mix in Go, Yello recruited diva Shirley Bassey and ex-Associate Billy McKenzie for 1987's One Second.

Despite the success of 1988's Flag, which contained the international hit "The Race," over the course of the next several years Yello grew increasingly involved with film projects: after scoring the comedy Nuns on the Run, Meier directed his own feature, 1990's Snowball. In 1991, the duo resurfaced with Baby, followed three years later by Zebra. 1995's Hands on Yello compiled reinterpretations of the group's songs by the likes of Moby, the Orb, and the Grid, while Pocket Universe, a collection of new material, appeared in 1997. ~ Jason Ankeny, All Music Guide [-] Hide

This Pittsburgh male/female dance duo had a huge international smash in 1990 with "The Power." London-based rapper Turbo B. and his cousin Jackie Harris teamed on "The Power," with Harris' curdling vocal elevating Turbo B.'s pedestrian rap. But by the time things got rolling, Harris was already gone, replaced by Penny Ford, a former Gap Band... [+] Read More

This Pittsburgh male/female dance duo had a huge international smash in 1990 with "The Power." London-based rapper Turbo B. and his cousin Jackie Harris teamed on "The Power," with Harris' curdling vocal elevating Turbo B.'s pedestrian rap. But by the time things got rolling, Harris was already gone, replaced by Penny Ford, a former Gap Band background vocalist. Turbo B. himself departed in 1992, shortly after their second Arista LP, The Madman's Return, hit the streets. He was replaced by Nikki Harris, a former Madonna background vocalist. Snap! had a second big hit in 1990 with the number five pop single "Rhythm Is a Dancer." ~ Ron Wynn, All Music Guide [-] Hide

Led by producer/vocalist/songwriter Jazzie B., Soul II Soul were one of the most innovative dance/R&B outfits of the late '80s, creating a seductive, deep R&B that borrowed from Philly soul, disco, reggae, and '80s hip-hop. Originally featuring Jazzie B., producer/arranger Nellee Hooper, and instrumentalist Philip "Daddae" Harvey, the musical... [+] Read More

Led by producer/vocalist/songwriter Jazzie B., Soul II Soul were one of the most innovative dance/R&B outfits of the late '80s, creating a seductive, deep R&B that borrowed from Philly soul, disco, reggae, and '80s hip-hop. Originally featuring Jazzie B., producer/arranger Nellee Hooper, and instrumentalist Philip "Daddae" Harvey, the musical collective came together in the late '80s. The group had a residency at the Africa Centre in London's Covent Garden, which led to a record contract with 10, a subsidiary of Virgin. Two singles, "Fairplay" and "Feel Free," began to attract attention both in clubs and in the press.

Featuring the vocals of Caron Wheeler, Soul II Soul's third single, "Keep on Movin'," reached the U.K. Top Ten in March of 1989. Released in the summer of 1989, "Back to Life" also featured Wheeler and became another Top Ten hit. Soul II Soul released their debut album, Club Classics, Vol. 1, shortly afterward. The album was released in America under the title Keep on Movin'; both "Keep on Movin'" and "Get a Life" became substantial hits, propelling the album to double platinum status.

Wheeler left the group before the recording of the group's second album, Vol. II: 1990 - A New Decade. The album debuted at number one in the U.K., yet it caught the group in a holding pattern. Hooper soon left the collective, leaving Jazzie B. to soldier on alone. Hooper went on to work with several of the most influential and popular acts of the early '90s, including Massive Attack (Blue Lines), Björk (Debut and Post), Madonna (Bedtime Stories), and U2 ("Hold Me, Thrill Me, Kiss Me, Kill Me"). In 1992, Soul II Soul released Vol. III: Just Right, to both lukewarm reviews and sales. After the compilation Vol. IV: The Classic Singles, the group's next studio album, Vol. V: Believe, appeared in 1995. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Postmodern ironists cloaked behind a veil of buoyantly melodic and lushly romantic synth pop confections, the Pet Shop Boys' cheeky, smart, and utterly danceable music established them among the most commercially and critically successful groups of their era. Always remaining one step ahead of their contemporaries, the British duo navigated the... [+] Read More

Postmodern ironists cloaked behind a veil of buoyantly melodic and lushly romantic synth pop confections, the Pet Shop Boys' cheeky, smart, and utterly danceable music established them among the most commercially and critically successful groups of their era. Always remaining one step ahead of their contemporaries, the British duo navigated the constantly shifting landscape of modern dance-pop with rare grace and intelligence, moving easily from disco to house to techno with their own distinctive image remaining completely intact. Satiric and irreverent -- yet somehow strangely affecting -- the Pet Shop Boys transcended the seeming disposability of their craft, offering wry and thoughtful cultural commentary communicated by the Morse code of au courant synth washes and drum-machine rhythms.

Pet Shop Boys formed in London in August 1981 when vocalist Neil Tennant (a former editor at Marvel Comics who later gained some notoriety as a journalist for Smash Hits magazine) first met keyboardist Chris Lowe (a onetime architecture student) at an electronics shop. Discovering a shared passion for dance music and synthesizers, they immediately decided to start a band. Dubbing themselves the Pet Shop Boys in honor of friends who worked in such an establishment -- while also obliquely nodding to the sort of names prevalent among the New York City hip-hop culture of the early 1980s -- the duo's career first took flight in 1983, when Tennant met producer Bobby "O" Orlando while on a writing assignment. Orlando produced their first single, 1984's "West End Girls." The song was a minor hit in the U.S. but went nowhere in Britain, and its follow-up, "One More Chance," was also unsuccessful.

Upon signing to EMI, the Pet Shop Boys issued 1985's biting "Opportunities (Let's Make Lots of Money)." When it too failed to attract attention, the duo's future appeared grim, but they then released an evocative new Stephen Hague production of "West End Girls," which became an international chart-topper. Its massive success propelled the Pet Shop Boys' 1986 debut LP Please into the Top Ten, and when "Opportunities" was subsequently reissued, it too became a hit. Disco, a collection of dance remixes, was quickly rushed into stores, and in 1987 the duo resurfaced with the superb Actually, which launched three more Top Ten smashes -- "It's a Sin," a lovely cover of the perennial "Always on My Mind," and "What Have I Done to Deserve This?," a duet between Tennant and the great Dusty Springfield. A documentary film titled It Couldn't Happen Here was released the following year.

Also in 1988, Pet Shop Boys issued their third studio LP, the eclectic Introspective. The single "Domino Dancing" was their final Top 40 hit in the U.S. The following year, the duo collaborated with a variety of performers, most notably Liza Minnelli, for whom they produced the 1989 LP Results. They also produced material for Springfield, and Tennant joined New Order frontman Bernard Sumner and ex-Smiths guitarist Johnny Marr in the group Electronic, scoring a hit with the single "Getting Away with It." The Pet Shop Boys reconvened in 1990 for the muted, downcast Behavior, produced by Harold Faltermeyer. 1991 saw the release of their hit medley of U2's "Where the Streets Have No Name" and Frankie Valli's "Can't Take My Eyes Off You," and was followed in 1993 by Very, lauded among the duo's finest efforts to date.

After a three-year absence, the Pet Shop Boys resurfaced with Bilingual, a fluid expansion into Latin rhythms. Nightlife followed in 1999 and sparked the dance club hit "New York City Boy." On the success of that, they also toured the U.S. for the first time in eight years. While on tour, Tennant and Lowe were also collaborating with playwright Jonathan Harvey. Since 1997, the three had been crafting a musical surrounding gay life and societal criticisms. Closer to Heaven made its West End debut in 2001 and had a successful run for most of the year. The Pet Shop Boys' score of the original cast recording was also a hit in the U.K. They still had time to make a record for themselves, too -- in April 2002, Tennant and Lowe issued Release. Disco 3 was compiled for release the following year. In 2005, they put together a volume of the Back to Mine series and released their soundtrack designed to accompany the 1925 silent film Battleship Potemkin, a soundtrack they'd performed a year earlier at a free concert/screening in Trafalgar Square. A year later they issued Fundamental, a mature, sometimes political album produced by Trevor Horn. ~ Jason Ankeny, All Music Guide [-] Hide

Few albums were as eagerly anticipated as The Fat of the Land, the Prodigy's long-awaited follow-up to Music for the Jilted Generation. By the time of its release, the group had two number one British singles with "Firestarter" and "Breathe" and had begun to make inroads in America. The Fat of the Land was touted as the album that would bring... [+] Read More

Few albums were as eagerly anticipated as The Fat of the Land, the Prodigy's long-awaited follow-up to Music for the Jilted Generation. By the time of its release, the group had two number one British singles with "Firestarter" and "Breathe" and had begun to make inroads in America. The Fat of the Land was touted as the album that would bring electronica/techno to a wide American audience; in Britain, the group already had a staggeringly large following that was breathlessly awaiting the album. The Fat of the Land falls short of masterpiece status, but that isn't because it doesn't deliver. Instead, it delivers exactly what anyone would expect: intense hip-hop-derived rhythms, imaginatively reconstructed samples, and meaningless shouted lyrics from Keith Flint and Maxim. Half of the album does sound quite similar to "Firestarter," especially when Flint is singing. Still, Liam Howlett is an inventive producer, and he can make empty songs like "Smack My Bitch Up" and "Serial Thrilla" kick with a visceral power, but he is at his best on the funky hip-hop of "Diesel Power" (which is driven by an excellent Kool Keith rap) and "Funky Shit," as well as the mind-bending neo-psychedelia of "Narayan" (featuring guest vocals by Crispian Mills of Kula Shaker) and the blood-curdling cover of L7's "Fuel My Fire," which features vocals by Republica's Saffron. All those guest vocalists mean something -- Howlett is at his best when he's writing for himself or others, not his group's own vocalists. "Firestarter" and all of its rewrites capture the fire of the Prodigy at their peak, and the remaining songs have imagination that give the album weight. The Fat of the Land doesn't have quite enough depth or variety to qualify as a flat-out masterpiece, but what it does have to offer is damn good. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

The Prodigy's response to the sweeping legislation and crackdown on raves contained in 1994's Criminal Justice Bill is an effective statement of intent. Pure sonic terrorism, Music for the Jilted Generation employs the same rave energy that charged their debut, Experience, up the charts in Britain, but yokes it to a cause other than massive drug... [+] Read More

The Prodigy's response to the sweeping legislation and crackdown on raves contained in 1994's Criminal Justice Bill is an effective statement of intent. Pure sonic terrorism, Music for the Jilted Generation employs the same rave energy that charged their debut, Experience, up the charts in Britain, but yokes it to a cause other than massive drug intake. Compared to their previous work, the sound is grubbier and less reliant on samples; the effect moved the Prodigy away from the American-influenced rave and acid house of the past and toward a uniquely British vision of breakbeat techno that was increasingly allied to the limey invention of drum'n'bass. As on Experience, there are so many great songs here that first-time listeners would be forgiven for thinking of a greatest-hits compilation instead of a proper studio album. After a short intro, the shattering of panes of glass on "Break & Enter" catapults the album ahead with a propulsive flair. Each of the four singles -- "Voodoo People," "Poison," "No Good (Start the Dance)," and "One Love" -- are excellent, though album tracks like "Speedway" and "Their Law" (with help from Pop Will Eat Itself) don't slip up either. If Experience seemed like an excellent fluke, Music for the Jilted Generation is the album that announced the Prodigy were on the charts to stay. ~ John Bush, All Music Guide [-] Hide

Although their albums were considerably more consistent than most dance-pop acts, Saint Etienne's high points were always their singles. Released prior to a quiet, lengthy hiatus, Too Young to Die collects all of their singles, from their debut disco cover of Neil Young's "Only Love Can Break Your Heart" to their last, "He's on the Phone,"... [+] Read More

Although their albums were considerably more consistent than most dance-pop acts, Saint Etienne's high points were always their singles. Released prior to a quiet, lengthy hiatus, Too Young to Die collects all of their singles, from their debut disco cover of Neil Young's "Only Love Can Break Your Heart" to their last, "He's on the Phone," providing a thoroughly entertaining chronicle of the group's career. Much of the music sounds somewhat dated -- which is always a problem with dance music -- but Saint Etienne was essentially a very good Euro-pop band, reveling in kitsch and style in equal measure. At their best -- "Only Love Can Break Your Heart," "You're in a Bad Way," "Join Our Club," "Who Do You Think You Are," among others -- they found the heart in nightclubbing. The quality of the music dips slightly in the latter half of the album, but there is prime pop throughout the disc. [Initial pressings came with a bonus disc of remixes, all of which are worthwhile for dedicated fans.] ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

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