Boogie

History and character

Boogie and post-disco refer to American Black dance music from the late 1970s to the mid-1980s, born when disco lost favor with the American public (after Disco Demolition Night in July 1979) and club R&B reinvented itself with synthesizers, drum machines and slap bass. The roots are in R&B and funk, with jazz influences; compared with disco, the rigid four-on-the-floor kick is often missing: the accent returns to 2 and 4 with very loud claps, and the tempo drops to around 110–116 BPM.

Tracks and artists: D Train (“You're the One for Me,” 1981), Kashif (“I Just Gotta Have You (Lover Turn Me On),” 1983, one of the producer-keyboardists who define the sound), The Peech Boys (“Don't Make Me Wait,” 1982, reverbs and deep club bass, tied to Larry Levan's Paradise Garage), Yarbrough & Peoples (“Don't Stop the Music,” 1980), Zapp and Roger Troutman with the talk box (“More Bounce to the Ounce,” 1980), Change (“A Lover's Holiday,” 1980), Evelyn “Champagne” King (“Love Come Down,” 1982), Patrice Rushen (“Forget Me Nots,” 1982), The S.O.S. Band (“Just Be Good to Me,” 1983, produced by Jimmy Jam & Terry Lewis with the TR-808), Shalamar, The Gap Band, Rene & Angela, Mtume (“Juicy Fruit,” 1983).

Boogie evolves into electro (originally called “electro-boogie”) and, with the deep-bass experiments of Hamilton Bohannon, D Train and Sharon Redd, anticipates house. It has been sampled heavily by hip hop and 1990s R&B (“Juicy Fruit” is the basis of The Notorious B.I.G.'s “Juicy”) and is reborn in the “modern funk” revival of Dâm-Funk (Toeachizown, 2009), Chromeo and Tuxedo, with Leon Sylvers as a production reference.

Scales and keys

Dorian

• Formula: 1 2 b3 4 5 6 b7 — T S T T T S T. On C: C D Eb F G A Bb.
• Characteristic note: major 6 (A): bright IV7/IV9 (F9) and ii (Dm7) chords.
• Chords: Cm7 (i7), Dm7 (ii7), Ebmaj7 (bIIImaj7), F7 (IV7), Gm7 (v7), Aø7, Bbmaj7 (bVIImaj7).
• Use: synth bass and pad vamps over i7–IV7 or i9–bVIImaj7; slap bass lines on the pentatonic.
• Example: Zapp — More Bounce to the Ounce (minor funk vamp).
• Common mistakes: playing the b6 in the pads removes the “soft” color of boogie.

Aeolian

• Formula: 1 2 b3 4 5 b6 b7. On A: A B C D E F G. Characteristic note: b6 (F).
• Chords: Am7, Bø7, Cmaj7, Dm7, Em7, Fmaj7, G.
• Use: the melancholy progressions of “quiet storm” boogie and electro: i7–bVImaj7–bVII.

Major with extensions

• Formula: 1 2 3 4 5 6 7. On Eb: Eb F G Ab Bb C D.
• Characteristic note: the 9 and the major 7 in maj9 and add9 chords: the “shimmering” 1980s sound.
• Chords: Ebmaj9, Fm9, Gm7, Abmaj9, Bb11 (IV/V), Cm9.
• Use: choruses by Kashif, Patrice Rushen, Shalamar; ascending diatonic progressions.
• Example: Patrice Rushen — Forget Me Nots.

Minor pentatonic

• On C: C Eb F G Bb. Use: synth and slap bass lines, talk box riffs, solos. It fits over the whole Dorian vamp.

Mixolydian

• On G: G A B C D E F. Characteristic note: b7 (F). Use: riffs over a 9 or 11 chord (G11 = F/G) and synth brass.

How to choose

Harmony

Harmonic function

More harmony than funk and less repetition than disco: loops of 2–4 chords with extended chords (m9, m11, maj9, 11 = IV/V) played by polyphonic synths, Rhodes and clean guitars. The jazz influence shows in the ii–Vs, passing chords and substitutions.

Typical elements

• i9–IV9 and i9–bVIImaj7 (Dorian).
• IV/V (Ab/Bb, F/G): the soft “suspended” dominant, a signature of the 1980s sound.
• ii9–V11–Imaj9 in the choruses.
• Slash chords (Bb/C, Eb/F) for the intros.
• Synth bass pedal under the changes.

Voicing

Polyphonic pads (Prophet-5, Oberheim OB-X, Juno) with open chords in two hands: 1 and 7 in the left, 3–5–9 in the right; Rhodes in close inversion; guitar with three-note chords and “skank” on the upbeats. Synth bass in octaves below.

Harmonic rhythm

One chord every 1–2 bars; verse and chorus often on the same loop, with the chorus adding a ii–V.

Typical progressions

Rhythm and groove

Feel

Mid-tempo (110–116 BPM), sixteenth notes with light swing (52–57%), very strong backbeat on 2 and 4 with claps. The kick is syncopated (not rigid four-on-the-floor), and the synth bass and slap bass draw the groove. The machines (LinnDrum, Oberheim DMX, Roland TR-808) coexist with real drummers, often with overdubbed claps and electronic percussion.

Accents

• Clap on 2 and 4 (often louder than the snare).
• Kick on 1, “e” of 2, “&” of 3 (or variations).
• Sixteenth-note hi-hat with open hat on the upbeats.
• Synth bass on the one and on the syncopations.

Space and “bounce”

Boogie has a typical bounce: a tempo slower than disco, a funkier groove, a lot of space between the elements.

Microtiming

Quantized drum machines with swing; played parts (bass, guitar) slightly behind. In FL Studio: channel swing 15–25% on hats and percussion, claps at +5/+10 ms.

Drums

Principle

The drums are a machine or a machine-drummer hybrid: a simple, repetitive pattern, highly recognizable sounds (LinnDrum, DMX, 808), a huge clap. The groove comes from syncopated kick + bass.

Kick

On the 1; syncopations on the “e” of 2 (pos. 6), the “&” of 3 (pos. 11) or the “a” of 3 (pos. 12). Sometimes four-on-the-floor kick in the more dance-oriented tracks. Sound: short 808 (decay 200–400 ms) or LinnDrum.

Snare and clap

On 2 and 4 (pos. 5 and 13), layered clap (808 + real claps + gated/plate reverb). Snare often under the clap.

Hi-hat

Sixteenth notes with light swing, accents on the eighth notes, open hat on the “&” (pos. 3 or 11); 808 or Linn hat.

Percussion

808 cowbell, electronic congas, Simmons toms in fills, shaker or tambourine, sometimes claves.

Dynamics and velocity

Machines: constant velocity with programmed accents (Linn: accent); hat 70–100; clap at maximum.

Interaction with the bass

Synth bass that occupies the syncopations between kick hits; the slap bass (or synth) is the main riff. Kick and bass must never cover each other: the short kick leaves the tail to the bass.

Sections

Intro with drum machine alone or drums + bass; basic verse; chorus with open hat and percussion; break with drum and bass solo or with vocoder; long outro for the DJ.

Fills

Simmons or 808 toms in sixteenth notes, Linn snare in crescendo, reverse cymbal.

Sounds

LinnDrum (snare and clap), Oberheim DMX, Roland TR-808 (kick and cowbell), real drums with gated reverb in the mid-1980s.

Typical mistakes

Rigid four-on-the-floor kick (it becomes disco or house), weak clap, tempo too high, hats without swing.

Bass

Sound

Two models: the slap electric bass (thumb and pop) and the synth bass (Minimoog, Prophet-5, Oberheim OB-X/OB-8, Juno-60, later DX7 and Moog Source). Rubbery sound with a defined attack, sometimes with envelope filter.

Register and kick

Fundamentals between C1 and C2, octaves up to C3. The bass fills the syncopations; the kick stays short.

Notes

Root and octave (slap/pop), b7–5 below the root, chromatic approach notes, pentatonic riffs. The synth bass uses legato notes with short glide (20–60 ms) and staccato notes.

Rhythm

Syncopated sixteenth notes, often a 1–2 bar riff repeated through the whole track (the bass is the hook).

Examples

Yarbrough & Peoples — Don't Stop the Music (synth bass), D Train — You're the One for Me, Change — A Lover's Holiday, The S.O.S. Band — Just Be Good to Me (808 + synth).

Harmonic instruments

• Polyphonic synths (Prophet-5, OB-X, Juno-60, Jupiter-8): pads, stabs, synth brass.
• Rhodes and electric piano (later the DX7 “E.Piano 1” from 1983).
• Clean rhythm guitar in sixteenth notes, often with chorus.
• Vocoder and talk box (Roger Troutman, Zapp) as a melodic-harmonic instrument.
• Clavinet and organ in the funkier tracks.
• Horns (less and less, often replaced by synth brass).

Melody and vocals

Voice

Soul-pop voice, often female (Evelyn King, Jocelyn Brown, Mary Davis of the S.O.S. Band) or a soft male voice; melodies in the middle register with short hooks, falsettos in the choruses. Talk box and vocoder as lead or second voice.

Backing vocals

Three-part harmonies, doubled and tripled, responses to the hook, “gang vocals” in the choruses.

Effects

Plate, dotted-eighth delay, chorus on the vocals, gated reverbs on the drums; relatively dry vocal.

Instruments

• Drum machine (LinnDrum, Oberheim DMX, Roland TR-808) and drums with Simmons
• Slap electric bass and synth bass
• Polyphonic and monophonic synths (Minimoog, Prophet-5, Oberheim, Juno, Jupiter, DX7)
• Rhodes, piano, clavinet
• Clean electric guitar with chorus
• Talk box, vocoder
• Lead vocal and backing vocals

Drum patterns

Synths and sounds

• Mini V — Synth bass: Osc 1 and 2 sawtooth or square at 16', 24 dB filter with medium-low cutoff, envelope decay 200–350 ms, low sustain, glide 30–50 ms on legato notes.
• Prophet-5 V — Pad and stabs: Two detuned oscs, filter with medium envelope (attack 10–30 ms), light poly-mod for metallic stabs; external chorus.
• OP-Xa V — Synth brass: 1980s brass: two sawtooth oscs, attack 30–60 ms, unison off, filter with envelope; syncopated stabs.
• Jun-6 V — Pad and chords: Chorus II, soft filter; m9 and maj9 chords.
• DX7 V — E-piano and FM bass: E.Piano 1 for the chords from 1983; FM “slap” bass for late boogie.
• Vocoder V — Vocoder: Robotic lines, synthetic backing vocals and responses to the hook.
• Stage-73 V — Rhodes: m9 chords with chorus; an alternative to the DX7.

Song structure

Form

• Intro (8–16): drum machine and bass, or pad.
• Verse 1 (16) – Pre-chorus (4–8) – Chorus (8–16).
• Verse 2 (16) – Pre-chorus – Chorus.
• Break (8–16): drums + bass, talk box or vocoder, synth solo.
• Chorus ×2 with ad-libs – Outro (16+, 12" version).
• Length: radio 3:45–4:30; 12" 6:00–8:00.

Arrangement

Verse: drums, bass, guitar or Rhodes. Chorus: pad, backing vocals, synth brass. Break: elements removed (often just bass and clap). The 12" versions have dub sections (vocal with echo, instruments coming in and out).

Mixing and mastering

Sonic goal

Huge, bright clap, wide and powerful synth bass, dry electronic drums, shiny, wide pads, soft vocal in the center. References: The S.O.S. Band — Just Be Good to Me, D Train — You're the One for Me, Dâm-Funk (revival). Loudness: vintage −13/−11 LUFS, modern funk −10/−8.

Kick (808 or Linn)

HP 25–30 Hz; 50–70 Hz +2 dB; cut at 300 Hz; click 2–3 kHz; minimal compression (the machines are already consistent); light saturation so the 808 comes through on small speakers. Center, mono.

Clap and snare

HP 150–200 Hz; 1–1.5 kHz body; 5–8 kHz brightness; compression 3–4 dB; plate 1.2–1.8 s or gated reverb (decay 250–400 ms); widen the layer of real claps (±20–40%).

Hi-hat and percussion

HP 400 Hz; 10 kHz +1/+2 dB; hat pan 15–25%, cowbell opposite at 20%; wide Simmons toms.

Bass (synth and slap)

HP 25–30 Hz; 50–90 Hz fundamental; 250 Hz −2 dB; 800 Hz–1.5 kHz for the attack (synth) or 2–3 kHz (slap). Compression 4:1 3–5 dB (slap: fast limiter). Mono below 120 Hz; chorus only above 300 Hz if you want it wide. Light sidechain (1–2 dB) from the kick if they overlap.

Synths, Rhodes, guitar

• Pad: HP 150–200 Hz; 300–500 Hz −2 dB; stereo chorus; 100% wide; plate/hall 1.8 s.
• Synth brass: HP 150 Hz; 1.5–3 kHz +2 dB; stereo pan 30–50%.
• Rhodes/DX: HP 100 Hz; chorus; moderate stereo pan.
• Guitar: HP 150 Hz; compression 4 dB; chorus; pan 40–60%.

Lead vocal

HP 90 Hz; 250–300 Hz −2 dB; 3 kHz +2 dB; 10–12 kHz +1.5 dB; de-esser 6–8 kHz; 1176 4 dB + opto 2 dB; plate 1.5 s pre-delay 40 ms; dotted-eighth delay 15–20%.

Backing vocals, talk box, vocoder

Backing vocals: HP 150 Hz, compression 6 dB, wide, longer reverb. Talk box/vocoder: HP 150 Hz, 1–3 kHz presence, tempo-synced delay, chorus.

FX

Gated reverb on the snare (from 1983 on), dub delay on the 12" versions, flanger and phaser on the pads.

Buses and groups

Drum machine bus (glue 2 dB, tape), synth bus (1–2 dB), vocal bus (2 dB).

Sidechain

Discreet: bass from the kick 1–2 dB, pads from the kick 1–2 dB; never audible pumping.

Master

Chain: EQ (HP 20–25 Hz) – bus compressor 2:1 attack 30 ms 1–2 dB – tape – limiter. Target −12/−10 LUFS (vintage), −9/−8 (modern), true peak −1 dBTP.

Common mistakes

Small clap with no space, 808 too long that muddies the synth bass, pads without chorus (they sound flat), a “modern” mix that is too compressed.

Mix reference tracks

D Train — You're the One for Me; Yarbrough & Peoples — Don't Stop the Music; The S.O.S. Band — Just Be Good to Me; Mtume — Juicy Fruit; Dâm-Funk — Hood Pass Intact.

Reference listening

• Change — A Lover's Holiday (1980)
• Yarbrough & Peoples — Don't Stop the Music (1980)
• Zapp — More Bounce to the Ounce (1980)
• D Train — You're the One for Me (1981)
• The Peech Boys — Don't Make Me Wait (1982)
• Evelyn "Champagne" King — Love Come Down (1982)
• Patrice Rushen — Forget Me Nots (1982)
• Kashif — I Just Gotta Have You (Lover Turn Me On) (1983)
• The S.O.S. Band — Just Be Good to Me (1983)
• Mtume — Juicy Fruit (1983)
• Dâm-Funk — Toeachizown (album, 2009)