Post-disco: Wikis


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Post-disco/Dance rock
Stylistic origins electronic music, urban music, experimental music, dub, disco and other various styles
Cultural origins New York, Miami, Montreal, London; late 1970s – early 1980s
Typical instruments synthesizers, drum machines, sequencers, vocals, keyboards, samplers, other instruments
Mainstream popularity High in 1980s, see chart; mostly underground
Derivative forms Italo-disco, House, alternative dance, Techno, Dance-pop, Freestyle
Other topics
Rare groove, dance-rock, pop rock, dance-pop post-disco artists, hi-NRG, post-punk, Disco Demolition Night

Post-disco/dance-rock (club music or dance)[1] is the significant period in popular music history that followed the commercial "death" of disco music that emerged during late 1970s and early 1980s.[2][1]

The stripped-down musical trends followed from the DJ- and producer-driven, increasingly electronic and experimental side of disco,[3] and were typified by the styles of dance-pop,[4][5] boogie,[3] italo disco,[3] and the early alternative dance.[3] Techno and house are both rooted in post-disco music.[4][6][7][8][9][10]

During the late 1980s, house music followed and replaced post-disco in the music scene[citation needed].



Unlike disco music, post-disco is usually without typical shuffling hi-hat driven beat, walking basslines and/or string orchestration; it more features drum machines, synthesizers, sequencers and 4/4 time. Soulful vocals, however, "stayed" in this new disco music. Post-disco is not underground music at all — Madonna, New Order, Pet Shop Boys built their careers on the new ideas of disco electronic "reincarnation".[1]



"Thanks To You" and "Don't Make Me Wait" came out and started the whole dub thing in disco.[11]Shep Pettibone

Larry Levan used dub techniques in his productions and mixes for various post-disco artists, including his own group The Peech Boys. Sinnamon's "Thanks To You", D-Train's "You're the One for Me", The Peech Boys' "Don't Make Me Wait" — all these songs and its attributes and trends of post-disco later influenced a new "never-before-heard" music style. The house music.[12]

DJs, mixers, producers who were experimented with the new sounds are for example Leroy Burgess, Nick Martinelli, Arthur Baker[13], François Kevorkian[13][14], Larry Levan[13][14], Ron Hardy[13][15], Frankie Knuckles,[13][15] Tom Moulton, Shep Pettibone[13], Kashif.[13]

Example of pop rock, electronic and R&B musicians who followed post-disco wave include Black Devil, Telex[13], D. Train[13][16], Patrice Rushen[13], Freeez[13], Mtume[13], Nick Straker Band[13], Skyy[13], Unlimited Touch[13][16], Kurtis Blow[17], Was (Not Was)[13], Material[13], Liquid Liquid[13], Imagination, Bobby O[18], Shannon, Cheryl Lynn, Stacy Lattisaw, Central Line, Chas Jankel, Aurra, B. B. & Q. Band, Level 42, The Limit, Timex Social Club, The Deele, Dayton, The SOS Band, Shalamar, Shakatak, Instant Funk, The Whispers and many others.

Post-disco albums, featuring this "new sounds", include New York Cake (1981) by Kano, Thriller (1982) by Michael Jackson,[19] Straight from the Heart (1982) by Patrice Rushen and Madonna (1983) by Madonna.


After the "Disco Sucks" movement, disco records were rejected from the airplay and its circulation have been stopped. Radio stations started to play other format of music like reggae, punk rock or new wave. Top mainstream labels and record companies like Casablanca, TK Records, RSO started to have financial problems. However, disco doesn't "give up", because of its electronic progression and splitting itself in subscenes and styles like Hi-NRG, freestyle, italo-disco and electro-funk (boogie).[1] The last one is closely associated with post-disco more than any other offshots of post-disco.[20]

A watershed album of post-disco was Michael Jackson's Off The Wall (produced by Quincy Jones), which helped establish a direction of R&B/dance music and influenced many young producers who were interested in this kind of new music.[21] Parliament-Funkadelic, a funk band, also set the tone for many post-disco and post-punk bands of the 1980s and 1990s.[22]

Term usage

The term "post-disco" was used in 1984 by Cadence Magazine when defining post-disco soul as disco without the loud bass-drum thump.[23] In 1985, New York Magazine wrote an article about Mikhail Baryshnikov and Gregory Hines who has never heard this kind of music – mentioned has been post-disco and electronic funk[24]. "Post-disco" is also an Allmusic editorial contributor's attempt to isolate a music genre in the era between the indistinct "end" of disco music and the equally indistinct emergence of house music.[3]

Popularity chart

Successful records (mostly R&B/pop-oriented) from post-disco movement include:

Year Song Label Artist U.S. Dance [25] U.S. R&B [25] U.S. Pop [25] U.S. M.R. [25] U.K. Pop[26]
1980 "Celebration"[27] De-Lite Kool & The Gang #1 #1 #1 ('81) #7
1981 "Let's Groove" [28] Columbia Earth, Wind & Fire #3 #1 #3 #3
1982 "Last Night a DJ Saved My Life"[29] Sound of New York Indeep #2 #10 #13
"Love Come Down"[30][31] RCA Evelyn King #1 #1 #17 #7
1983 "Give It Up"[32] Meca KC #18 '#1
1983 "Billie Jean"[33] Epic Michael Jackson #1 #1 #1 #1
1984 "Let's Dance"[33] Epic David Bowie #1 #14 #1 #6 #1
"Cool It Now" [34] MCA New Edition #1 #4 #43
"Dr. Beat" [35] Epic Miami Sound Machine #17 #6
1987 "Rhythm Is Gonna Get You" [35] Epic Miami Sound Machine #27 #5

Post-disco "revival"

Later in the 2000s, Daft Punk, a house musical group, adopted post-disco, disco and synthpop sounds of early 1980s to their album Discovery[36], another artist Les Rythmes Digitales was influenced by post-disco/electro scene of the early 1980s.[37] Canadian musical group called Chromeo debuted in 2004 by 80s-influenced electrofunk/boogie album She's in Control. The Perfect Beats series (Vol. 1-4) are post-disco compilations of various artists (e.g. Imagination, Level 42, Afrika Bambaataa).[38] Another compilation series are Nighttime lovers (Vol. 1-10) and mixed-up album The Boogie Back: Post Disco Club Jams.


The 1980s post-disco sounds also inspired many Norwegian dance music producers.[39] Some rappers such as Ice Cube or EPMD built their careers on post-disco funk music (they were inspired for example by dance-floor favorites like Zapp and Cameo).[40] Also Sean "Puffy" Combs has been influenced by post-disco R&B in an indirect way.[41]

In popular culture

The word "post-disco has been implicitly mentioned in a 1989 novel named Crazy Love by Elías Miguel Muñoz:

  • Julian: "Now we're going American. What's the name they've given this new thing we're doing?
  • Joe: "Post-punk-post-new-wave-post-disco. . ."
  • Roli: "post-country -post-rapping - post-post- post-Beatles."
  • Lucho: "Post-Elvis-post-Simon-and-Garfunkel-post-Billy-Idol-post-British-Invasion-post-Cyndi-Lauper-post-Blues-post-Soul-post-Michael-Jackson-post-Hustle-post-Donna-Summer-post-Gloria-Gaynor-post-Prince-post-Madonna."

Related genres



Stylistic origins Post-punk, Post-disco, Dance, R&B, Rock
Cultural origins 70s/80s
Typical instruments KeyboardBass guitarElectric guitarDrum machine[42]
Other topics
List of dance-rock artists

Another post-disco movement is connected with post-punk/no wave genres with fewer R&B/funk influences. An example of this "post-disco" is Gina X's "No G.D.M."[43] and artists like Liquid Liquid, Polyrock,[44] Dinosaur L, and Disco Not Disco [2000] compilation album.[45][46] This movement also connects with dance-oriented rock; Michael Campbell, in his book Popular Music in America defines that genre as "post-punk/post-disco fusion."[47] Campbell also cited Robert Christgau, who described dance-oriented rock (or DOR) as umbrella term used by various DJs in 1980s.

However, Allmusic defines "dance-rock" as 1980s and 1990s music practised by rock musicians, influenced by Philly soul, disco, and funk, fusing those styles with rock and dance.[42] Artists like The Rolling Stones, David Bowie, Duran Duran, INXS, Eurythmics, Depeche Mode, The Clash, New Order and Devo belong, according to Allmusic, to this genre.[42] Dance-rock embraces some experimental funk acts like A Certain Ratio, Gang of Four, and also pop musicians, for example Robert Palmer and Hall & Oates.[42] This kind of dance-rock influenced Garbage, No Doubt, Robbie Williams, Scissor Sisters,[42] Franz Ferdinand, and The Killers.[48]

Prominent record labels


Released Album Mixed by Label Info
2000 VA-Disco Not Disco [2000] Strut compilation
2002–2008 VA-Opération Funk Vol. 1–5
Kheops mix album, compilation
2004 Choice: A Collection of Classics Azuli mix album, compilation
2004–2009 VA-Nighttime Lovers Vol. 1–10 PTG Compilation
2009 VA-Night Dubbin' Dimitri from Paris BBE mix album, compilation
2009 VA-The Boogie Back: Post Disco Club Jams
(by DJ Spinna)
BBE mix album, compilation

See also


  1. ^ a b c d Reynolds, Simon (2009) Grunge's Long Shadow - In praise of "in-between" periods in pop history (Slate, MUSIC BOX). Retrieved on 2-2-2009"
  2. ^ "Though it makes sense to classify any form of dance music made since disco as post-disco, each successive movement has had its own characteristics to make it significantly different from the initial post-disco era, whether it's dance-pop or techno or trance." — All Music Guide
  3. ^ a b c d e "Explore music…Genre: Post-disco/Dance rock". Allmusic. Retrieved 2009-04-11. 
  4. ^ a b Slant Magazine | Music | 100 Greatest Dance Songs. Retrieved on 2-2-2009
  5. ^ Smay, David & Cooper, Kim (2001). Bubblegum Music Is the Naked Truth: The Dark History of Prepubescent Pop, from the Banana Splits to Britney Spears: "... think about Stock-Aitken-Waterman and Kylie Minogue. Dance pop, that's what they call it now — Post-Disco, post-new wave and incorporating elements of both." Feral House: Publisher, p. 327. ISBN 0922915695.
  6. ^ Haggerty, George E. (2000), Gay Histories and Cultures: An Encyclopedia, Taylor & Francis, p. 256, ISBN 0815318804, "House music is a form of post-disco dance music made popular in the mid 1980s in Chicago clubs…"" 
  7. ^ Demers, Joanna (2006). Dancing Machines: 'Dance Dance Revolution', Cybernetic Dance, and Musical Taste. Cambridge Univ Press. pp. 25, 401–414. doi:10.1017/S0261143006001012. ""In terms of its song repertoire, DDR is rooted in disco and post-disco forms such as techno and house. But DDR can be read as the ultimate postmodern dance experience because the game displays various forms of dance imagery without stylistic or historical continuity (Harvey 1990, p. 62,…)". 
  8. ^ Campbell, Michael (2008), Popular Music in America, Cengage Learning, p. 352, ISBN 0495505307, "Glossary: techno – post-disco dance music in which most or all of the sounds are electronically generated" 
  9. ^ AllMusic - explore music... House: "House music grew out of the post-disco dance club culture of the early '80s." Retrieved on 12-27-2009
  10. ^ St. John, Graham (2004), Rave Culture and Religion, p. 50, ISBN 0415314496, "[sic] house music. As a post-disco party music, house features a repetitive 4/4 beat and a speed of 120 or more beats per minute..."
  11. ^ Tech Noir - Disco > Shep Pettibone: Shep Pettibone in an interview with Steven Harvey. Retrieved on 12 26 2009
  12. ^ Cheeseman, Phil (1989). The History of House music. | Artandpopculture. Retrieved on 2-19-2010
  13. ^ a b c d e f g h i j k l m n o p q r "Explore music…Top Artists (under Post-disco)". Allmusic. Retrieved 2009-04-11. 
  14. ^ a b Broughton, Frank & Brewster, Bill (2000). Larry Levan's Paradise Garage | - Disco's revenge: "[sic] But by the turn of the eighties, he was experimenting with drum machines and synthesizers and, like François Kevorkian around the same time, forging a new electronic, post-disco sound". Retrieved on 1-4-2010.
  15. ^ a b Pitchfork Album Reviews: VA -Trax Records: 20th Anniversary Collection. Retrieved on 1-4-2010
  16. ^ a b Bogdanov, Vladimir (2003), All Music Guide to Soul: The Definitive Guide to R&B and Soul, p. 709, ISBN 9780879307448, "[Unlimited Touch] weren't disco, and they weren't exactly straight-up R&B; like their Prelude labelmates D Train, Unlimited Touch combined the two forms into what is often referred to as post-disco." 
  17. ^ Toop, David (1984), The Rap Attack: African Jive to New York Hip-Hop, Pluto Press, p. 93, "Kurtis Blow may not have been 100 per cent proof Bronx hip hop, but his early records helped set the style in post-disco dance music." 
  18. ^ allmusic > ((( Bobby Orlando - Overview ))): "Genre: Electronic, Styles: Hi-NRG, Club/Dance, R&B, Post-disco". Retrieved on 12-27-2009.
  19. ^ Heyliger, M., Music - Help - Web - Review - A State-of-the-Art Pop Album (Thriller by Michael Jackson): "Not many artists could pull off such a variety of styles (funk, post-disco, rock, easy listening, ballads) back then...". Retrieved on August 12, 2009
  20. ^ Serwer, Jesse (2009) XLR8R: Jesse Serwer in a interview with Dam-Funk. Retrieved on 2-2-2010.
  21. ^
  22. ^ Parliament/Funkadelic. (2009). In Student's Encyclopædia: "Combining funk rhythms, psychedelic guitar, and group harmonies with jazzed-up horns, Clinton and his ever-evolving bands set the tone for many post-disco and post-punk groups of the 1980s and 1990s.". Retrieved August 15, 2009, from Britannica Student Encyclopædia.
  23. ^ Cadence Magazine 10: 56. 1984. 
  24. ^ Denby, David (December 2, 1985). "Red, White, and Hot [1]". New York Magazine 18 (47): 121. ISSN 0028-7369. 
  25. ^ a b c d Kool & The Gang: Billboard SinglesDavid Bowie: Billboard SinglesSOS Band: Billboard SinglesIndeep: Billboard SinglesEarth, Wind & Fire: Billboard SinglesMichael Jackson: Billboard Singles by All Music Guide. Retrieved on August 11, 2009.
  26. ^ Search song on database
  27. ^ [2]. about Kool & The Gang trivia informations. Retrieved on 5. 5. 2009
  28. ^ Soul > LP > Earth Wind & Fire: Raise!: Earth Wind & Fire hits the 80s -- and never misses a beat! Turns out that the group's older style of jazzy funk was a perfect fit for the boogie-styled rhythms of the post-disco era". Dusty Groove Retrieved on August 12, 2009.
  29. ^ Grow, Kory (May 2008). Revolver Magazine article: Why The Most Dangerous Band Of The Decade, True Norwegian, Black Metallers, Gorgoroth, Turned On Itself - "When the post-disco classic "Last Night a DJ Saved My Life" by early-'80s New York crew Indeep comes on, King asks what the singer means by the bizarre titular statement.". No. 68. ISSN 1527-408X.
  30. ^ [3]. web. Re-retrieved on August 1, 2009
  31. ^ ShowArtist: Evelyn "Champagne" King. Retrieved on August 10, 2009.
  32. ^ Hoffmann, W. Frank & Ferstler, Howard (2005). Encyclopedia of Recorded Sound (Publication no. 2): "He [Harry Casey] briefly returned to the public eye billed as KC with the release of KC Ten (Meca 8301; 1984: #93), featuring the post-disco single 'Give It Up' (Meca 1001; 1984; #18), before fading back into obscurity". p. 566. ISBN 041593835X
  33. ^ a b The Eighties Club: The Politics and Pop Culture of the 1980s: "On the dance floor, David Bowie's "Let's Dance" and Michael Jackson's "Billie Jean" defined the post-disco beat." Retrieved on August 11, 2009.
  34. ^ One Hit Wonder Center - One-Hit Wonder Music of the 50's~90's: "There are also tracks to represent the rise of post-disco club/dance trend, such as Laid Back's "White Horse", New Edition's "Cool It Now", and Timex Social Club's " Rumors" ". Retrieved on August 12, 2009.
  35. ^ a b Morales, Ed (2002). Living in Spanglish: the search for Latino identity in America: ""With their group, Miami Sound Machine, ... "Doctor Beat," manages to fuse elements of Latin percussion with the electric hass heats of the post-disco era". p. 244. ISBN 0312262329.
  36. ^ (2001) CMJ New Music Monthly - Best New Music - Daft Punk (Discovery): "Although it's only fair to credit Chicago with the post-disco dance style's paternal rights, the French [Daft Punk] have (at the very least) earned covered weekend privilegies." Publisher: CMJ Network, Inc. No. 93. p. 71. ISSN 1074-6978
  37. ^ Paoletta, Michael (1999). Billboard Magazine: Reviews & Previews: Spotlight (Les Rythmes Digitales - Darkdancer): "[about funky and British synth-pop] two musical styles steeped in the post-disco/electro scene of New York in the early '80s". p. 30. ISSN 0006-2510
  38. ^ The Perfect Beats, Vol. 1 by Allmusic. Retrieved on 1-28-2010
  39. ^ Ham, Anthony & Roddis, Miles and Lundgren, Kari (2008). Norway: Discover Norway - (The Culture) Interview with Bernt Erik Pedersen, music editor, Dagsavisen: "A lot of current dance music producers are influenced by the post-disco sound of the early 80s". Publisher: Lonely Planet Publications. p. 53. ISBN 1741045797.
  40. ^ Light, Alan (november, 1993). V I B E - Funk Masters article: "It's no wonder that rappers such as EPMD and Ice Cube, striving for that perfect mind-body fusion, have built careers out of fragments from these fathers of funk (as well as the post-disco wave they inspired - dance-floor favourites like Zapp and Cameo)". p. 51?, ISSN 1070-4701
  41. ^ Schoonmaker, Trevor (2003). Fela: from West Africa to West Broadway: "Puffy's consistent pilfering of pop coffers from a certain time period shows undoubtedly that he is influenced by the post-disco R&B bounce of the late 1970s and early 1980s". Publisher: Palgrave Macmillan. p. 4. ISBN 1403962103.
  42. ^ a b c d e "Explore music… Genre: Dance-Rock". Allmusic. Retrieved 2009-08-12. 
  43. ^ The Fader (University of Michigan): 38. 2002. "[the] classic post-disco track "No GDM" by Gina X". 
  44. ^ Fink, Robert (2005), Repeating Ourselves: American Minimal Music As Cultural Practice, University of California Press, p. 26, ISBN 0520245504 
  45. ^ Albums "Disco Not Disco [2000"]. Allmusic. Albums. Retrieved 2009-08-10. 
  46. ^ Battaglia, Andy (2008). "Album Reviews: VA - Disco Not Disco (Post-Punk, Electro & Leftfield Disco Classics)". Pitchfork Media. Retrieved 2009-08-13. 
  47. ^ Campbell, Michael (2008), Popular Music in America: And the Beat Goes On, Cengage Learning, p. 359, ISBN 0495505307 
  48. ^ Paoletta, Michael (December 25, 2004). "Music [Dance]: Mash-Ups, Dance-Rock Lead Breaktroughs". Billboard Magazine (Nielsen Business Media, Inc.): 38. ISSN 0006-2510. 

Simple English

Stylistic origins R&B
New Wave
Cultural origins Late 1970s; USA, UK
Typical instruments Drum machine, Synthesizer, Vocals, Latin percussion
Mainstream popularity 1980s, mostly underground

The word "post-disco" refers to late 1970s and early 1980s music and movement of disco music. It have electronic/funk influenced (affected) sounds. It have been invented by DJs and music producers in USA and UK. Post-disco music is a little bit rare, hard-to-find songs can be found for example in Grand Theft Auto: Vice City Stories on fictional radio station Paradise FM.

However, post-disco impact can be hear in styles like house, techno, electro, crunk, dance-rock, italo-disco or dance-pop.

Post-disco artists include Kashif, Mtume, Unlimited Touch, Kurtis Blow, Patrice Rushen.

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