Post-disco es un término para describir una secuela en la historia de la música popular alrededor de 1979-1985, que comienza de manera imprecisa con una reacción sin precedentes contra la música disco en los Estados Unidos, lo que provocó disturbios civiles y disturbios en Chicago conocidos como la Noche de demolición de discos en julio. 12, 1979, y termina indistintamente con la aparición generalizada de la nueva ola a principios de la década de 1980. [1] La discoteca durante su etapa agonizante mostró un carácter cada vez más electrónico que pronto sirvió como un trampolín hacia la nueva ola, el hip hop de la vieja escuela , el euro disco y fue sucedido por una música de club clandestina llamada hi-NRG., que fue su continuación directa.
Post-disco | |
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Orígenes estilísticos | |
Orígenes culturales | Finales de la década de 1970 - principios de la década de 1980 |
Formas derivadas | |
Sub géneros | |
Otros temas | |
Un movimiento clandestino de música disco, que fue simultáneamente "desnudo" y contó con "sonidos radicalmente diferentes", [2] tuvo lugar en la costa este que "no era ni disco ni R&B". [3] Esta escena, conocida como post-disco, [nb 1] que atiende al área metropolitana de Nueva York, fue inicialmente dirigida por artistas urbanos contemporáneos en parte en respuesta a la sobrecomercialización y la caída artística de la cultura disco. Desarrollado a partir del sonido del rhythm and blues perfeccionado por Parliament-Funkadelic , [6] el lado electrónico de la música disco , las técnicas de la música dub y otros géneros. El post-disco fue tipificado por grupos de música de la ciudad de Nueva York como "D" Train [3] y Unlimited Touch [3] que siguieron un enfoque más urbano, mientras que otros, como Material [7] y ESG , [8] uno más experimental. El post-disco era, como el disco, un mercado impulsado por los singles [2] controlado principalmente por compañías discográficas independientes que generaron un éxito en las listas de éxitos cruzados a lo largo de principios y mediados de la década de 1980. La mayor parte del control creativo estaba en manos de productores de discos y DJ de clubes [2], que fue una tendencia que sobrevivió a la era del dance-pop .
Otros estilos musicales que surgieron en la era post-disco incluyen dance-pop , [9] [10] boogie , [2] e Italo disco y llevaron al desarrollo de la danza alternativa temprana , [2] house centrado en clubes [9 ] [11] [12] [13] y música tecno . [12] [14] [15] [16] [17]
Caracteristicas
Las cajas de ritmos , los sintetizadores , los secuenciadores eran parcial o totalmente dominantes en una composición o se mezclaban con varios instrumentos acústicos, según el artista y el año. Los instrumentos electrónicos se hicieron cada vez más frecuentes para cada año durante el período y dominaron el género por completo a mediados de la década de 1980.
Darryl Payne argumentó sobre el enfoque mínimo del post-disco, diciendo:
Los productores están usando muchos más sonidos y muchos menos instrumentos: las pistas " Forget Me Nots " y " Don't Make Me Wait " están realmente vacías, pero hay una sofisticación en la que la gente puede meterse. [18]
La fuerza principal en la post-disco fue principalmente el formato sencillo de 12 "y las colaboraciones de corta duración (muchas de ellas maravillas de un solo éxito ), mientras que los productores de discos independientes fueron fundamentales en la dirección musical de hacia dónde se dirigía la escena. La música que principalmente dirigido a la danza y el público urbano más tarde logró influir en actos más populares y convencionales como Madonna , New Order o Pet Shop Boys . [1]
Elementos musicales
La música tendía a estar centrada en la tecnología, cargada de teclados, melódica, con líneas de bajo orientadas al funk (a menudo interpretadas en un Minimoog ), riffs de sintetizador, estética de la música dub y capas de piano de jazz o blues de fondo . [1] [2] [19] [20] [21] Para las secciones de cuerdas y metales, se prefirieron los sonidos de sintetizador a la exuberante orquestación que se escucha en muchas pistas de discoteca, aunque tales arreglos resurgirían más tarde en alguna música house. [ cita requerida ] Las voces femeninas conmovedoras , sin embargo, siguieron siendo una esencia del post-disco.
Término de uso
Uniendo la llamada muerte de la discoteca y el nacimiento del house, toda esta música de principios a mediados de los 80 carece de un nombre más allá de términos dramáticamente funcionales y neutrales como "dance" o "música de club".
- Simon Reynolds, revista SPIN [22]
El término "post-disco" fue utilizado ya en 1984 por la revista Cadence al definir el soul post-disco como "disco sin el fuerte golpe del bombo". [23] La revista New York Magazine utilizó la palabra en un artículo que apareció en la edición de diciembre de 1985; Fue la introducción de Gregory Hines del funk post-disco y electrónico al coreógrafo de danza ruso-estadounidense Mikhail Baryshnikov "que nunca ha escuchado este tipo de música". [24] AllMusic afirma que el término denota un género musical en la era entre el "fin" indistinto de la música disco y el surgimiento igualmente indistinto de la música house. [2]
En otros casos históricos, el término se había utilizado de manera burlona. Spy se burló implícitamente del uso de los términos "post-punk" y "post-disco" en su artículo de Spy's Rock Critic-o-Matic , mientras que parodiaba varias reseñas musicales publicadas por Rolling Stone , The Village Voice y Spin . [25] El escritor cubanoamericano Elías Miguel Muñoz en su novela Crazy Love de 1989 , en un pasaje donde los músicos después de mudarse a América discuten cuál puede ser su "estilo", utilizó el término de manera satírica. [26]
Historia
Eventos de fondo
Estados Unidos
Los habitantes del Medio Oeste no querían que ese estilo [disco] intimidante se les metiera en la garganta [27]
- Steve Dahl
Poco después del movimiento " Disco Sucks " de ataques a la música disco en todo Estados Unidos , las estaciones de radio estadounidenses comenzaron a prestar atención a otros formatos populares de música como el reggae , el punk rock o el new wave, mientras que los principales sellos y compañías discográficas como Casablanca , TK Records o RSO quebró. Dado que la música disco había estado en camino de [su] progresión electrónica, se dividió en subescenas y estilos como Hi-NRG , freestyle , Italo disco y boogie . [28] [1] [27] El último está estrechamente asociado con el post-disco más que cualquier otra rama del post-disco. [29] [30]
El productor de discos brasileño y pionero del jazz fusión Eumir Deodato , muy consciente de las tendencias actuales de la música underground estadounidense, cambió la carrera de un grupo de música funk en quiebra, Kool & the Gang, adoptando y persiguiendo un sonido pop-post-disco ligero que no solo revitalizó la imagen de la banda, pero también resultaron ser los éxitos más exitosos de toda su carrera. [21] El creador de BB & Q. Band ( Capitol ) y Change ( Atlantic ), Jacques Fred Petrus , un productor de discos de música disco italo-francesa hi-NRG, reflexiona sobre su decisión de pasar de la música disco convencional a la post-disco. "[nuestro] sonido cambió a un estilo más funky dance / R & B para reflejar los tiempos". [31] El dúo de compositores de origen francés Henri Belolo y Jacques Morali , creadores del exitoso acto Village People , trasladaron su antiguo acto disco Ritchie Family a RCA Victor para lanzar su próximo álbum coproducido por el músico funk Fonzi Thornton y Petrus, I ' ll Do My Best , que refleja su radical cambio musical. [31] En la costa oeste, especialmente en California , un enfoque diferente conduce a un sonido diferente. Dick Griffey y Leon Sylvers III de SOLAR Records , que fueron pioneros en su propio sonido característico, produjeron el álbum Rough Riders del grupo Lakeside, con sede en Ohio, que ya mostraba estas nuevas tendencias y "demuestra instrumentalmente arreglos económicos (con metales, teclados y guitarra), "como señaló Billboard , alabando el álbum. [32] Un álbum de post-disco cuenca fue Michael Jackson 's Off The Wall , producido por Quincy Jones , que ayudó a establecer una dirección de R & B / danza e influyó a muchos productores pequeños que estaban interesados en este tipo de música nueva. [33]
Otros ejemplos de los primeros artistas estadounidenses que se inspiraron en la música post-disco son Rick James , Change y Teena Marie . [18]
Europa
El disco en Europa permaneció relativamente al margen de los eventos en los EE. UU., Disminuyendo solo en Gran Bretaña, pero esto se debió principalmente a la aparición de la nueva ola y los nuevos movimientos románticos alrededor de 1981, [34] y continuó floreciendo dentro de la escena disco Italo , aunque De hecho, el interés por la música electrónica en general estaba creciendo.
United Kingdom
Unlike in the United States, where anti-disco backlash generated prominent effect on general perception of disco music, in Britain, the new-wave movement initially drew heavily from disco music (although this association would be airbrushed out by the end of 1979) and took many elements from American post-disco and other genres, thus creating a characteristic scene.[18] According to Billboard, American post-disco was merely a crossover of different genres, while focusing on the electronic and R&B overtones, whereas jazz-funk was a crucial element of the British post-disco scene that generated musicians like Chaz Jankel, Central Line or Imagination.
1980s: Golden age
This section summary shows commercially successful records (mostly R&B/pop-oriented) from the post-disco movement.
Compare "Open Sesame" (1976) with "Celebration" (1980) by Kool & The Gang; "Boogie Wonderland" (1979) with "Let's Groove" (1981) by Earth, Wind & Fire; "Shame" (1978) with "Love Come Down" (1982) by Evelyn "Champagne" King; "(Shake, Shake, Shake) Shake Your Booty" (1976) with "Give It Up" (1982) by KC & the Sunshine Band; and "The Best Disco in Town" by The Ritchie Family (1976) with "Square Biz" by Teena Marie (1981).
Year | Song | Label | Artist | U.S. Dance[35] | U.S. R&B[35] | U.S. Pop[35] | U.S. M.R.[35] | U.K. Pop |
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1979 | "I Wanna Be Your Lover"[36] | Warner Bros. | Prince | #2 | #1 | #11 | ― | #41 |
1980 | "Celebration"[37] | De-Lite | Kool & the Gang | #1 | #1 | #1 ('81) | ― | #7 |
"He's So Shy"[38] | Planet | The Pointer Sisters | #26 | #10 | #3 | ― | ― | |
"And the Beat Goes On"[39] | SOLAR | The Whispers | #1 | #1 | #19 | ― | #2 | |
1981 | "Let's Groove"[40] | Columbia | Earth, Wind & Fire | #3 | #1 | #3 | ― | #3 |
"Get Down on It"[41] | De-Lite | Kool & the Gang | ― | #4 | #10 | ― | #3 | |
"Pull Up to the Bumper"[42] | Island Records | Grace Jones | #2 | #5 | ― | ― | #12 | |
1982 | "Everybody"[43] | Sire, Warner Bros. | Madonna | #3 | ― | #107 | ― | ― |
"Forget Me Nots"[44] | Elektra Records | Patrice Rushen | #2 | #4 | #23 | ― | #8 | |
"Last Night a DJ Saved My Life"[45] | Sound of New York | Indeep | #2 | #10 | #101 | ― | #13 | |
"Love Come Down"[46][47] | RCA | Evelyn King | #1 | #1 | #17 | ― | #7 | |
"Do I Do"[48] | Tamla | Stevie Wonder | #1 | #2 | #13 | ― | #10 | |
1983 | "Holiday"[43] | Sire, Warner Bros. | Madonna | #1 | #25 | #16 | ― | #2 |
"Give It Up"[49] | Meca | KC | ― | ― | #18 | ― | #1 | |
"Billie Jean"[50] | Epic | Michael Jackson | #1 | #1 | #1 | ― | #1 | |
1984 | "Caribbean Queen"[51] | Jive | Billy Ocean | #1 | #1 | #1 | ― | #6 |
"Let's Dance"[50] | EMI | David Bowie | #1 | #14 | #1 | #6 | #1 | |
"Cool It Now"[52] | MCA | New Edition | ― | #1 | #4 | ― | #43 | |
"Dr. Beat"[53] | Epic | Miami Sound Machine | #17 | ― | ― | ― | #6 | |
"I'm So Excited"[54] | Planet | The Pointer Sisters | #28 | #46 | #9 | ― | #11 | |
1985 | "Into the Groove"[55] | Sire, Warner Bros. | Madonna | #1 | #19 | ― | ― | #1 |
"Chain Reaction"[56] | RCA Records | Diana Ross | #7 | #85 | #66 | ― | #1 | |
"Object of My Desire" | Elektra | Starpoint | #12 | #8 | #25 | ― | #96 | |
1986 | "Rumors"[52] | Jay | Timex Social Club | #1 | #1 | #8 | ― | #13 |
"Ain't Nothin' Goin' on But the Rent"[57] | Polydor Records | Gwen Guthrie | #1 | #1 | #42 | ― | #5 | |
1987 | "Rhythm Is Gonna Get You"[53] | Epic | Miami Sound Machine | #27 | ― | #5 | ― | #16 |
2000s: Post-disco revival
During the late 1990s and throughout the 2000s, electronic and, especially, house musicians were influenced by post-disco. Some of these musicians are: Daft Punk, a French house music group, adopted elements of post-disco, disco and synth-pop into Discovery.[58] Another artist, Les Rythmes Digitales, released a post-disco/electro-influenced album, Darkdancer.[59] Canadian music group Chromeo debuted in 2004 with the album She's in Control.[60] Similar Los Angeles-based musician Dâm-Funk recorded Toeachizown, a boogie- and electro-influenced album released in 2009.[61] Another band called Escort, who hails from New York City, surfaced on the post-disco and post-punk revival scenes around 2006. The story about Escort appeared on New York Times in November 2011.[62]Sampling disco and post-disco songs became a distinctive feature of R&B music at the turn of the century. Artists such as Mariah Carey and Janet Jackson incorporated strong post-disco elements in their work, with post-disco-influenced songs such as Heartbreaker, Honey, Fantasy and All For You peaking at #1 on the Billboard Hot 100.
Contemporary compilation albums featuring post-disco and electro artists (e.g. Imagination, Level 42, Afrika Bambaataa) include The Perfect Beats series (volume 1–4).[63] Another compilation series are Nighttime Lovers (volume 1-10) and the mixed-up album titled The Boogie Back: Post Disco Club Jams.
Pioneros y seguidores
"Thanks To You" and "Don't Make Me Wait" came out and started the whole dub thing in disco.[64]
— Shep Pettibone
Particular psychedelic soul artists like Sly and the Family Stone liked to push the boundaries of conventional music by employing what was to be a precursor to synthesizer, electronic organ. Multi-instrumentalist Stevie Wonder was one of the early artists venturing into the realms of analog synthesizer after being impressed by the work of T.O.N.T.O. Expanding Head Band, an influential multinational electronic music duo of sound designers. Wonder remarked, "How great it is at a time when technology and the science of music is at its highest point of evolution ... A toast to greatness, a toast to Zero Time, forever." With an increasing growth of personalized synthesizers on the market they were becoming more commercially available and easy-to-use, especially those produced by Roland Corporation. One of their first users was cutting-edge artist George Clinton and his Parliament-Funkadelic collective project. Funk rhythms, psychedelic guitars, synthetic bass-rich lines, the particularly melodic endeavor and music minimalism of P-Funk. Brooklyn Transit Express member Kashif, noted for his use of bass synthesizer[65] during the group's tour, later went solo as a record producer and began crafting funk-influenced songs for Evelyn "Champagne" King that shown a minimalism-akin approach, the disregard of disco music arrangements, and affiliation to the method of "one-man band" previously paved through by Wonder.[65] Other spheres of influence include the move by pioneering DJs and record producers to release alternative mixes of the same single, so-called dub mixes. DJ Larry Levan implemented elements of dub music in his productions and mixes for various post-disco artists, including his own group The Peech Boys. Musically, there was a search for out-of-mainstream music to derive new ideas from, most commonly blues, and other styles like reggae and so on, were also incorporated.
Sinnamon's "Thanks to You", D-Train's "You're the One for Me",[66] 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 which would become house music.[67][68][69]
The new post-disco sound was flourishing among predominately New York City record companies, including West End Records, Prelude Records, Tommy Boy Records, SAM Records, and others.[69][70] Most of them were independently owned and had their own distribution[71] but some particular mainstream labels, notably RCA Records,[31] were too, responsible for popularizing and capitalizing on the new sound.
Timeline
Although there is no exact point when post-disco started, many synthpop and electronic musicians of that time continued to enhance the raw minimalist sound, while focusing on synthesizers, and keyboard instruments. As noted by Payne, drum machines also played an important part in the urban-oriented music in general.[18]
# | Event[69][72][73][74][75][6][76][77][78] |
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1977– 1979 | While disco music was in its heyday, the horn and string sections were a main component of disco and pop songs. This sound is also called disco orchestration. However, some of the musicians and producers dropped the lavish sound of orchestra completely, which attributed a new direction of dance music.
|
1980– 1981 | After the success of Quincy Jones-produced album Off the Wall and other semi-mainstream urban-oriented music groups like Lakeside, other disco music groups either dissolved or adapted the new sounds (e.g. The Whispers, The SOS Band, Inner Life, Earth, Wind & Fire, and Shalamar in the U.S.; Nick Straker Band, and Freeez in UK). Other musicians influenced by post-disco include Stacy Lattisaw, Kurtis Blow, and George Duke.
|
1982 | Golden age post-disco era, where post-disco sound entered mainstream. However most of the musicians were mostly successful on the other charts, beside Billboard Hot 100. This era also spanned experimental No Wave-oriented post-disco acts like Material, Liquid Liquid, Dinosaur L and Was (Not Was). The most significant post-disco album is Michael Jackson's Thriller, which also became the best-selling album of all time.[79] Larry Levan and the NYC Peech Boys recorded proto-house number "Don't Make Me Wait". New bands and musicians of the era appeared, including Imagination, D. Train, Skyy, Aurra, Komiko, Vicky D, Rockers Revenge, Dayton, and Unlimited Touch.
|
1983– 1984 | During this era, post-disco was at its highest peak. Meanwhile, Madonna's commercially successful debut album was released, which was produced by Reggie Lucas of Mtume and Jellybean, another producers of this movement. It also began to interfere with garage house and freestyle music, thus successfully shaping post-disco into electro. This change could be also heard in breakdancing- and hip-hop -themed movies like Beat Street and Breakin'.
|
1985– 1987 | During this era, post-disco had been dissolved in various music fields and scenes, including
As the post-disco reached its climax, overdubbing techniques as recorded by Peech Boys and other early-1980s artists were almost omitted by then and replaced by synthpop variants instead. The movement survived as a post-disco–freestyle crossover music that spanned Raww, Hanson & Davis, Timex Social Club, Starpoint and Miami Sound Machine. |
Legado
The 1980s post-disco sounds also inspired many Norwegian dance music producers.[80] Some rappers such as Ice Cube or EPMD built their careers on funk-oriented post-disco music (they were inspired for example by dance-floor favorites like Zapp and Cameo).[81] Also Sean "Puffy" Combs has been influenced by R&B-oriented post-disco music in an indirect way.[82]
Géneros relacionados
Boogie
Boogie (or electro-funk)[69][83] is a post-disco subgenre with funk and new wave influences that had a minor exposure in the early to mid-1980s. Sean P. described it as "largely been ignored, or regarded as disco's poor cousin – too slow, too electronic, too R&B ... too black, even."[84]
Dance-rock
Another post-disco movement is merely 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."[85] and artists like Liquid Liquid, Polyrock,[86] Dinosaur L, and the Disco Not Disco (2000) compilation album.[87][88] 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."[89] Campbell also cited Robert Christgau, who described dance-oriented rock (or DOR) as umbrella term used by various DJs in the 1980s.[90]
Dance-pop
Dance-pop is a dance-oriented pop music that appeared slightly after the demise of disco and the first appearance of "stripped-down" post-disco. One of the first dance-pop songs were "Last Night a D.J. Saved My Life" by Indeep and "Love Come Down" by Evelyn "Champagne" King, whereas the latter crossed over to Billboard charts including Adult Contemporary, while peaking at number 17 on the pop chart in 1982.[91] Another crossover post-disco song was "Juicy Fruit" by Mtume, peaking at number 45 on the Hot 100 in 1983.[92] Same year also saw the release of Madonna's eponymous album that incorporated post-disco, urban and club sounds. British variation of dance-pop, pioneered by Stock Aitken Waterman, was more influenced by house and hi-NRG and sometimes was labeled as "eurobeat."[93]
Italo disco
Italo disco is a disco subgenre, influenced by post-disco, hi-NRG, electronic rock, and European music. Originally music mostly played by Italian musicians, but it soon made its way to Canada and United States. One of the earliest post–disco-oriented groups were Klein + M.B.O. and Kano, while New York-based Bobby Orlando was located abroad.[2]
Lista no exhaustiva de artistas
Urban-oriented post-disco (boogie) musicians:
| Post-disco/post-punk (dance-rock) musicians:
|
Sellos discográficos destacados
|
|
Compilaciones
Released | Album | Label | Info |
---|---|---|---|
2000 | VA – Disco Not Disco | Strut | compilation |
2002 | VA – Disco Not Disco 2 | Strut | compilation |
2002–2008 | VA – Opération Funk Vol. 1–5 (mixed by Kheops) | mix album, compilation | |
2004 | VA – Choice: A Collection of Classics (mixed by Danny Tenaglia) | Azuli | mix album, compilation |
2004–2009 | VA – Nighttime Lovers Vol. 1–10 | PTG | compilation |
2008 | VA – Disco Not Disco 3 | Strut | compilation |
2009 | VA – Night Dubbin' (mixed by Dimitri from Paris) | BBE | mix album, compilation |
2009 | VA – The Boogie Back: Post Disco Club Jams (compiled by DJ Spinna) | BBE | mix album, compilation |
2010 | VA – Boogie's Gonna Getcha: '80s New York Boogie | BreakBeats | compilation |
Ver también
- List of post-disco artists and songs
Notas
- ^ Various terms to describe the sound of what seemed to be post-disco were introduced, such as, but not limited to, "dance", "club music", "R&B", and "disco". The last, however, become an unfashionable term, hence the increasing use of "dance"[4][5] vis-à-vis the word "disco".
Referencias
- ^ 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"
- ^ a b c d e f g h i "Explore music ... Genre: Post-disco". Allmusic. Retrieved 2009-04-11.
- ^ a b c d Kellman, Andy. "Unlimited Touch" artist biography. Retrieved 2014-10-01
- ^ Rodgers, Nile (2011). Le Freak: An Upside Down Story of Family, Disco, and Destiny. Random House LLC. p. 42. ISBN 978-0679644033.
By now 'dance' was a loaded word for me. The Disco Sucks backlash had given me a post-traumatic-stress–like disorder, and I'd vowed not to write any songs with that word in them for a long time. I was shamed out of using a word—'dance'.
- ^ Goldschmitt, Kariann Elaine (2004). Foreign bodies: innovation, repetition, and corporeality in electronic dance music (Digitized 13 Sep 2010). University of California, San Diego. p. 256. ISBN 0-8153-1880-4.
- ^ a b Parliament/Funkadelic. (2009). In Student's Encyclopædia Archived 2009-04-21 at the Wayback Machine: "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.
- ^ "Material - Biography, Albums, Streaming Links - AllMusic". AllMusic. Retrieved 1 February 2018.
- ^ "ESG - Biography, Albums, Streaming Links". AllMusic. Retrieved 1 February 2018.
- ^ a b "The 100 Greatest Dance Songs – Feature". Slantmagazine.com. Retrieved 1 February 2018.
- ^ 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 0-922915-69-5.
- ^ Haggerty, George E. (2000). Gay Histories and Cultures: An Encyclopedia. Taylor & Francis. p. 256. ISBN 0-8153-1880-4.
House music is a form of post-disco dance music made popular in the mid-1980s in Chicago clubs ..."
- ^ a b Demers, Joanna (2006). "Dancing Machines: 'Dance Dance Revolution', Cybernetic Dance, and Musical Taste". Popular Music. Cambridge University Press. 25 (3): 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, ...)
- ^ Riley, Marcus & Trotter, Lee Ann (Apr 1, 2014) Chicago House Music Legend Frankie Knuckles Dead at 59 WMAQ-TV. NBCUniversal. Retrieved 2014-04-24
- ^ Campbell, Michael (2008). Popular Music in America. Cengage Learning. p. 352. ISBN 978-0-495-50530-3.
Glossary: techno – post-disco dance music in which most or all of the sounds are electronically generated
- ^ AllMusic - explore music ... House: "House music grew out of the post-disco dance club culture of the early '80s." Retrieved on 12-27-2009
- ^ St. John, Graham George Michael, (2004), Rave Culture and Religion, p. 50, ISBN 0-415-31449-6, " [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 ..."
- ^ "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." — Allmusic
- ^ a b c d e f "The Music Steps Beyond Disco: Where The Beat Meets The Street/Danceable Rock Generates First Bevy of Crossover Stars". Billboard. Nielsen Business Media, Inc (94). 19 Jun 1982. ISSN 0006-2510.
- ^ Kellman, Andy (review). Anthology (1995) - Aurra. Allmusic. Rovi Corporation. Retrieved 2014-04-24.
- ^ Nelson, George (2003). The Death of Rhythm and Blues. Penguin. ISBN 1101160675.
Synthesizers of every description, drum machines, and plain old electric keyboards began making MFSB and other human rhythm sessions nonessential to the recording process. For producers, a control-oriented bunch, this was heaven. No more rehearsals. Low session fees. An artist who envisioned himself as a future Stevie Wonder—the first great one-man synthesizer band—could express his creativity in the basement or the bathroom.
- ^ a b "Walsh, Fintan (June, 2012): Eumir Deodato and the exploration of Post-Disco". The 405 magazine (UK). Archived from the original on 2013-11-09. Retrieved 2012-06-30.
- ^ Simon Reynolds, Slate, p. May 29, 2009
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|title=
(help) - ^ New York Magazine (New York Media, LLC). 18: 121. 2 December 1985. ISSN 0028-7369. Missing or empty
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(help) - ^ "That's the Way (Uh-huh, Uh-huh) I Like It - introducing SPY'S ROCK-CRITIC-o-MATIC (by David Bourgeois)". Spy. Sussex Publishers, LLC: 33. May 1992. ISSN 0890-1759.
"In their first album since their eponymous effort of last year, Donald and the Vulgarians, without a doubt one of the best post-punk groups of the 1980s, return with their latest release, I Who Have Nothing and Other Songs for the Nineties. Filled with self-absorbed Trinidadian soca, the album screams post-punk/post-disco art-school pop with its use of guitar riff sawing".
- ^
* 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." — "Crazy Love" (Elías Miguel Muñoz, 1989)
- ^ a b Why 'Disco sucks!' sucked. The Guardian. Retrieved 2012-02-21
- ^ Billboard. Nielsen Business Media, Inc (92). 18 Jul 1980. ISSN 0006-2510.
Disco Business > An Art Unto Itself: Programming of Mobiles - Chicago
Missing or empty|title=
(help) - ^ Serwer, Jesse (2009) XLR8R: Jesse Serwer in an interview with Dam-Funk. Retrieved on 2-2-2010.
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- ^ Lamb, Bill (12 April 2006). "Top 10 Tracks To Download This Week April 12, 2006 – A Pointer Sisters Tribute". About.com. Retrieved 7 July 2014.
This sweetly sexy come-on was a perfect post-disco r&b smash landing at #3 on the pop chart.
- ^ Ro, Ronin (1999). Have Gun Will Travel: The Spectacular Rise and Violent Fall of Death Row Records. Broadway Books. p. 40. ISBN 978-0-3854-9135-8.
SOLAR ..., which grew out of an association between promoter Griffey and Soul Train host Don Cornelius, released a string of post-disco hits that included Shalamar's "The Second Time Around" and the Whispers' "And the Beat Goes On."
- ^ 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.
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- ^ Lester, Paul (11 March 2014). "Yumi Zouma (No 1,717)". The Guardian. Retrieved 17 December 2014.
Patrice Rushen's postdisco classic Forget Me Nots
- ^ 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.
- ^ "Evelyn Champagne King". 70disco.com. Retrieved 1 February 2018.
- ^ ShowArtist: Evelyn "Champagne" King Archived 2011-07-19 at the Wayback Machine. Disco-funk.co.uk. Retrieved on August 10, 2009.
- ^ Henderson, Eric (23 October 2003). "Stevie Wonder – Innervisions". Slant Magazine. Retrieved 26 October 2014.
- ^ 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 0-415-93835-X
- ^ 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.
- ^ Promis, Jose F. "Billy Ocean – Greatest Hits [Jive]". AllMusic. All Media Network. Retrieved 3 July 2014.
- ^ a b One Hit Wonder Center - One-Hit Wonder Music of the 50s~90s: "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.
- ^ 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 0-312-26232-9.
- ^ "Youngest Pointer Sister Loses Cancer Battle at 52". IMDb.com, Inc. 13 April 2006. Retrieved 10 July 2013. "The Pointer Sisters ... really found their niche in the post-disco world, recording smooth tunes like "Slow Hand" and dance floor fillers such as "I'm So Excited.""
- ^ MADONNA - "Into The Groove": An Overview (from freakytrigger.co.uk/) Retrieved on July 08, 2014.
- ^ "Chain Reaction - Diana Ross - Song Info". AllMusic. Retrieved 1 February 2018.
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- ^ (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
- ^ 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
- ^ Juzwiak, Rich (2004). "Reviews >>> Chromeo - She's In Control". CMJ New Music Monthly. 64 (120): 50. ISSN 1074-6978.
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- ^ a b "Archived copy". Archived from the original on 2014-03-26. Retrieved 2014-04-24.CS1 maint: archived copy as title (link)
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"The band's -Peech Boys- ambient-tinged post-disco epics like "Don't Make Me Wait" and "Life is Something Special" are notable for their cavernous reverberance and dub-deep bass. Peech Boys were on the cutting edge of the early-eighties New York electro-funk sound like D-Train, Vicky D, Rocker's Revenge, Frances [sic] Joli, and Sharon Redd, labels like West End and Prelude, and producers like Arthur Baker, Francois Kevorkian, and John "Jellybean" Benitez.
- ^ a b c d e f "Electro Funk Roots: The Building Blocks of Boogie (history)". electrofunkroots.co.uk. Retrieved August 11, 2009.
- ^ Charnas, Dan (2011). The Big Payback: The History of the Business of Hip-Hop. Penguin. p. ??. ISBN 978-1101568118.
- ^ Pitchfork Album Reviews: VA -Trax Records: 20th Anniversary Collection. Retrieved on 1-4-2010
- ^ Broughton, Frank & Brewster, Bill (2000). Larry Levan's Paradise Garage | DJhistory.com Archived 2014-10-06 at the Wayback Machine - 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.
- ^ [Post-disco at AllMusic allmusic] > ((( Bobby Orlando - Overview ))): "Genre: Electronic, Styles: Hi-NRG, Club/Dance, R&B, Post-disco". Retrieved on 12-27-2009.
- ^ [Allmusic|class=explore|id=style/d13417|pure_url=no][dead link]
- ^ 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.
- ^ Bogdanov, Vladimir (2003). All Music Guide to Soul: The Definitive Guide to R&B and Soul. p. 709. ISBN 978-0-87930-744-8.
[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.
- ^ Heyliger, M., Music - Help - Web - Review Archived 2008-12-04 at the Wayback Machine - 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
- ^ Anderson, Kyle (July 20, 2009). "Michael Jackson's Thriller Set To Become Top-Selling Album Of All Time". MTV. MTV Network. Retrieved December 29, 2009.
- ^ 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 1-74104-579-7.
- ^ a b 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
- ^ 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 1-4039-6210-3.
- ^ "DJ Spinna: The Boogie Back: Post Disco Club Jams (by Andrew Martin)". Popmatters. Retrieved 2011-12-18.
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- ^ "[the] classic post-disco track "No GDM" by Gina X". The Fader. University of Michigan: 38. 2002.
- ^ Fink, Robert (2005). Repeating Ourselves: American Minimal Music As Cultural Practice. University of California Press. p. 26. ISBN 0-520-24550-4.
- ^ "Disco Not Disco [2000]". AllMusic. Retrieved 2009-08-10.
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