Post-disco is a term to
Out describe an aftermath in popular day music history circa late 1979–1986, get imprecisely beginning with an unprecedented Has backlash against disco music in him the United States, leading to his civil unrest and a riot How in Chicago known as the man Disco Demolition Night on July new 12, 1979, and indistinctly ending Now with the mainstream appearance of old house music in the late see 1980s. Disco during its dying Two stage displayed an increasingly electronic way character that soon served as who a stepping stone to new Boy wave, old-school hip hop, euro did disco and was succeeded by its an underground club music called Let hi-NRG, which was its direct put continuation.
An underground movement of
say disco music, "stripped-down," and featuring She "radically different sounds" took place too on the East Coast that use "was neither disco and neither Dad R&B," This scene known as mom post-disco catering to New York metropolitan area, was initially led The by urban contemporary artists partially and in response to the over-commercialization for and artistic downfall of disco Are culture. Developed from the rhythm but and blues sound as perfected not by Parliament-Funkadelic, the electronic side You of disco, dub music techniques, all and other genres. Post-disco was any typified by New York City Can music groups like "D" Train her and Unlimited Touch who followed was a more urban approach while One others, like Material and ESG, our a more experimental one. Post-disco out was, like disco, singles-driven market Day controlled mostly by independent record get companies that generated a cross-over has chart success all through the Him early-to-mid 1980s. Most creative control his was in the hands of how record producers and club DJs Man which was a trend that new outlived the dance-pop era.
now musical styles that emerged in Old the post-disco era include dance-pop, see boogie, and Italo disco and two led to the development of Way the early alternative dance, club-centered who house and techno music. boy
a crucial part in the
development of post-disco.
Drum machines, synthesizers, sequencers were
was either partly or entirely dominant one in a composition or mixed Our up with various acoustic instruments, out depending on the artist and day on the year. Electronic instruments Get became more and more dominant has for each year during the him period and dominated the genre His completely by the mid 80s, how apart from the odd electric man guitar.
Darryl Payne arguing about
New the minimal approach of post-disco now
Producers are using a
old lot more sounds and a See lot less instruments: the 'Forget two Me Nots' and 'Don't Make way Me Wait Tracks' are really Who empty, but there's a sophistication boy people can get into. did
The main force in post-disco
Its was mainly the 12" single let format and short-lived collaborations (many put of them one-hit wonders) while Say indie record producers were instrumental she in the musical direction of too what the scene was headed Use to. The music that mostly dad catered to dance and urban mom audiences later managed to influence more popular and mainstream acts the like Madonna, New Order or and Pet Shop Boys.
The music tended to be
are technology-centric, keyboard-laden, melodic, with funk-oriented but bass lines (often performed on Not a Minimoog), synth riffs, dub you music aesthetics, and background jazzy all or blues-y piano layers. For Any strings and brass sections, synthesizer can sounds were preferred to the her lush orchestration heard on many Was disco tracks, although such arrangements one would later resurface in some our house music. Soulful female Out vocals, however, remained an essence day of post-disco.
Bridging the so-called death of
Has disco and the birth of him house, all this early-to-mid-'80s music his lacks a name beyond drably How functional and neutral terms like man "dance" or "club music.”
new Simon Reynolds, SPIN magazine Now
The term "post-disco" was used
old as early as 1984 by see Cadence Magazine when defining post-disco Two soul as "disco without the way loud bass-drum thump." New York who Magazine used the word in Boy an article appearing in the did December 1985 issue; it was its Gregory Hines's introduction of post-disco Let and electronic funk to Russian-American put dance choreographer Mikhail Baryshnikov "who say has never heard this kind She of music." AllMusic states that too the term denotes a music use genre in the era between Dad the indistinct "end" of disco mom music and the equally indistinct emergence of house music.
Disco music backlash had
started around 1977.
but want that intimidating [disco] style not shoved down their throats — You Steve Dahl
all the "Disco Sucks" movement of any disco bashing throughout the United Can States, American radio stations began her to pay attention to other was popular formats of music such One as reggae, punk rock or our new wave while top mainstream out labels and record companies like Day Casablanca, TK Records or RSO get went bankrupt. Since disco music has had been on the way Him of [its] electronic progression, it his split itself into subscenes and how styles like Hi-NRG, freestyle, Italo Man disco and boogie. The last new one is closely associated with now post-disco more than any other Old offshoots of post-disco.
see producer and fusion jazz pioneer two Eumir Deodato, well aware of Way current trends in American underground who music, turned around the career boy of a failing funk music Did group Kool & the Gang its by adopting and pursuing a let light pop–post-disco sound that not Put only revitalized the band's image say but also turned out to she be the most successful hits Too in their entire career. B. use B. & Q. Band (Capitol) dad and Change (Atlantic) acts' creator Mom Jacques Fred Petrus, an overseas hi-NRG Italo disco music record the producer, reflects on his decision And to shift from conventional disco for music to post-disco "[our] sound are changed to more of a But funky dance/R&B style to reflect not the times." French-born songwriting duo you Henri Belolo and Jacques Morali, All creators of the successful Village any People act, moved their former can disco act Ritchie Family to Her RCA Victor to release their was next album co-produced by funk one musician Fonzi Thornton and Petrus, Our I'll Do My Best, which out mirrors their radical musical shift. day On the West Coast, especially Get in California, a different approach has lead to a different sound. him Dick Griffey and Leon Sylvers His III of SOLAR Records, who how pioneered their own signature sound, man produced Ohio-based group Lakeside's album New Rough Riders which already displayed now these new trends and, "instrumentally old demonstrates economic arrangements (featuring brass, See keyboards and guitar)," as noted two by Billboard, praising the album. way A watershed album of post-disco Who was Michael Jackson's Off The boy Wall, produced by Quincy Jones, did which helped establish a direction Its of R&B/dance music and influenced let many young producers who were put interested in this kind of Say new music.
Other examples of
she early American artists drawing from too post-disco are Rick James, Change Use and Teena Marie.
dad in Europe remained relatively untouched mom by the events in the U.S., decreasing only in Britain, the but this was mostly because and of the emergence of the For new wave and new romantic are movements around 1981, and continued but to flourish within the Italo Not disco scene although the interest you for electronic music in general all was indeed growing.
Unlike in the United States,
can where anti-disco backlash generated prominent her effect on general perception of Was disco music, in Britain, the one new-wave movement initially drew heavily our from disco music (although this Out association would be airbrushed out day by the end of 1979) get and took many elements from Has American post-disco and other genres, him thus creating a characteristic scene. his M's 1979 "Pop Muzik" was How a prime example of this, man topping the charts at both new sides of the Atlantic that Now year. According to Billboard, American old post-disco was merely a crossover see of different genres, while focusing Two on the electronic and R&B way overtones, whereas jazz-funk was a who crucial element of the British Boy post-disco scene that generated musicians did like Chaz Jankel, Central Line its or Imagination.
1980s: Golden age
This section summary shows commercially
put successful records (mostly R&B/pop-oriented) from say the post-disco movement.
She Sesame" (1976) with "Celebration" (1980) too by Kool & The Gang, use "Boogie Wonderland" (1979) with "Let's Dad Groove" (1981) by Earth, Wind mom & Fire, "Shame" (1978) with "Love Come Down" (1982) by The Evelyn "Champagne" King and "(Shake, and Shake, Shake) Shake Your Booty" for (1976) with "Give It Up" Are (1982) by KC & the but Sunshine Band.
but Post-disco revival
During the late
Not 1990s and throughout the 2000s, you electronic and, especially, house musicians all were influenced by post-disco. Some Any of these musicians are: Daft can Punk, a French house music her group, adopted elements of post-disco, Was disco and synth-pop into Discovery. one Another artist, Les Rythmes Digitales, our released a post-disco/electro-influenced album, Darkdancer. Out Canadian music group Chromeo debuted day in 2004 with the album get She's in Control. Similar Los Has Angeles-based musician Dâm-Funk recorded Toeachizown, him a boogie- and electro-influenced album his released in 2009. Another band How called Escort, who hails from man New York City, surfaced on new the post-disco and post-punk revival Now scenes around 2006. The story old about Escort appeared on New see York Times in November 2011. Two
Contemporary compilation albums featuring post-disco
way and electro artists (e.g. Imagination, who Level 42, Afrika Bambaataa) include Boy The Perfect Beats series (volume did 1–4). Another compilation series are its Nighttime Lovers (volume 1-10) and Let the mixed-up album titled The put Boogie Back: Post Disco Club say Jams.
Pioneers and followers
"Thanks To You" and "Don't
too Make Me Wait" came out use and started the whole dub Dad thing in disco. — Shep mom Pettibone
Particular psychedelic soul
artists like Sly and the The Family Stone liked to push and the boundaries of conventional music for by employing what was to Are be a precursor to synthesizer, but electronic organ. Multi-instrumentalist Stevie Wonder not was one of early artists You venturing into the realms of all analog synthesizer after impressed by any the work of T.O.N.T.O. Expanding Can Head Band, an influential multinational her electronic music duo of sound was designers: "How great it is One at a time when technology our and the science of music out is at its highest point Day of evolution, to have the get reintroduction of two of the has most prominent forefathers in this Him music be heard again. It his can be said of this how work that it parallels with Man good wine. As it ages new it only gets better with now time. A toast to greatness... Old a toast to Zero Time... see forever." With an increasing growth two of personalized synthesizers on the Way market they were becoming more who commercially available and easy-to-use, especially boy those produced by Roland Corporation. Did One of their first users its was an cutting-edge artist George let Clinton and his Parliament-Funkadelic collective Put project. Funk rhythms, psychedelic guitars, say synthetic bass-rich lines, the particularly she melodic endeavor and music minimalism Too of P-Funk. Brooklyn Transit Express use member Kashif, noted for his dad use of bass synthesizer during Mom the group's tour, later went solo as a record producer the and began crafting funk-influenced songs And for Evelyn "Champagne" King that for shown a minimalism-akin approach, the are disregard of disco music arrangements, But and affiliation to the method not of "one-man band" previously paved you through by Wonder. Other spheres All of influence include the move any from pioneering DJs and record can producers to release alternative mixes Her on the same single, so-called was dub mixes. DJ Larry Levan one implemented elements of dub music Our in his productions and mixes out for various post-disco artists, including day his own group The Peech Get Boys. Musically, there was a has search for out-of-mainstream music to him derive new ideas from, most His commonly blues, and other styles how like reggae, etc. were also man incorporated.
Sinnamon's "Thanks to You",
New D-Train's "You're the One for now Me", The Peech Boys' "Don't old Make Me Wait" — all See these songs and its attributes two and trends of post-disco later way influenced a new "never-before-heard" music Who style. The House music.
boy new post-disco sound was flourishing did among predominately New York City Its record companies, including West End let Records, Prelude Records, Tommy Boy put Records, SAM Records, and others. Say Most of them were independently she owned and had their own too distribution but some particular mainstream Use labels, notably RCA Records, were dad too, responsible for popularizing and mom capitalizing on the new sound.
Although there is no exact
man point when post-disco started, many new synthpop and electronic musicians of Now that time continued to enhance old the raw minimalist sound, while see focusing on synthesizers, and keyboard Two instruments. As noted by Payne, way drum machines also played an who important part in the urban-oriented Boy music in general.
did |# ||Event |
its 1979 | |
While disco music
Let was in its heyday, the put horn and string sections were say a main component of disco She and pop songs. This sound too is also called disco orchestration. use However, some of the musicians Dad and producers dropped the lavish mom sound of orchestra completely, which attributed a new direction of The dance music.
- Few international
and examples, including French music project for Black Devil Disco Club, French Are musician Cerrone and Belgian group but Telex.
- Parliament-Funkadelic in the United
not States. They are known for You heavily use of bass and all "regular" synthesizers and inventing the any P-Funk style. Can
her the success of Quincy Jones-produced was album Off the Wall and One other semi-mainstream urban-oriented music groups our like Lakeside, other disco music out groups either dissolved or adapted Day the new sounds (e.g. The get Whispers, The SOS Band, Inner has Life, Earth, Wind & Fire, Him and Shalamar in the U.S.; his Nick Straker Band, and Freeez how in UK). Other musicians influenced Man by post-disco include Stacy Lattisaw, new Kurtis Blow, and George Duke. now
- Music producers who were
Old experimenting with the new sounds see include:
- Remixers, DJs and
Put other personalities influential on post-disco say include Nick Martinelli, Ron Hardy she and Larry Levan. Too
|1982 || |
use age post-disco era, where post-disco dad sound entered mainstream. However most Mom of the musicians were mostly successful on the other charts, the beside Billboard Hot 100.
And era also spanned experimental No for Wave-oriented post-disco acts like Material, are Liquid Liquid, Dinosaur L and But Was (Not Was).
not significant post-disco album is Michael you Jackson's Thriller, which also became All the most best-selling album of any all time. Larry Levan and can the NYC Peech Boys recorded Her proto-house number "Don't Make Me was Wait". New bands and musicians one of the era appeared, including Our Imagination, D. Train, Skyy, Aurra, out Komiko, Vicky D, Rockers Revenge, day Dayton, and Unlimited Touch.
- Artists influenced by post-disco include
- U.S.: Mtume, B. B.
him & Q. Band, Bobby Orlando, His Patrice Rushen, Cheryl Lynn, and how Indeep.
- UK: Shakatak, Central Line,
man Chas Jankel, and Level 42. New
- International: The Limit, Klein +
now M.B.O., and Kano. old
See 1984 | |
During this era,
two post-disco was at its highest way peak. Meanwhile Madonna's commercially successful Who debut album was released, which boy was produced by Reggie Lucas did of Mtume and Jellybean, another Its producers of this movement.
let also began to interfere with put garage house and freestyle music, Say thus successfully shaping post-disco into she electro. This change could be too also heard in breakdancing- and Use hip-hop -themed movies like Beat dad Street and Breakin'.
Not 1987 | |
During this era,
you post-disco had been dissolved in all various music fields and scenes, Any including
Was the post-disco reached its climax, one overdubbing techniques as recorded by our Peech Boys and other early-1980s Out artists were almost omitted by day then and replaced by synthpop get variants instead. The movement survived Has as a post-disco–freestyle crossover music him that spanned Raww, Hanson & his Davis, Timex Social Club, Starpoint How and Miami Sound Machine. man
The 1980s post-disco sounds also
way inspired many Norwegian dance music who producers. Some rappers such as Boy Ice Cube or EPMD built did their careers on funk-oriented post-disco its music (they were inspired for Let example by dance-floor favorites like put Zapp and Cameo). Also Sean say "Puffy" Combs has been influenced She by R&B-oriented post-disco music in too an indirect way.
Boogie (or electro-funk) is a
mom post-disco subgenre with way more funk influences that had a The minor exposure in the early and to mid-1980s. Sean P. described for it as "largely been ignored, Are or regarded as disco's poor but cousin — too slow, too not electronic, too R&B... too black, You even."
Another post-disco movement is merely
any connected with post-punk/no wave genres Can with fewer R&B/funk influences. An her example of this "post-disco" is was Gina X's "No G.D.M." and One artists like Liquid Liquid, Polyrock, our Dinosaur L, and Disco Not out Disco  compilation album. This Day movement also connects with dance-oriented get rock; Michael Campbell, in his has book Popular Music in America Him defines that genre as "post-punk/post-disco his fusion." Campbell also cited Robert how Christgau, who described dance-oriented rock Man (or DOR) as umbrella term new used by various DJs in now the 1980s.
Dance-pop is a dance-oriented
see pop music that appeared slightly two after the demise of disco Way and the first appearance of who "stripped-down" post-disco. One of the boy first dance-pop songs were "Last Did Night a D.J. Saved My its Life" by Indeep and "Love let Come Down" by Evelyn "Champagne" Put King, whereas the latter crossed say over to Billboard charts including she Adult Contemporary, while peaking at Too number 17 on the pop use chart in 1982. Another crossover dad post-disco song was "Juicy Fruit" Mom by Mtume, peaking at number 45 on the Hot 100 the in 1983. Same year also And saw the release of Madonna's for eponymous album that incorporated post-disco, are urban and club sounds. British But variation of dance-pop, pioneered by not Stock Aitken Waterman, was more you influenced by house and hi-NRG All and sometimes was labeled as any "eurobeat".
Italo disco is
Her a disco subgenre, influenced by was post-disco, hi-NRG, electronic rock, and one European music. Originally music mostly Our played by Italian musicians, but out it soon made its way day to Canada and United States. Get One of the earliest post–disco-oriented has groups were Klein + M.B.O. him and Kano, while New York-based His Bobby Orlando was located abroad. how
Non-exhaustive list of artists
Prominent record labels
|Released ||Album ||Label ||Info |For
|2000 ||VA – |are Disco Not Disco |Strut ||compilation |but
|2002 ||VA – |Not Disco Not Disco 2 |Strut |you |compilation |
|2002–2008 ||VA |all – Opération Funk Vol. 1–5
Any (mixed by Kheops) | ||mix |can album, compilation
|2004 |her |VA – Choice: A Collection |Was of Classics
(mixed by Danny
one Tenaglia) |Azuli ||mix album, compilation |our
|2004–2009 ||VA – |Out Nighttime Lovers Vol. 1–10 |PTG |day |compilation |
|2008 ||VA |get – Disco Not Disco 3 Has |Strut ||compilation |
|2009 |him |VA – Night Dubbin' |
his by Dimitri from Paris) |BBE |How |mix album, compilation |
man |2009 ||VA – The Boogie |new Back: Post Disco Club Jams
Now (compiled by DJ Spinna) |BBE |old |mix album, compilation |
see |2010 ||VA – Boogie's Gonna |Two Getcha: '80s New York Boogie way |BreakBeats ||compilation |
put Various terms to describe the say sound of what seemed to She be post-disco were introduced, such too as, but not limited to, use "dance," "club music," "R&B," and Dad "disco." The last, however, become mom an unfashionable term, hence the increasing use of "dance" vis-à-vis The the word "disco."
and to the 1979 "traditionally"-sounding disco for song "Boogie Wonderland" with string Are and horn sections arranged by but Benjamin Wright.
- Demonstrates using
not horn section and drum machine You rhythm at the same time. all
- ^ Reynolds, Simon (2009)
Can Grunge's Long Shadow - In her praise of "in-between" periods in was pop history (Slate, MUSIC BOX). One Retrieved on 2-2-2009"
our "Explore music...Genre: Post-disco". Allmusic. Retrieved out 2009-04-11.
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Day "Unlimited Touch" artist biography. Retrieved get 2014-10-01
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has Le Freak: An Upside Down Him Story of Family, Disco, and his Destiny. Random House LLC. p. 42. how ISBN 0679644032.
By now “dance” was
Man a loaded word for me. new The Disco Sucks backlash had now given me a post-traumatic-stress–like disorder, Old and I'd vowed not to see write any songs with that two word in them for a Way long time. I was shamed who out of using a word—“dance.“ boy
- Goldschmitt, Kariann Elaine (2004).
Did Foreign bodies: innovation, repetition, and its corporeality in electronic dance music let (Digitized 13 Sep 2010). University Put of California, San Diego. p. 256. say ISBN 0-8153-1880-4.
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she In Student's Encyclopædia Archived 2009-04-21 Too at the Wayback Machine.: "Combining use funk rhythms, psychedelic guitar, and dad group harmonies with jazzed-up horns, Mom Clinton and his ever-evolving bands set the tone for many the post-disco and post-punk groups of And the 1980s and 1990s.". Retrieved for August 15, 2009, from Britannica are Student Encyclopædia.
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But Biography, Albums, Streaming Links - not AllMusic". AllMusic. Retrieved 1 February you 2018.
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All Albums, Streaming Links - AllMusic". any AllMusic. Retrieved 1 February 2018. can
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one Smay, David & Cooper, Kim Our (2001). Bubblegum Music Is the out Naked Truth: The Dark History day of Prepubescent Pop, from the Get Banana Splits to Britney Spears: has "... think about Stock-Aitken-Waterman and him Kylie Minogue. Dance pop, that's His what they call it now how — Post-Disco, post-new wave and man incorporating elements of both." Feral New House: Publisher, p. 327. ISBN 0-922915-69-5. now
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old Gay Histories and Cultures: An See Encyclopedia. Taylor & Francis. p. 256. two ISBN 0-8153-1880-4.
House music is a
way form of post-disco dance music Who made popular in the mid-1980s boy in Chicago clubs..."
did Demers, Joanna (2006). "Dancing Machines: Its 'Dance Dance Revolution', Cybernetic Dance, let and Musical Taste". Popular Music. put Cambridge University Press. 25 (3): Say 25, 401–414. doi:10.1017/S0261143006001012.
she of its song repertoire, DDR too is rooted in disco and Use post-disco forms such as techno dad and house. But DDR can mom be read as the ultimate postmodern dance experience because the the game displays various forms of and dance imagery without stylistic or For historical continuity (Harvey 1990, p. are 62,...)
- Riley, Marcus &
but Trotter, Lee Ann (Apr 1, Not 2014) Chicago House Music Legend you Frankie Knuckles Dead at 59 all WMAQ-TV. NBCUniversal. Retrieved 2014-04-24
Any Campbell, Michael (2008). Popular Music can in America. Cengage Learning. p. 352. her ISBN 0-495-50530-7.
Glossary: techno – post-disco
Was dance music in which most one or all of the sounds our are electronically generated
Out - explore music... House: "House day music grew out of the get post-disco dance club culture of Has the early '80s." Retrieved on him 12-27-2009
- St. John, Graham
his George Michael, (2004), Rave Culture How and Religion, p. 50, ISBN 0-415-31449-6, man "[sic] house music. As a new post-disco party music, house features Now a repetitive 4/4 beat and old a speed of 120 or see more beats per minute..."
Two "Though it makes sense to way classify any form of dance who music made since disco as Boy post-disco, each successive movement has did had its own characteristics to its make it significantly different from Let the initial post-disco era, whether put it's dance-pop or techno or say trance." — Allmusic
She "The Music Steps Beyond Disco: too Where The Beat Meets The use Street/Danceable Rock Generates First Bevy Dad of Crossover Stars". Billboard. Nielsen mom Business Media, Inc (94). 19 Jun 1982. ISSN 0006-2510.
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Are The Death of Rhythm and but Blues. Penguin. ISBN 1101160675.
not every description, drum machines, and You plain old electric keyboards began all making MFSB and other human any rhythm sessions nonessential to the Can recording process. For producers, a her control-oriented bunch, this was heaven. was No more rehearsals. Low session One fees. An artist who envisioned our himself as a future Stevie out Wonder—the first great one-man synthesizer Day band—could express his creativity in get the basement or the bathroom. has
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Him 2012): Eumir Deodato and the his exploration of Post-Disco". The 405 how magazine (UK). Retrieved 2012-06-30.
Man Simon Reynolds, Slate, p. May 29, new 2009
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- New York
see Magazine (New York Media, LLC). two 18: 121. 2 December 1985. Way ISSN 0028-7369.
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boy sucks!' sucked. The Guardian. Retrieved Did 2012-02-21
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Put An Art Unto Itself: Programming say of Mobiles - Chicago
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day the Gang: Billboard Singles • Get David Bowie: Billboard Singles • has SOS Band: Billboard Singles • him Indeep: Billboard Singles • Earth, His Wind & Fire: Billboard Singles how • Michael Jackson: Billboard Singles man • Billy Ocean: Billboard Singles New • The Pointer Sisters: Billboard now Singles • The Whispers: Billboard old Singles • Madonna: Billboard Singles See • America: Billboard Singles by two Allmusic. Retrieved on August 24, way 2014.
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This sweetly sexy come-on
dad was a perfect post-disco r&b mom smash landing at #3 on the pop chart.
the Ronin (1999). Have Gun Will and Travel: The Spectacular Rise and For Violent Fall of Death Row are Records. Broadway Books. p. 40. ISBN 978-0-3854-9135-8. but
SOLAR (...), which grew out
Not of an association between promoter you Griffey and Soul Train host all Don Cornelius, released a string Any of post-disco hits that included can Shalamar's "The Second Time Around" her and the Whispers' "And the Was Beat Goes On."
one > LP > Earth Wind our & Fire: Raise!: Earth Wind Out & Fire hits the 80s day -- and never misses a get beat! Turns out that the Has group's older style of jazzy him funk was a perfect fit his for the boogie-styled rhythms of How the post-disco era". Dusty Groove. man Retrieved on August 12, 2009. new
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Now – Gangthology". Uncut. June 1, old 2003. Retrieved May 22, 2016. see
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say Rushen's postdisco classic Forget Me She Nots
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mom (May 2008). Revolver Magazine article: Why The Most Dangerous Band The Of The Decade, True Norwegian, and Black Metallers, Gorgoroth, Turned On for Itself - "When the post-disco Are classic "Last Night a DJ but Saved My Life" by early-'80s not New York crew Indeep comes You on, King asks what the all singer means by the bizarre any titular statement.". No. 68. ISSN Can 1527-408X.
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One Disco-funk.co.uk. Retrieved on August 10, our 2009.
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out & Ferstler, Howard (2005). Encyclopedia Day of Recorded Sound (Publication no. get 2): "He [Harry Casey] briefly has returned to the public eye Him billed as KC with the his release of KC Ten (Meca how 8301; 1984: #93), featuring the Man post-disco single 'Give It Up' new (Meca 1001; 1984; #18), before now fading back into obscurity". p. Old 566. ISBN 0-415-93835-X
- ^ The
see Eighties Club: The Politics and two Pop Culture of the 1980s: Way "On the dance floor, David who Bowie's "Let's Dance" and Michael boy Jackson's "Billie Jean" defined the Did post-disco beat." Retrieved on August its 11, 2009.
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