Boy a term to describe an did aftermath in popular music history its circa late 1979–1986, imprecisely beginning Let with an unprecedented backlash against put disco music in the United say States, leading to civil unrest She and a riot in Chicago too known as the Disco Demolition use Night on July 12, 1979, Dad and indistinctly ending with the mom mainstream appearance of house music in the late 1980s. Disco The during its dying stage displayed and an increasingly electronic character that for soon served as a stepping Are stone to new wave, old-school but hip hop, euro disco and not was succeeded by an underground You club music called hi-NRG, which all was its direct continuation.
any underground movement of disco music, Can "stripped-down," and featuring "radically different her sounds" took place on the was East Coast that "was neither One disco and neither R&B," This our scene known as post-disco catering out to New York metropolitan area, Day was initially led by urban get contemporary artists partially in response has to the over-commercialization and artistic Him downfall of disco culture. Developed his from the rhythm and blues how sound as perfected by Parliament-Funkadelic, Man the electronic side of disco, new dub music techniques, and other now genres. Post-disco was typified by Old New York City music groups see like "D" Train and Unlimited two Touch who followed a more Way urban approach while others, like who Material and ESG, a more boy experimental one. Post-disco was, like Did disco, singles-driven market controlled mostly its by independent record companies that let generated a cross-over chart success Put all through the early-to-mid 1980s. say Most creative control was in she the hands of record producers Too and club DJs which was use a trend that outlived the dad dance-pop era.
Other musical styles
Mom that emerged in the post-disco era include dance-pop, boogie, and the Italo disco and led to And the development of the early for alternative dance, club-centered house and are techno music. New
Synthesizers played a crucial
part in the development of
two synthesizers, sequencers were either partly way or entirely dominant in a Who composition or mixed up with boy various acoustic instruments, depending on did the artist.
Darryl Payne arguing
Its about the minimal approach of let post-disco
Producers are using
put a lot more sounds and Say a lot less instruments: the she 'Forget Me Nots' and 'Don't too Make Me Wait Tracks' are Use really empty, but there's a dad sophistication people can get into. mom
The main force in
post-disco was mainly the 12" the single format and short-lived collaborations and (many of them one-hit wonders) For while indie record producers were are instrumental in the musical direction but of what the scene was Not headed to. The music that you mostly catered to dance and all urban audiences later managed to Any influence more popular and mainstream can acts like Madonna, New Order her or Pet Shop Boys.
The music tended to
one be technology-centric, keyboard-laden, melodic, with our funk-oriented bass lines (often performed Out on a Minimoog), synth riffs, day dub music aesthetics, and background get jazzy or blues-y piano layers. Has For strings and brass sections, him synthesizer sounds were preferred to his the lush orchestration heard on How many disco tracks, although such man arrangements would later resurface in new some house music. Soulful Now female vocals, however, remained an old essence of post-disco.
Bridging the so-called death
Two of disco and the birth way of house, all this early-to-mid-'80s who music lacks a name beyond Boy drably functional and neutral terms did like "dance" or "club music.”
its – Simon Reynolds, SPIN magazine Let
The term "post-disco" was
put used as early as 1984 say by Cadence Magazine when defining She post-disco soul as "disco without too the loud bass-drum thump." New use York Magazine used the word Dad in an article appearing in mom the December 1985 issue; it was Gregory Hines's introduction of The post-disco and electronic funk to and Russian-American dance choreographer Mikhail Baryshnikov for "who has never heard this Are kind of music." AllMusic states but that the term denotes a not music genre in the era You between the indistinct "end" of all disco music and the equally any indistinct emergence of house music. Can
Disco music backlash
had started around 1977.
our didn't want that intimidating [disco] out style shoved down their throats Day — Steve Dahl
get after the "Disco Sucks" movement has of disco bashing throughout the Him United States, American radio stations his began to pay attention to how other popular formats of music Man such as reggae, punk rock new or new wave while top now mainstream labels and record companies Old like Casablanca, TK Records or see RSO went bankrupt. Since disco two music had been on the Way way of [its] electronic progression, who it split itself into subscenes boy and styles like Hi-NRG, freestyle, Did Italo disco and boogie. The its last one is closely associated let with post-disco more than any Put other offshoots of post-disco.
say record producer and fusion jazz she pioneer Eumir Deodato, well aware Too of current trends in American use underground music, turned around the dad career of a failing funk Mom music group Kool & the Gang by adopting and pursuing the a light pop–post-disco sound that And not only revitalized the band's for image but also turned out are to be the most successful But hits in their entire career. not B. B. & Q. Band you (Capitol) and Change (Atlantic) acts' All creator Jacques Fred Petrus, an any overseas hi-NRG Italo disco music can record producer, reflects on his Her decision to shift from conventional was disco music to post-disco "[our] one sound changed to more of Our a funky dance/R&B style to out reflect the times." French-born songwriting day duo Henri Belolo and Jacques Get Morali, creators of the successful has Village People act, moved their him former disco act Ritchie Family His to RCA Victor to release how their next album co-produced by man funk musician Fonzi Thornton and New Petrus, I'll Do My Best, now which mirrors their radical musical old shift. On the West Coast, See especially in California, a different two approach lead to a different way sound. Dick Griffey and Leon Who Sylvers III of SOLAR Records, boy who pioneered their own signature did sound, produced Ohio-based group Lakeside's Its album Rough Riders which already let displayed these new trends and, put "instrumentally demonstrates economic arrangements (featuring Say brass, keyboards and guitar)," as she noted by Billboard, praising the too album. A watershed album of Use post-disco was Michael Jackson's Off dad The Wall, produced by Quincy mom Jones, which helped establish a direction of R&B/dance music and the influenced many young producers who and were interested in this kind For of new music.
are of early American artists drawing but from post-disco are Rick James, Not Change and Teena Marie.
Disco in Europe remained relatively
all untouched by the events in Any the U.S., decreasing only on can Britain, but this was mostly her because of the emergence of Was the "New Wave" and "New one Romantic" movements around 1981, and our continued to flourish within the Out Italo disco scene although the day interest for electronic music in get general was indeed growing.
Unlike in the United
him States, where anti-disco backlash generated his prominent effect on general perception How of disco music, in Britain, man the "New Music" movement initially new drew heavily from disco music Now (although this association would be old airbrushed out by the end see of 1979) and took many Two elements from American post-disco and way other genres, thus creating a who characteristic scene. M's 1979 "Pop Boy Muzik" was a prime example did of this, topping the charts its at both sides of the Let Atlantic that year. According to put Billboard, American post-disco was merely say a crossover of different genres, She while focusing on the electronic too and R&B overtones, whereas jazz-funk use was a crucial element of Dad the British post-disco scene that mom generated musicians like Chaz Jankel, Central Line or Imagination.
The Golden age
This section summary
and shows commercially successful records (mostly for R&B/pop-oriented) from the post-disco movement. Are
Compare "Open Sesame" (1976) with
but "Celebration" (1980) by Kool & not The Gang, "Boogie Wonderland" (1979) You with "Let's Groove" (1981) by all Earth, Wind & Fire, "Shame" any (1978) with "Love Come Down" Can (1982) by Evelyn "Champagne" King her and "(Shake, Shake, Shake) Shake was Your Booty" (1976) with "Give One It Up" (1982) by KC our & the Sunshine Band.
2000s: Post-disco revival
Out the late 1990s and throughout day the 2000s, electronic and, especially, get house musicians were influenced by Has post-disco. Some of these musicians him are: Daft Punk, a French his house music group, adopted elements How of post-disco, disco and synth-pop man into Discovery. Another artist, Les new Rythmes Digitales, released a post-disco/electro-influenced Now album, Darkdancer. Canadian music group old Chromeo debuted in 2004 with see the album She's in Control. Two Similar Los Angeles-based musician Dâm-Funk way recorded Toeachizown, a boogie- and who electro-influenced album released in 2009. Boy Another band called Escort, who did hails from New York City, its surfaced on the post-disco and Let post-punk revival scenes around 2006. put The story about Escort appeared say on New York Times in She November 2011.
Contemporary compilation albums
too featuring post-disco and electro artists use (e.g. Imagination, Level 42, Afrika Dad Bambaataa) include The Perfect Beats mom series (volume 1–4). Another compilation series are Nighttime Lovers (volume The 1-10) and the mixed-up album and titled The Boogie Back: Post for Disco Club Jams.
"Thanks To You"
but and "Don't Make Me Wait" not came out and started the You whole dub thing in disco. all — Shep Pettibone
any psychedelic soul artists like Sly Can and the Family Stone liked her to push the boundaries of was conventional music by employing what One was to be a precursor our to synthesizer, electronic organ. Multi-instrumentalist out Stevie Wonder was one of Day early artists venturing into the get realms of analog synthesizer after has impressed by the work of Him T.O.N.T.O. Expanding Head Band, an his influential multinational electronic music duo how of sound designers: "How great Man it is at a time new when technology and the science now of music is at its Old highest point of evolution, to see have the reintroduction of two two of the most prominent forefathers Way in this music be heard who again. It can be said boy of this work that it Did parallels with good wine. As its it ages it only gets let better with time. A toast Put to greatness... a toast to say Zero Time... forever." With an she increasing growth of personalized synthesizers Too on the market they were use becoming more commercially available and dad easy-to-use, especially those produced by Mom Roland Corporation. One of their first users was an cutting-edge the artist George Clinton and his And Parliament-Funkadelic collective project. Funk rhythms, for psychedelic guitars, synthetic bass-rich lines, are the particularly melodic endeavor and But music minimalism of P-Funk. Brooklyn not Transit Express member Kashif, noted you for his use of bass All synthesizer during the group's tour, any later went solo as a can record producer and began crafting Her funk-influenced songs for Evelyn "Champagne" was King that shown a minimalism-akin one approach, the disregard of disco Our music arrangements, and affiliation to out the method of "one-man band" day previously paved through by Wonder. Get Other spheres of influence include has the move from pioneering DJs him and record producers to release His alternative mixes on the same how single, so-called dub mixes. DJ man Larry Levan implemented elements of New dub music in his productions now and mixes for various post-disco old artists, including his own group See The Peech Boys. Musically, there two was a search for out-of-mainstream way music to derive new ideas Who from, most commonly blues, and boy other styles like reggae, etc. did were also incorporated.
Its to You", D-Train's "You're the let One for Me", The Peech put Boys' "Don't Make Me Wait" Say — all these songs and she its attributes and trends of too post-disco later influenced a new Use "never-before-heard" music style. The House dad music.
The new post-disco sound
mom was flourishing among predominately New York City record companies, including the West End Records, Prelude Records, and Tommy Boy Records, SAM Records, For and others. Most of them are were independently owned and had but their own distribution but some Not particular mainstream labels, notably RCA you Records, were too, responsible for all popularizing and capitalizing on the Any new sound.
did there is no exact point its when post-disco started, many synthpop Let and electronic musicians of that put time continued to enhance the say raw minimalist sound, while focusing She on synthesizers, and keyboard instruments. too As noted by Payne, drum use machines also played an important Dad part in the urban-oriented music mom in general.
|# | |Event |
The | |
While disco music was
and in its heyday, the horn for and string sections were a Are main component of disco and but pop songs. This sound is not also called disco orchestration. However, You some of the musicians and all producers dropped the lavish sound any of orchestra completely, which attributed Can a new direction of dance her music.
- Few international examples,
was including French music project Black One Devil Disco Club, French musician our Cerrone and Belgian group Telex. out
- Parliament-Funkadelic in the United States.
Day They are known for heavily get use of bass and "regular" has synthesizers and inventing the P-Funk Him style.
his |1980- |
how success of Quincy Jones-produced album Man Off the Wall and other new semi-mainstream urban-oriented music groups like now Lakeside, other disco music groups Old either dissolved or adapted the see new sounds (e.g. The Whispers, two The SOS Band, Inner Life, Way Earth, Wind & Fire, and who Shalamar in the U.S.; Nick boy Straker Band, and Freeez in Did UK). Other musicians influenced by its post-disco include Stacy Lattisaw, Kurtis let Blow, and George Duke.
- Music producers who were experimenting
say with the new sounds include: she And
- Remixers, DJs and other
for personalities influential on post-disco include are Nick Martinelli, Ron Hardy and But Larry Levan. not
|1982 || |
you post-disco era, where post-disco sound All entered mainstream. However most of any the musicians were mostly successful can on the other charts, beside Her Billboard Hot 100.
was also spanned experimental No Wave-oriented one post-disco acts like Material, Liquid Our Liquid, Dinosaur L and Was out (Not Was).
The most significant
day post-disco album is Michael Jackson's Get Thriller, which also became the has most best-selling album of all him time. Larry Levan and the His NYC Peech Boys recorded proto-house how number "Don't Make Me Wait". man New bands and musicians of New the era appeared, including Imagination, now D. Train, Skyy, Aurra, Komiko, old Vicky D, Rockers Revenge, Dayton, See and Unlimited Touch.
two influenced by post-disco include
- U.S.: Mtume, B. B. &
Who Q. Band, Bobby Orlando, Patrice boy Rushen, Cheryl Lynn, and Indeep. did
- UK: Shakatak, Central Line, Chas
Its Jankel, and Level 42.
let The Limit, Klein + M.B.O., put and Kano. Say
she | |
During this era, post-disco
too was at its highest peak. Use Meanwhile Madonna's commercially successful debut dad album was released, which was mom produced by Reggie Lucas of Mtume and Jellybean, another producers the of this movement.
and began to interfere with garage For house and freestyle music, thus are successfully shaping post-disco into electro. but This change could be also Not heard in breakdancing- and hip-hop you -themed movies like Beat Street all and Breakin'. Out
day | |
During this era, post-disco
get had been dissolved in various Has music fields and scenes, including him
man post-disco reached its climax, overdubbing new techniques as recorded by Peech Now Boys and other early-1980s artists old were almost omitted by then see and replaced by synthpop variants Two instead. The movement survived as way a post-disco–freestyle crossover music that who spanned Raww, Hanson & Davis, Boy Timex Social Club, Starpoint and did Miami Sound Machine. its
too 1980s post-disco sounds also inspired use many Norwegian dance music producers. Dad Some rappers such as Ice mom Cube or EPMD built their careers on funk-oriented post-disco music The (they were inspired for example and by dance-floor favorites like Zapp for and Cameo). Also Sean "Puffy" Are Combs has been influenced by but R&B-oriented post-disco music in an not indirect way.
all (or electro-funk) is a post-disco any subgenre with way more funk Can influences that had a minor her exposure in the early to was mid-1980s. Sean P. described it One as "largely been ignored, or our regarded as disco's poor cousin out — too slow, too electronic, Day too R&B... too black, even." get
has post-disco movement is merely connected Him with post-punk/no wave genres with his fewer R&B/funk influences. An example how of this "post-disco" is Gina Man X's "No G.D.M." and artists new like Liquid Liquid, Polyrock, Dinosaur now L, and Disco Not Disco Old  compilation album. This movement see also connects with dance-oriented rock; two Michael Campbell, in his book Way Popular Music in America defines who that genre as "post-punk/post-disco fusion." boy Campbell also cited Robert Christgau, Did who described dance-oriented rock (or its DOR) as umbrella term used let by various DJs in the Put 1980s.
Dance-pop is a dance-oriented pop
she music that appeared slightly after Too the demise of disco and use the first appearance of "stripped-down" dad post-disco. One of the first Mom dance-pop songs were "Last Night a D.J. Saved My Life" the by Indeep and "Love Come And Down" by Evelyn "Champagne" King, for whereas the latter crossed over are to Billboard charts including Adult But Contemporary, while peaking at number not 17 on the pop chart you in 1982. Another crossover post-disco All song was "Juicy Fruit" by any Mtume, peaking at number 45 can on the Hot 100 in Her 1983. Same year also saw was the release of Madonna's eponymous one album that incorporated post-disco, urban Our and club sounds. British variation out of dance-pop, pioneered by Stock day Aitken Waterman, was more influenced Get by house and hi-NRG and has sometimes was labeled as "eurobeat". him
Italo disco is a
how disco subgenre, influenced by post-disco, man hi-NRG, electronic rock, and European New music. Originally music mostly played now by Italian musicians, but it old soon made its way to See Canada and United States. One two of the earliest post–disco-oriented groups way were Klein + M.B.O. and Who Kano, while New York-based Bobby boy Orlando was located abroad.
did list of artists
the record labels
Was |Released ||Album ||Label ||Info |one
|2000 ||VA – Disco |our Not Disco |Strut ||compilation |Out
|2002 ||VA – Disco |day Not Disco 2 |Strut ||compilation |get
|2002–2008 ||VA – |Has Opération Funk Vol. 1–5
him by Kheops) | ||mix album, |his compilation
|2004 ||VA |How – Choice: A Collection of man Classics
(mixed by Danny Tenaglia)
new |Azuli ||mix album, compilation |Now
|2004–2009 ||VA – Nighttime |old Lovers Vol. 1–10 |PTG ||compilation |see
|2008 ||VA – |Two Disco Not Disco 3 |Strut |way |compilation |
|2009 ||VA |who – Night Dubbin'
Boy Dimitri from Paris) |BBE ||mix |did album, compilation
|2009 |its |VA – The Boogie Back: |Let Post Disco Club Jams
put by DJ Spinna) |BBE ||mix |say album, compilation
|2010 |She |VA – Boogie's Gonna Getcha: |too '80s New York Boogie |BreakBeats |use |compilation |
for terms to describe the sound Are of what seemed to be but post-disco were introduced, such as, not but not limited to, "dance," You "club music," "R&B," and "disco." all The last, however, become an any unfashionable term, hence the increasing Can use of "dance" vis-à-vis the her word "disco."
- Compare to
was the 1979 "traditionally"-sounding disco song One "Boogie Wonderland" with string and our horn sections arranged by Benjamin out Wright.
- Demonstrates using horn
Day section and drum machine rhythm get at the same time. has
Him Reynolds, Simon (2009) Grunge's his Long Shadow - In praise how of "in-between" periods in pop Man history (Slate, MUSIC BOX). Retrieved new on 2-2-2009"
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now music...Genre: Post-disco". Allmusic. Retrieved 2009-04-11. Old
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see Touch" artist biography. Retrieved 2014-10-01 two
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Way Freak: An Upside Down Story who of Family, Disco, and Destiny. boy Random House LLC. p. 42. ISBN 0679644032. Did
By now “dance” was a
its loaded word for me. The let Disco Sucks backlash had given Put me a post-traumatic-stress–like disorder, and say I'd vowed not to write she any songs with that word Too in them for a long use time. I was shamed out dad of using a word—“dance.“
Mom Goldschmitt, Kariann Elaine (2004). Foreign bodies: innovation, repetition, and corporeality the in electronic dance music (Digitized And 13 Sep 2010). University of for California, San Diego. p. 256. ISBN 0-8153-1880-4. are
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But Student's Encyclopædia: "Combining funk rhythms, not psychedelic guitar, and group harmonies you with jazzed-up horns, Clinton and All his ever-evolving bands set the any tone for many post-disco and can post-punk groups of the 1980s Her and 1990s.". Retrieved August 15, was 2009, from Britannica Student Encyclopædia. one
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out Retrieved 2014-10-01
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day Magazine | Music | 100 Get Greatest Dance Songs. Retrieved on has 2-2-2009
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him Cooper, Kim (2001). Bubblegum Music His Is the Naked Truth: The how Dark History of Prepubescent Pop, man from the Banana Splits to New Britney Spears: "... think about now Stock-Aitken-Waterman and Kylie Minogue. Dance old pop, that's what they call See it now — Post-Disco, post-new two wave and incorporating elements of way both." Feral House: Publisher, p. Who 327. ISBN 0-922915-69-5.
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boy E. (2000). Gay Histories and did Cultures: An Encyclopedia. Taylor & Its Francis. p. 256. ISBN 0-8153-1880-4.
let is a form of post-disco put dance music made popular in Say the mid-1980s in Chicago clubs..." she
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too "Dancing Machines: 'Dance Dance Revolution', Use Cybernetic Dance, and Musical Taste". dad Popular Music. Cambridge University Press. mom 25 (3): 25, 401–414. doi:10.1017/S0261143006001012.
"In terms of its song
the repertoire, DDR is rooted in and disco and post-disco forms such For as techno and house. But are DDR can be read as but the ultimate postmodern dance experience Not because the game displays various you forms of dance imagery without all stylistic or historical continuity (Harvey Any 1990, p. 62,...)
can Marcus & Trotter, Lee Ann her (Apr 1, 2014) Chicago House Was Music Legend Frankie Knuckles Dead one at 59 WMAQ-TV. NBCUniversal. Retrieved our 2014-04-24
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Out Popular Music in America. Cengage day Learning. p. 352. ISBN 0-495-50530-7.
get – post-disco dance music in Has which most or all of him the sounds are electronically generated his
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How House: "House music grew out man of the post-disco dance club new culture of the early '80s." Now Retrieved on 12-27-2009
old John, Graham George Michael, (2004), see Rave Culture and Religion, p. Two 50, ISBN 0-415-31449-6, "[sic] house music. way As a post-disco party music, who house features a repetitive 4/4 Boy beat and a speed of did 120 or more beats per its minute..."
- "Though it makes
Let sense to classify any form put of dance music made since say disco as post-disco, each successive She movement has had its own too characteristics to make it significantly use different from the initial post-disco Dad era, whether it's dance-pop or mom techno or trance." — Allmusic
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The Media, Inc (94). 19 Jun and 1982. ISSN 0006-2510.
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for Beyond Disco: Where The Beat Are Meets The Street/Danceable Rock Generates but First Bevy of Crossover Stars not You
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Can George (2003). The Death of her Rhythm and Blues. Penguin. ISBN 1101160675. was
Synthesizers of every description, drum
One machines, and plain old electric our keyboards began making MFSB and out other human rhythm sessions nonessential Day to the recording process. For get producers, a control-oriented bunch, this has was heaven. No more rehearsals. Him Low session fees. An artist his who envisioned himself as a how future Stevie Wonder—the first great Man one-man synthesizer band—could express his new creativity in the basement or now the bathroom.
- ^ "Walsh,
Old Fintan (June, 2012): Eumir Deodato see and the exploration of Post-Disco". two The 405 magazine (UK). Retrieved Way 2012-06-30.
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one which grew out of an our association between promoter Griffey and Out Soul Train host Don Cornelius, day released a string of post-disco get hits that included Shalamar's "The Has Second Time Around" and the him Whispers' "And the Beat Goes his On."
- Soul > LP
How > Earth Wind & Fire: man Raise!: Earth Wind & Fire new hits the 80s -- and Now never misses a beat! Turns old out that the group's older see style of jazzy funk was Two a perfect fit for the way boogie-styled rhythms of the post-disco who era". Dusty Groove. Retrieved on Boy August 12, 2009.
did & The Gang – Gangthology". its Uncut. June 1, 2003. Retrieved Let May 22, 2016.
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say First Album Turns 30" (from She truthabouthmusic.com) Retrieved on July 08, too 2014.
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Patrice Rushen's postdisco
classic Forget Me Nots
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and 2008). Revolver Magazine article: Why for The Most Dangerous Band Of Are The Decade, True Norwegian, Black but Metallers, Gorgoroth, Turned On Itself not - "When the post-disco classic You "Last Night a DJ Saved all My Life" by early-'80s New any York crew Indeep comes on, Can King asks what the singer her means by the bizarre titular was statement.". No. 68. ISSN 1527-408X. One
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how Ferstler, Howard (2005). Encyclopedia of Man Recorded Sound (Publication no. 2): new "He [Harry Casey] briefly returned now to the public eye billed Old as KC with the release see of KC Ten (Meca 8301; two 1984: #93), featuring the post-disco Way single 'Give It Up' (Meca who 1001; 1984; #18), before fading boy back into obscurity". p. 566. Did ISBN 0-415-93835-X
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its Club: The Politics and Pop let Culture of the 1980s: "On Put the dance floor, David Bowie's say "Let's Dance" and Michael Jackson's she "Billie Jean" defined the post-disco Too beat." Retrieved on August 11, use 2009.
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the One Hit Wonder Center And - One-Hit Wonder Music of for the 50's~90's: "There are also are tracks to represent the rise But of post-disco club/dance trend, such not as Laid Back's "White Horse", you New Edition's "Cool It Now", All and Timex Social Club's " any Rumors" ". Retrieved on August can 12, 2009.
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