Post-disco: Difference between revisions

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| other_topics = [[List of post-disco artists and songs|Artists & Songs]]
| other_topics = [[List of post-disco artists and songs|Artists & Songs]]
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The term '''post-disco''' (or simply '''[[Post-disco#Boogie|boogie]]'''<ref name=AMG1/><ref name=DanceClassic/><ref name=ElectroFunk>{{cite web|url=http://www.electrofunkroots.co.uk/articles/the_building_blocks_of_boogie.html|title=Electro Funk Roots: The Building Blocks of Boogie (history)|publisher=electrofunkroots.co.uk|accessdate=August 11, 2009}}</ref>) has multiple meanings. One meaning is an [[Allmusic]] editorial contributor's attempt to isolate a music [[genre]] in the era between the indistinct "end" of [[disco]] music and the equally indistinct emergence of [[house music]]<ref name=AMG1/>. Secondarily the word "post-disco" was mentioned and defined-by [[Cadence Magazine]] in the year [[1984]] (AMG was founded in 1991<ref>[http://www.allmusic.com/cg/amg.dll?p=amg&sql=32:amg/info_pages/a_about.html AMG: About Us]. ''Retrieved on August 10, 2009.''</ref>) as a ''"[post-disco soul] (is) disco without the loud bass-drum thump"''<ref>Rusch, Bob (1984). [[Cadence Magazine]]. Chapter 10, p. 56.</ref>. [[New York Magazine]] referenced post-disco in relation with [[funk#1980s and stripped-down funk|electronic funk]] in [[1985]]<ref>Denby, David (December 2, 1985). ''[[New York (magazine)|New York Magazine]]: Red, White, and Hot''. No. 47, Chapter 18, p. 121, ISSN 0028-7369</ref>. Other meaning symbolise the "post"- (after<ref>[http://en.wiktionary.org/wiki/post- Wiktionary: term "post-"].''Retrieved on August 13 2009''</ref> the) disco era or its movement, [[Billboard (magazine)|Billboard Magazine]] mentioned the word twice. In [[1982]], when Billboard divide post-disco movements into another category called "post-disco pop" and mentioned [[Knack (band)|Knack]], [[Barbra Streisand]], [[Kenny Rogers]], [[Christopher Cross]], as new wave and adult contemporary artists who figured in this kind of music<ref>Green, Paul, (1982). ''Year-End Charts - Talent In Action: 1982 Number One Awards, Top Artists & Recordings''. [[Billboard (magazine)|Billboard Magazine]] - Vol. 106, No. 49, p. 1. ISSN 0006-2510</ref>, and in [[1994]], when the word was used in relation with [[reggae]] song "[[Pass The Dutchie]]" by [[Musical Youth]]<ref>Flick, Larry, (1994). ''Jive U.K. Bows Star-Studded Rwanda-Relief Single'' - Dance Trax: "'Percussion Discussion' works best, with its hypnotic beat and fun samples of post-disco reggae/pop anthem 'Pass The Dutchie'". [[Billboard (magazine)|Billboard Magazine]] - Vol. 106, No. 49, p. 27, ISSN 0006-2510 / [http://www.google.com/books?id=ZwgEAAAAMBAJ&pg=PA27&dq=Flick+Larry+Post-disco#v=onepage&q=Flick%20Larry%20Post-disco&f=false Google Books]</ref>.
The term '''post-disco''' (or simply '''[[Post-disco#Boogie|boogie]]''')<ref name=AMG1/><ref name=DanceClassic>{{cite web|last=Depuydt|first=Francis|url=http://www.danceclassics.net/producers.htm|title=Boogie, Funk & Modern Soul from the 80s|publisher=Danceclassics.net|accessdate=2009-08-11}}</ref><ref name=ElectroFunk>{{cite web|url=http://www.electrofunkroots.co.uk/articles/the_building_blocks_of_boogie.html|title=Electro Funk Roots: The Building Blocks of Boogie (history)|publisher=electrofunkroots.co.uk|accessdate=August 11, 2009}}</ref> has multiple meanings. Sometime after 1990,<ref>AMG was founded in 1991 — {{cite web|url=http://www.allmusic.com/cg/amg.dll?p=amg&sql=32:amg/info_pages/a_about.html|title=AMG: About Us|accessdate=2009-08-10}}</ref> an [[Allmusic]] editorial contributor used "post-disco" in an attempt to isolate a [[dance music]] [[music genre|genre]] in the era between the indistinct "end" of [[disco]] music and the equally indistinct emergence of [[house music]].<ref name=AMG1/> "Post-disco" was used in 1984 by ''[[Cadence Magazine]]'' when defining ''post-disco soul'' as ''disco without the loud bass-drum thump.''<ref>{{cite journal|year=1984|journal=[[Cadence Magazine]]|volume=10|page=56}}</ref> In 1985, ''[[New York Magazine]]'' referenced post-disco in relation to [[funk#1980s and stripped-down funk|electronic funk]].<ref>{{cite journal|journal=[[New York (magazine)|New York Magazine]]|last=Denby|first=David|date=December 2, 1985|title=Red, White, and Hot|issue=47|volume=18|page=121|issn=0028-7369}}</ref> Other authors emphasize "post-" (meaning "after")<ref>{{cite web|url=http://en.wiktionary.org/wiki/post-|title=Wiktionary: term "post-"|accessdate=2009-08-13}}</ref>) to indicate a greater disconnect from the disco era and disco-influenced music. ''[[Billboard (magazine)|Billboard Magazine]]'', for example, mentioned the word twice: in 1982, when dividing post-disco movements into another category called "post-disco pop", citing [[Knack (band)|Knack]], [[Barbra Streisand]], [[Kenny Rogers]], and [[Christopher Cross]] as new wave and adult contemporary artists who figured in this kind of music,<ref>{{cite journal|journal=[[Billboard (magazine)|Billboard Magazine]]|last=Green|first=Paul|year=1982|title=Year-End Charts - Talent In Action: 1982 Number One Awards, Top Artists & Recordings|volume=106|issue=49|page=1|issn=0006-2510}}</ref> and in 1994, when the word was used in relation to [[reggae]] song "[[Pass The Dutchie]]" by [[Musical Youth]].<ref>{{cite journal|last=Flick|first=Larry|year=1994|title=Jive U.K. Bows Star-Studded Rwanda-Relief Single|journal=[[Billboard (magazine)|Billboard Magazine]]|volume=106|issue=49|page=27|issn=0006-2510|url=http://www.google.com/books?id=ZwgEAAAAMBAJ&pg=PA27&dq=Flick+Larry+Post-disco#v=onepage&q=Flick%20Larry%20Post-disco&f=false|quote='Percussion Discussion' works best, with its hypnotic beat and fun samples of post-disco reggae/pop anthem 'Pass The Dutchie'.}}</ref>


The AMG author provides few specifics other than implying post-disco follows from the [[DJ]]- and producer-driven, increasingly [[Electronic music|electronic]] side of disco; and singling out "boogie" ("midtempo tracks steeped in [[funk]]"), early [[Italo-disco]] ("electronic tracks with heavy traces of [[Giorgio Moroder]]") and "the beginnings of [[alternative dance]]" as forms of the post-disco "genre"<ref name=AMG1/>.
The Allmusic author provides few specifics other than implying post-disco follows from the [[DJ]]- and producer-driven, increasingly [[Electronic music|electronic]] side of disco; and singling out "boogie" ("midtempo tracks steeped in [[funk]]"), early [[Italo-disco]] ("electronic tracks with heavy traces of [[Giorgio Moroder]]") and "the beginnings of [[alternative dance]]" as forms of the post-disco "genre".<ref name=AMG1/> In 2006, however, another author explicitly referenced both [[house music]] and [[techno]] as forms of post-disco.<ref name=DancingMachines>{{cite journal|last=Demers|first=Joanna|year=2006|title=Dancing Machines: 'Dance Dance Revolution', Cybernetic Dance, and Musical Taste|quote="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,…)|publisher=Cambridge Univ Press|pages=25, 401-414|doi=10.1017/S0261143006001012}}</ref> and techno.<ref name=DancingMachines/> Likewise, George E. Haggerty, in his 2000 book ''Gay Histories and Cultures'', says house is a form of post-disco dance music that has been popular in Chicago clubs,<ref>{{citation|last=Haggerty|first=George E.|year=2000|title=Gay Histories and Cultures: An Encyclopedia|quote=House music is a form of post-disco dance music made popular in the mid 1980s in Chicago clubs…"|publisher=Taylor & Francis|page=256|isbn=0815318804}}</ref> and Michael Campbell, in his 2008 book ''Popular Music in America'' defined techno as post-disco dance music.<ref>{{citation|last=Campbell|first=Michael|year=2008|title=Popular Music in America|quote=Glossary: '''techno''' – post-disco dance music in which most or all of the sounds are electronically generated|publisher=Cengage Learning|page=352|isbn=0495505307}}</ref>


A watershed album of the post-disco era was [[Michael Jackson]] & [[Quincy Jones]]'s ''[[Off the Wall (album)|Off The Wall]]'', which helped establish a direction of dance/R&B music and influenced many young producers.<ref name=DanceClassic/> [[Parliament-Funkadelic]], a [[funk]] band, also set the tone for many post-disco and post-punk bands of the 1980s.<ref>Parliament/Funkadelic. (2009). In [http://student.britannica.com/comptons/article-9312904/ParliamentFunkadelic Student's Encyclopædia]: "Combining funk rhythms, psychedelic guitar, and group harmonies with jazzed-up horns, Clinton and his ever-evolving bands set the tone for many post-disco and post-punk groups of the 1980s and 1990s.". Retrieved August 15, 2009, from Britannica Student Encyclopædia.</ref>
Post-disco also gives birth to [[house music]]<ref name=DancingMachines> Demers, Joanna (2006). ''Dancing Machines: 'Dance Dance Revolution', Cybernetic Dance, and Musical Taste.'': "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,...)". Cambridge Univ Press, p. 25 , pp 401-414, doi:10.1017/S0261143006001012</ref> and [[techno]]<ref name=DancingMachines/>. George E. Haggerty in his book ''Gay Histories and Cultures'' says it is a form of post-disco dance music that is been popular in Chicago clubs<ref>Haggerty, George E. (2000). ''Gay Histories and Cultures: An Encyclopedia'': "[[house music]] is a form of post-disco dance music made popular in the mid 1980s in Chicago clubs...". Taylor & Francis. p. 256. ISBN 0815318804. </ref>, and Michael Campbell in his book ''Popular Music in America'' defined techno as post-disco dance music<ref>Campbell, Michael (2008). ''Popular Music in America'': "Glossary: '''techno''' - post-disco dance music in which most or all of the sounds are electronically generated". Publisher: Cengage Learning. p. 352. ISBN 0495505307. </ref>.


The groundbreaking moment of post-disco era was [[Michael Jackson]] & [[Quincy Jones]]'s "''[[Off the Wall (album)|Off The Wall]]'''' album who helped establish a direction of dance/r&b music as well as many young producers who were interested in this kind of new music<ref name=DanceClassic>Depuydt, Francis. [http://www.danceclassics.net/producers.htm Boogie, Funk & Modern Soul from the 80s]. Danceclassics.net. ''Retrieved on August 11, 2009''.</ref>.
{{Listen|filename=MaterialGirlSample.ogg|title=Material Girl (sample)|description=Short sample of "Material Girl", song from post-disco era, originally released in 1984 by Madonna.|format=[[Ogg]]}}
{{Listen|filename=MaterialGirlSample.ogg|title=Material Girl (sample)|description=Short sample of "Material Girl", song from post-disco era, originally released in 1984 by Madonna.|format=[[Ogg]]}}
==Terms==
==Terms==
{{Listen|filename=Let's Groove by Earth, Wind & Fire.ogg|title=Let's Groove (sample)|description=Short sample of "Let's Groove", post-disco song originally released in 1982 by Earth, Wind & Fire.|format=[[Ogg]]}}
{{Listen|filename=Let's Groove by Earth, Wind & Fire.ogg|title=Let's Groove (sample)|description=Short sample of "Let's Groove", post-disco song originally released in 1982 by Earth, Wind & Fire.|format=[[Ogg]]}}
=== Boogie ===
=== Boogie ===
The term "'''boogie'''" (or '''[[electro-funk]]'''<ref name=ElectroFunk/>) was used in [[London]] to describe a form of black [[dance music|dance]]/[[funk]] music from early 80s. These records (mostly US imports) was sometimes regarded as "Electro-Funk" or "Disco-funk"<ref name=ElectroFunk/>. Originally the word [[boogie]] could be found in 70s [[funk]] and [[disco]] records, but tracks like "''Boogie's Gonna Get Ya''" (1981) by [[Rafael Cameron]] or "''Break Dancin' - Electric Boogie''" by [[West Street Mob]] (1984) helped define the musical style of Boogie<ref name=ElectroFunk/>.
The term "'''boogie'''" (or '''[[electro-funk]]''')<ref name=ElectroFunk/> was used in [[London]] to describe a form of Black dance/funk music from early 1980s. These records, mostly U.S. imports, were sometimes regarded as "Electro-Funk" or "Disco-funk".<ref name=ElectroFunk/> Originally the word boogie could be found in 1970s funk and disco records, but tracks like "''Boogie's Gonna Get Ya''" (1981) by [[Rafael Cameron]] or "''Break Dancin' - Electric Boogie''" by [[West Street Mob]] (1984) helped define the musical style of Boogie.<ref name=ElectroFunk/>


Among post-disco "boogie" labels include [[Prelude Records (record label)|Prelude]], [[West End Records|West End]], and [[Sam Records|Sam]]<ref name=DanceClassic/><ref name=ElectroFunk/>.
Post-disco "boogie" [[record label]]s include [[Prelude Records (record label)|Prelude]], [[West End Records|West End]], and [[Sam Records|Sam]].<ref name=DanceClassic/><ref name=ElectroFunk/>


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The better-known 1980s performers in this post-disco movement include [[Patrice Rushen]], [[Mtume]], [[Kashif (musician)|Kashif]], [[Nick Straker Band]], [[Skyy (band)|Skyy]], [[Unlimited Touch]], [[D. Train]],<ref>{{cite web|url=http://allmusic.com/cg/amg.dll?p=amg&sql=77:13417~T1|title=Explore music…Top Artists (under Post-disco)|publisher=Allmusic|accessdate=2009-04-11}}</ref><ref>{{citation|last=Bogdanov|first=Vladimir|year=2003|title=''All Music Guide to Soul: The Definitive Guide to R&B and Soul''|quote=[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.|page=709|isbn=9780879307448}}</ref> and also [[Kurtis Blow]].<ref>{{citation|last=Toop|first=David|year=1984|title=The Rap Attack: African Jive to New York Hip-Hop|quote=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.|publisher=Pluto Press|page=93}}</ref>
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=== Dance-Rock ===
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{{Infobox Music genre <!-- See Wikipedia:WikiProject Music genres -->
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| name = Dance-Rock
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|bgcolor = crimson
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|color = white
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| stylistic_origins = [[Post-Punk]] <br/> [[Post-Disco]] <br/> [[Dance music|Dance]] <br/> [[R&B]] <br/> [[Rock music|Rock]]
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| cultural_origins = 70s/80s
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| instruments = [[Keyboard instrument|Keyboard]] • [[Bass guitar]] • [[Electric guitar]] • [[Drum machine]]<ref name=DanceRock/>
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| popularity =
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| derivatives =
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| subgenrelist =
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| subgenres =
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| fusiongenres =
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| regional_scenes =
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| local_scenes =
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| other_topics = [[List of dance-rock artists]]
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}}

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However, on the other hand, one post-disco movement is connected with [[post-punk]]/[[no wave]] genres with fewer R&B/funk influences. Example of this "post-disco" is [[Gina X Performance|Gina X]]'s "No G.D.M."<ref>University of Michigan (2002). ''[[The Fader]]'': [http://www.google.com/books?id=Y2-fAAAAMAAJ&q=No+GDM+gina+X++post-disco+++The+Fader&dq=No+GDM+gina+X++post-disco+++The+Fader] "[the] classic post-disco track "No GDM" by Gina X". p. 38. </ref> and artists like [[Liquid Liquid]], [[Polyrock]]<ref>Fink, Robert (2005). ''Repeating Ourselves: American Minimal Music As Cultural Practice''. Publisher: University of California Press, p. 26. ISBN 0520245504</ref>, [[Dinosaur L]], and ''Disco Not Disco [2000]'' compilation album<ref>[http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:hvfuxq90ldhe Albums > "Disco Not Disco [2000]". AMG. ''Retrieved on August 10, 2009''.</ref><ref>Battaglia, Andy (2008). [[Pitchfork Media]]: [http://pitchfork.com/reviews/albums/11055-disco-not-disco-post-punk-electro-leftfield-disco-classics-1974-1986/ Album Reviews: ''VA - Disco Not Disco (Post-Punk, Electro & Leftfield Disco Classics)'']. ''Retrieved on August 13, 2009''</ref>. This movement also creates [[Dance-rock|Dance-oriented rock]]; Michael Campbell in his book ''Popular Music in America'' defines it as "post-punk/post-disco fusion"<ref>Campbell, Michael (2008). ''Popular Music in America: And the Beat Goes On''. Publisher: Cengage Learning (2008), p. 359. ISBN 0495505307</ref>. Campbell also cited [[Robert Christgau]], who described dance-oriented rock (or DOR) as umbrella term used by various DJs in 1980s.

Except that, [[Allmusic]] the word "dance-rock" uses on 1980s and [[1990s]] music practised by [[rock musician]]s, who have been influenced by [[philly soul]], [[disco]], [[funk]] and fused it with [[rock music|rock]] and [[dance music|dance]]<ref name=DanceRock/>. Artists like [[The Rolling Stones]], [[David Bowie]], [[Duran Duran]], [[INXS]], [[Eurythmics]], [[Depeche Mode]], [[The Clash]], [[New Order]] or [[Devo]] belongs, acording to AMG, to this genre <ref name=DanceRock>[http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:13748 Explore music... Genre: Dance-Rock] by All Music Guide. ''Retrieved on August 12, 2009''</ref>. Dance-rock embrace some experimental funk acts like [[A Certain Ratio]], [[Gang of Four]], and also pop musicians, for example [[Robert Palmer]], [[Hall & Oates]]<ref name=DanceRock/>. This kind of dance-rock influenced [[Garbage (band)|Garbage]], [[No Doubt]], [[Robbie Williams]], [[Scissor Sisters]] <ref name=DanceRock/>, [[Franz Ferdinand]], and [[The Killers]]<ref>Paoletta, Michael (December 25, 2004). [[Billboard Magazine]] - Music [Dance]: ''Mash-Ups, Dance-Rock Lead Breaktroughs''. Publisher: Vydavatel: Nielsen Business Media, Inc. p. 38. ISSN 0006-2510</ref>.

== Musicians ==
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Among 1980s post-disco performers include [[Patrice Rushen]], [[Mtume]], [[Kashif (musician)|Kashif]], [[Nick Straker Band]], [[Skyy (band)|Skyy]], [[Unlimited Touch]], [[D. Train]]<ref>{{cite web|url=http://allmusic.com/cg/amg.dll?p=amg&sql=77:13417~T1|title=Explore music…Top Artists (under Post-disco)|publisher=Allmusic|accessdate=2009-04-11}}</ref><ref>Bogdanov, Vladimir (2003), ''All Music Guide to Soul: The Definitive Guide to R&B and Soul '': "They [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", Chris Woodstra, Stephen Thomas Erlewine, page 709, ISBN 9780879307448</ref>, and also [[Kurtis Blow]] who done his records in post-disco/dance music "style"<ref>Toop, David (1984). ''The Rap Attack: African Jive to New York Hip-Hop''. 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. Publisher: Pluto Press (1984), p. 93. Source: University of Michigan</ref>. Also [[Parliament-Funkadelic]], a [[funk]] band, set the tone for many post-disco and post-punk bands of the 1980s.<ref>Parliament/Funkadelic. (2009). In [http://student.britannica.com/comptons/article-9312904/ParliamentFunkadelic Student's Encyclopædia]: "Combining funk rhythms, psychedelic guitar, and group harmonies with jazzed-up horns, Clinton and his ever-evolving bands set the tone for many post-disco and post-punk groups of the 1980s and 1990s.". Retrieved August 15, 2009, from Britannica Student Encyclopædia.</ref>


Successful and most successful records (mostly [[R&B]]/[[pop music|pop]]-oriented) from post-disco era include:
Successful records (mostly [[R&B]]/[[pop music|pop]]-oriented) from the post-disco era include:
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|height=15| 1987 || "[[Rhythm Is Gonna Get You]]" <ref name=DrBeat /> || Epic ||[[Miami Sound Machine]]|| align=center | #27 || align=center | ― || align=center | #5 || align=center | ― || align=center | ―
|height=15| 1987 || "[[Rhythm Is Gonna Get You]]" <ref name=DrBeat /> || Epic ||[[Miami Sound Machine]]|| align=center | #27 || align=center | ― || align=center | #5 || align=center | ― || align=center | ―
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=== Dance-Rock ===
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{{Infobox Music genre <!-- See Wikipedia:WikiProject Music genres -->
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| name = Dance-Rock
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|bgcolor = crimson
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|color = white
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| stylistic_origins = [[Post-Punk]] <br/> [[Post-Disco]] <br/> [[Dance music|Dance]] <br/> [[R&B]] <br/> [[Rock music|Rock]]
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| cultural_origins = 70s/80s
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| instruments = [[Keyboard instrument|Keyboard]] • [[Bass guitar]] • [[Electric guitar]] • [[Drum machine]]<ref name=DanceRock/>
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| popularity =
⚫
| derivatives =
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| subgenrelist =
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| subgenres =
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| fusiongenres =
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| regional_scenes =
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| local_scenes =
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| other_topics = [[List of dance-rock artists]]
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}}

⚫
Another post-disco movement is connected with [[post-punk]]/[[no wave]] genres with fewer R&B/funk influences. An example of this "post-disco" is [[Gina X Performance|Gina X]]'s "No G.D.M."<ref>{{cite journal|publisher=University of Michigan|year=2002|journal=[[The Fader]]|url=http://www.google.com/books?id=Y2-fAAAAMAAJ&q=No+GDM+gina+X++post-disco+++The+Fader&dq=No+GDM+gina+X++post-disco+++The+Fader|quote=[the] classic post-disco track "No GDM" by Gina X|page=38}}</ref> and artists like [[Liquid Liquid]], [[Polyrock]],<ref>{{citation|last=Fink|first=Robert|year=2005|title=Repeating Ourselves: American Minimal Music As Cultural Practice|publisher=University of California Press|page=26|isbn=0520245504}}</ref> [[Dinosaur L]], and ''Disco Not Disco [2000]'' compilation album.<ref>{{cite web|url=http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:hvfuxq90ldhe Albums|title=Disco Not Disco [2000]|publisher=[[Allmusic]]|accessdate=2009-08-10}}</ref><ref>{{cite web|last=Battaglia|first=Andy|year=2008|publisher=[[Pitchfork Media]]|url=http://pitchfork.com/reviews/albums/11055-disco-not-disco-post-punk-electro-leftfield-disco-classics-1974-1986|title=Album Reviews: ''VA - Disco Not Disco (Post-Punk, Electro & Leftfield Disco Classics)''|accessdate=2009-08-13}}</ref> This movement also connects with [[Dance-rock|Dance-oriented rock]]; Michael Campbell, in his book ''Popular Music in America'' defines that genre as "post-punk/post-disco fusion."<ref>{{citation|last=Campbell|first=Michael|year=2008|title=Popular Music in America: And the Beat Goes On|publisher=Cengage Learning|page=359|isbn=0495505307}}</ref> Campbell also cited [[Robert Christgau]], who described dance-oriented rock (or DOR) as umbrella term used by various DJs in 1980s. However, Allmusic defines "dance-rock" as 1980s and [[1990s]] music practised by [[rock musician]]s, influenced by [[Philadelphia soul|Philly soul]], disco, and funk, fusing those styles with [[rock music|rock]] and dance.<ref name=DanceRock/> Artists like [[The Rolling Stones]], [[David Bowie]], [[Duran Duran]], [[INXS]], [[Eurythmics]], [[Depeche Mode]], [[The Clash]], [[New Order]] and [[Devo]] belong, according to Allmusic, to this genre. <ref name=DanceRock>{{cite web|url=http://www.allmusic.com/cg/amg.dll?p=amg&sql=77:13748|title=Explore music… Genre: Dance-Rock|publisher=Allmusic|accessdate=2009-08-12}}</ref> Dance-rock embraces some experimental funk acts like [[A Certain Ratio]], [[Gang of Four]], and also pop musicians, for example [[Robert Palmer]] and [[Hall & Oates]].<ref name=DanceRock/> This kind of dance-rock influenced [[Garbage (band)|Garbage]], [[No Doubt]], [[Robbie Williams]], [[Scissor Sisters]],<ref name=DanceRock/> [[Franz Ferdinand]], and [[The Killers]].<ref>{{cite journal|last=Paoletta|first=Michael|date=December 25, 2004|journal=Billboard Magazine|title=Music [Dance]: Mash-Ups, Dance-Rock Lead Breaktroughs|publisher=Nielsen Business Media, Inc.|page=38|issn=0006-2510}}</ref>


==Legacy==
==Legacy==
Eighties post-disco sound also inspired many [[Norway|Norwegian]] [[dance music]] producers <ref>Ham, Anthony & Roddis, Miles and Lundgren, Kari (2008). ''Norway: Discover Norway'' - (The Culture) Interview with Bernt Erik Pedersen, music editor, [[Dagsavisen]]: "A lot of current dance music producers are influenced by the post-disco sound of the early 80s". Publisher: Lonely Planet Publications. p. 53. ISBN 1741045797.</ref>. Some [[rap]]pers such as [[Ice Cube]] or [[EPMD]] builded their careers on music that comes from funk/post-disco era<ref>Light, Alan (november, 1993). [[Vibe Magazine|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</ref>. Also [[Sean Combs|Sean "Puffy" Combs]] is been influenced by post-disco R&B in an indirect way.<ref>Schoonmaker, Trevor (2003). ''Fela: from West Africa to West Broadway'': "Puffy's consistent pilfering of pop coffers from a certain time period shows undoubtedly that he is influenced by the post-disco R&B bounce of the late 1970s and early 1980s". Publisher: Palgrave Macmillan. p. 4. ISBN 1403962103.</ref>
The 1980s post-disco sounds also inspired many [[Norway|Norwegian]] [[dance music]] producers <ref>Ham, Anthony & Roddis, Miles and Lundgren, Kari (2008). ''Norway: Discover Norway'' - (The Culture) Interview with Bernt Erik Pedersen, music editor, [[Dagsavisen]]: "A lot of current dance music producers are influenced by the post-disco sound of the early 80s". Publisher: Lonely Planet Publications. p. 53. ISBN 1741045797.</ref>. Some [[rap]]pers such as [[Ice Cube]] or [[EPMD]] builded their careers on music that comes from funk/post-disco era<ref>Light, Alan (november, 1993). [[Vibe Magazine|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</ref>. Also [[Sean Combs|Sean "Puffy" Combs]] is been influenced by post-disco R&B in an indirect way.<ref>Schoonmaker, Trevor (2003). ''Fela: from West Africa to West Broadway'': "Puffy's consistent pilfering of pop coffers from a certain time period shows undoubtedly that he is influenced by the post-disco R&B bounce of the late 1970s and early 1980s". Publisher: Palgrave Macmillan. p. 4. ISBN 1403962103.</ref>


===In popular culture===
===In popular culture===

Revision as of 21:32, 15 August 2009

Post-disco
Stylistic originsElectronic
Urban R&B [1][2]
Jazz [3]
Funk
New Wave[2]
Synthpop
Electropop
Cultural originsLate 1970s; United States and United Kingdom
Typical instrumentsDrums (or drum machine) • synthesizers • Keyboards • percussion • bass guitar (or bass synthesizer) • sampler
Derivative formsDance Rock • Club/Dance[4]
Fusion genres
early Italo-disco[1] • Dance-pop[1][5][6] • Alternative dance[1][5] • House • Electro[2] • Chicago House[7][8]
Other topics
Artists & Songs

The term post-disco (or simply boogie)[1][3][9] has multiple meanings. Sometime after 1990,[10] an Allmusic editorial contributor used "post-disco" in an attempt to isolate a dance music genre in the era between the indistinct "end" of disco music and the equally indistinct emergence of house music.[1] "Post-disco" was used in 1984 by Cadence Magazine when defining post-disco soul as disco without the loud bass-drum thump.[11] In 1985, New York Magazine referenced post-disco in relation to electronic funk.[12] Other authors emphasize "post-" (meaning "after")[13]) to indicate a greater disconnect from the disco era and disco-influenced music. Billboard Magazine, for example, mentioned the word twice: in 1982, when dividing post-disco movements into another category called "post-disco pop", citing Knack, Barbra Streisand, Kenny Rogers, and Christopher Cross as new wave and adult contemporary artists who figured in this kind of music,[14] and in 1994, when the word was used in relation to reggae song "Pass The Dutchie" by Musical Youth.[15]

The Allmusic author provides few specifics other than implying post-disco follows from the DJ- and producer-driven, increasingly electronic side of disco; and singling out "boogie" ("midtempo tracks steeped in funk"), early Italo-disco ("electronic tracks with heavy traces of Giorgio Moroder") and "the beginnings of alternative dance" as forms of the post-disco "genre".[1] In 2006, however, another author explicitly referenced both house music and techno as forms of post-disco.[16] and techno.[16] Likewise, George E. Haggerty, in his 2000 book Gay Histories and Cultures, says house is a form of post-disco dance music that has been popular in Chicago clubs,[17] and Michael Campbell, in his 2008 book Popular Music in America defined techno as post-disco dance music.[18]

A watershed album of the post-disco era was Michael Jackson & Quincy Jones's Off The Wall, which helped establish a direction of dance/R&B music and influenced many young producers.[3] Parliament-Funkadelic, a funk band, also set the tone for many post-disco and post-punk bands of the 1980s.[19]

Material Girl (sample)
Short sample of "Material Girl", song from post-disco era, originally released in 1984 by Madonna.
Problems playing this file? See media help.

Terms

Boogie

The term "boogie" (or electro-funk)[9] was used in London to describe a form of Black dance/funk music from early 1980s. These records, mostly U.S. imports, were sometimes regarded as "Electro-Funk" or "Disco-funk".[9] Originally the word boogie could be found in 1970s funk and disco records, but tracks like "Boogie's Gonna Get Ya" (1981) by Rafael Cameron or "Break Dancin' - Electric Boogie" by West Street Mob (1984) helped define the musical style of Boogie.[9]

Post-disco "boogie" record labels include Prelude, West End, and Sam.[3][9]

The better-known 1980s performers in this post-disco movement include Patrice Rushen, Mtume, Kashif, Nick Straker Band, Skyy, Unlimited Touch, D. Train,[20][21] and also Kurtis Blow.[22]

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

Year Song Label Artist U.S. Dance [23] U.S. R&B [23] U.S. Pop [23] U.S. M.R. [23] U.K. Pop[24]
1980 "Celebration"[25] De-Lite Kool & The Gang #1 #1 #1 ('81) ― #7
"Take Your Time"[26] Tabu SOS Band #1 #1 #3 ― ―
1981 "Let's Groove" [27] Columbia Earth, Wind & Fire #1 #3 ― #3
1982 "Last Night a DJ Saved My Life"[28] Sound of New York Indeep #2 #10 ― ― #13
"Love Come Down"[29][30] RCA Evelyn King #1 #1 #17 ― #7
1983 "Give It Up"[31] Meca KC ― ― #18 ― '#1
1983 "Billie Jean"[32] Epic Michael Jackson ― '#1 '#1 ― '#1
1984 "Let's Dance"[32] Epic David Bowie #1 #14 #1 #6 #1
"Cool It Now" [33] MCA New Edition ― #1 #4 ― #43
"Dr. Beat" [34] Epic Miami Sound Machine #17 ― ― ― #6
1987 "Rhythm Is Gonna Get You" [34] Epic Miami Sound Machine #27 ― #5 ― ―

Dance-Rock

Dance-Rock
Stylistic originsPost-Punk
Post-Disco
Dance
R&B
Rock
Cultural origins70s/80s
Typical instrumentsKeyboard • Bass guitar • Electric guitar • Drum machine[35]
Other topics
List of dance-rock artists

Another post-disco movement is connected with post-punk/no wave genres with fewer R&B/funk influences. An example of this "post-disco" is Gina X's "No G.D.M."[36] and artists like Liquid Liquid, Polyrock,[37] Dinosaur L, and Disco Not Disco [2000] compilation album.[38][39] 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."[40] Campbell also cited Robert Christgau, who described dance-oriented rock (or DOR) as umbrella term used by various DJs in 1980s. However, Allmusic defines "dance-rock" as 1980s and 1990s music practised by rock musicians, influenced by Philly soul, disco, and funk, fusing those styles with rock and dance.[35] Artists like The Rolling Stones, David Bowie, Duran Duran, INXS, Eurythmics, Depeche Mode, The Clash, New Order and Devo belong, according to Allmusic, to this genre. [35] Dance-rock embraces some experimental funk acts like A Certain Ratio, Gang of Four, and also pop musicians, for example Robert Palmer and Hall & Oates.[35] This kind of dance-rock influenced Garbage, No Doubt, Robbie Williams, Scissor Sisters,[35] Franz Ferdinand, and The Killers.[41]

Legacy

The 1980s post-disco sounds also inspired many Norwegian dance music producers [42]. Some rappers such as Ice Cube or EPMD builded their careers on music that comes from funk/post-disco era[43]. Also Sean "Puffy" Combs is been influenced by post-disco R&B in an indirect way.[44]

In popular culture

The word "post-disco has been implicitly mentioned in a 1989 novel named Crazy Love by Elías Miguel Muñoz[45]:

*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."

See also

References and notes

  1. ^ a b c d e f g "Explore music…Genre: Post-disco". Allmusic. Retrieved 2009-04-11.
  2. ^ a b c d Depuydt, Francis. "Boogie, Funk & Modern Soul from the 80s". Danceclassics.net. Retrieved 2009-08-11.
  3. ^ Lysloff, A. T. & Gay, C. Leslie (2003). Music and Techno Culture: "[the] Club music, one type of post-disco dance music". Publisher: Wesleyan University Press (2003). p. 310. ISBN 0819565148.
  4. ^ a b However, this "genre" may be an Allmusic fabrication.
  5. ^ Smay, David & Cooper, Kim (2001). Bubblegum Music Is the Naked Truth: The Dark History of Prepubescent Pop, from the Banana Splits to Britney Spears: "Think about Stock-Aitken-Waterman and Kylie Minogue. Dance pop, that's what they call it now — Post-Disco, post-new wave and incorporating elements of both." Feral House: Publisher, p. 327. ISBN 0922915695.
  6. ^ Lawrence, Tim (??). In Defence of Disco (Again): "Fuelled by the rise of Chicago house (a DIY form of post-disco dance music put together with cheap synthesisers and drum machines) and the spread of Ecstasy." p. 134. scholar work, timlawrence.info
  7. ^ (2008) Earls: Webster's Quotations, Facts and Phrases: "[term] Chicago house - House music grew out of the post-disco dance club culture of the early 1980s." Publisher: Inc Icon Group International. p. 314. ISBN 0546657133
  8. ^ a b c d e "Electro Funk Roots: The Building Blocks of Boogie (history)". electrofunkroots.co.uk. Retrieved August 11, 2009.
  9. ^ AMG was founded in 1991 — "AMG: About Us". Retrieved 2009-08-10.
  10. ^ Cadence Magazine. 10: 56. 1984. {{cite journal}}: Missing or empty |title= (help)
  11. ^ Denby, David (December 2, 1985). "Red, White, and Hot". New York Magazine. 18 (47): 121. ISSN 0028-7369.
  12. ^ "Wiktionary: term "post-"". Retrieved 2009-08-13.
  13. ^ Green, Paul (1982). "Year-End Charts - Talent In Action: 1982 Number One Awards, Top Artists & Recordings". Billboard Magazine. 106 (49): 1. ISSN 0006-2510.
  14. ^ Flick, Larry (1994). "Jive U.K. Bows Star-Studded Rwanda-Relief Single". Billboard Magazine. 106 (49): 27. ISSN 0006-2510. 'Percussion Discussion' works best, with its hypnotic beat and fun samples of post-disco reggae/pop anthem 'Pass The Dutchie'.
  15. ^ a b Demers, Joanna (2006). "Dancing Machines: 'Dance Dance Revolution', Cybernetic Dance, and Musical Taste". Cambridge Univ Press: 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,…) {{cite journal}}: Cite journal requires |journal= (help)
  16. ^ Haggerty, George E. (2000), Gay Histories and Cultures: An Encyclopedia, Taylor & Francis, p. 256, ISBN 0815318804, House music is a form of post-disco dance music made popular in the mid 1980s in Chicago clubs…"
  17. ^ Campbell, Michael (2008), Popular Music in America, Cengage Learning, p. 352, ISBN 0495505307, Glossary: techno – post-disco dance music in which most or all of the sounds are electronically generated
  18. ^ Parliament/Funkadelic. (2009). In Student's Encyclopædia: "Combining funk rhythms, psychedelic guitar, and group harmonies with jazzed-up horns, Clinton and his ever-evolving bands set the tone for many post-disco and post-punk groups of the 1980s and 1990s.". Retrieved August 15, 2009, from Britannica Student Encyclopædia.
  19. ^ "Explore music…Top Artists (under Post-disco)". Allmusic. Retrieved 2009-04-11.
  20. ^ Bogdanov, Vladimir (2003), All Music Guide to Soul: The Definitive Guide to R&B and Soul, p. 709, ISBN 9780879307448, [Unlimited Touch] weren't disco, and they weren't exactly straight-up R&B; like their Prelude labelmates D Train, Unlimited Touch combined the two forms into what is often referred to as post-disco.
  21. ^ 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.
  22. ^ a b c d Kool & The Gang: Billboard Singles • David Bowie: Billboard Singles • SOS Band: Billboard Singles • Indeep: Billboard Singles • Earth, Wind & Fire: Billboard Singles • Michael Jackson: Billboard Singles by All Music Guide. Retrieved on August 11, 2009.
  23. ^ Search song on EveryHit.com database
  24. ^ [1]. Songfacts.com about Kool & The Gang trivia informations. Retrieved on 5. 5. 2009
  25. ^ Icon Group International, Inc. (2008). Fronting ~ Webster's Quotations, Facts and Phrases: "Mary Davis', was initially famous for the post-disco hit "Take Your Time (Do It Right)" in 1979". p. 47. ISBN 0546706657.
  26. ^ 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 America.com. Retrieved on August 12, 2009.
  27. ^ 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.
  28. ^ [2]. 70disco.com web. Re-retrieved on August 1, 2009
  29. ^ ShowArtist: Evelyn "Champagne" King. Disco-funk.co.uk. Retrieved on August 10, 2009.
  30. ^ Hoffmann, W. Frank & Ferstler, Howard (2005). Encyclopedia of Recorded Sound (Publication no. 2): "He [Harry Casey] briefly returned to the public eye billed as KC with the release of KC Ten (Meca 8301; 1984: #93), featuring the post-disco single 'Give It Up' (Meca 1001; 1984; #18), before fading back into obscurity". p. 566. ISBN 041593835X
  31. ^ 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.
  32. ^ One Hit Wonder Center - One-Hit Wonder Music of the 50's~90's: "There are also tracks to represent the rise of post-disco club/dance trend, such as Laid Back's "White Horse", New Edition's "Cool It Now", and Timex Social Club's " Rumors" ". Retrieved on August 12, 2009.
  33. ^ a b Morales, Ed (2002). Living in Spanglish: the search for Latino identity in America: ""With their group, Miami Sound Machine, ... "Doctor Beat," manages to fuse elements of Latin percussion with the electric hass heats of the post-disco era". p. 244. ISBN 0312262329.
  34. ^ a b c d e "Explore music… Genre: Dance-Rock". Allmusic. Retrieved 2009-08-12.
  35. ^ The Fader. University of Michigan: 38. 2002 http://www.google.com/books?id=Y2-fAAAAMAAJ&q=No+GDM+gina+X++post-disco+++The+Fader&dq=No+GDM+gina+X++post-disco+++The+Fader. [the] classic post-disco track "No GDM" by Gina X {{cite journal}}: Missing or empty |title= (help)
  36. ^ Fink, Robert (2005), Repeating Ourselves: American Minimal Music As Cultural Practice, University of California Press, p. 26, ISBN 0520245504
  37. ^ Albums "Disco Not Disco [2000]". Allmusic. Retrieved 2009-08-10. {{cite web}}: Check |url= value (help)
  38. ^ Battaglia, Andy (2008). "Album Reviews: VA - Disco Not Disco (Post-Punk, Electro & Leftfield Disco Classics)". Pitchfork Media. Retrieved 2009-08-13.
  39. ^ Campbell, Michael (2008), Popular Music in America: And the Beat Goes On, Cengage Learning, p. 359, ISBN 0495505307
  40. ^ Paoletta, Michael (December 25, 2004). "Music [Dance]: Mash-Ups, Dance-Rock Lead Breaktroughs". Billboard Magazine. Nielsen Business Media, Inc.: 38. ISSN 0006-2510.
  41. ^ Ham, Anthony & Roddis, Miles and Lundgren, Kari (2008). Norway: Discover Norway - (The Culture) Interview with Bernt Erik Pedersen, music editor, Dagsavisen: "A lot of current dance music producers are influenced by the post-disco sound of the early 80s". Publisher: Lonely Planet Publications. p. 53. ISBN 1741045797.
  42. ^ 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
  43. ^ Schoonmaker, Trevor (2003). Fela: from West Africa to West Broadway: "Puffy's consistent pilfering of pop coffers from a certain time period shows undoubtedly that he is influenced by the post-disco R&B bounce of the late 1970s and early 1980s". Publisher: Palgrave Macmillan. p. 4. ISBN 1403962103.
  44. ^ Muñoz, Elías Miguel (1989). Crazy Love. Synopsis: Experimental epistolary novel and at the same time a novel of immigration from Cuba to Florida. Publisher: Arte Publico Press. p. 121. ISBN 0934770832

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