^ abRo, Ronin (1999). Have Gun Will Travel: The Spectacular Rise and Violent Fall of Death Row Records. Broadway Books. p. 40. ISBN978-0-3854-9135-8. SOLAR (...), which grew out of an association between promoter Griffey and Soul Train host Don Cornelius, released a string of post-disco hits that included Shalamar's "The Second Time Around" and the Whispers' "And the Beat Goes On."
^"The Beat Box Bites Back". Face Magazine. Global Darkness. May 1984. Retrieved 27 October 2013. individual records like Vaughan Mason's "Bounce, Rock, Skate, Roll" which helped establish a new ambience in East Coast post-disco.
^Cinquemani, Sal (21 August 2001). "Mariah Carey – Glitter". Slant Magazine. Retrieved 26 October 2014. A cover of Indeep's 1982 post-disco classic "Last Night a DJ Saved My Life" personifies Carey's ambition like no other song she's ever recorded
^ abBrackett & Hoard 2004, p. 508: That gift was there on her 1983 debut, which combined proven postdisco club tracks like "Everybody" and "Burning Up" with breakthrough pop hits "Borderline" and "Lucky Star."
^Lester, Paul (23 July 2012). "Leverage Models (No 1,314)". The Guardian. Retrieved 17 December 2014. That song, that example of post-disco electro-funk, we mused, is so October 1982 it's not true.
^Lester, Paul (11 March 2014). "Yumi Zouma (No 1,717)". The Guardian. Retrieved 17 December 2014. Patrice Rushen's postdisco classic Forget Me Nots
^Kellman, Andy. "Jeff Mills – Choice: A Collection of Classics". AllMusic. All Media Network. Retrieved 26 October 2014. Sinnamon's underheard "Thanks to You" (a sparkling post-disco club cut with defiant vocals reminiscent of Teena Marie).
^Bhushan, Nyay (11 August 2001). "Timeless Rhyme". Billboard. Nielsen Business Media. 113 (32): 57. ISSN0006-2510. The first single from the album is "Someday (We'll All Be Free)," an eye-opening cover of the Gap Band's boogie classic
^ abHogan, Ed. "Shannon – Artist Biography". AllMusic. All Media Network. Retrieved 25 October 2014. Vocalist with several post-disco club classics to her credit, including the chart-topping "Let the Music Play."
^Cinquemani, Sal (30 June 2003). "100 Greatest Music Videos". Slant Magazine. Retrieved 26 October 2014. "She Works Hard for the Money" was one of Summer's first post-disco hits and it quickly became a feminist anthem.
^Neal, Mark Anthony (22 April 2002). "Nuyorican Nostalgia". PopMatters. Retrieved 25 October 2014. Brown (...) is best known for her 1983 anthem “Somebody Else’s Guy” which was a great example of quality post-Disco dance music emanating out of New York City.
^Gabriele, Timothy (13 July 2008). "Black Devil Disco Club: Eight Oh Eight". PopMatters. Retrieved 25 October 2014. The opening drum track on the album immediately stamps its post-disco footprint, calling into consideration the widely used 808 drum machine of techno’s early history. That track, “With Honey Cream”, gurgles with swirling LFO and falsetto, but its modern instrumentation remains ideologically retro-futurist.
^Boles, Benjamin (10 April 2008). "Miami party madness". NOW Toronto. Retrieved 29 October 2013. The quirky post-disco track was getting dropped at parties all weekend, even at the more mainstream events.
^Drake, David (6 January 2011). "Tensnake: In The House (Defected, 2010)". Pitchfork Media. Retrieved 29 October 2013. Tensnake's own "Need Your Lovin'" is a love-letter to 80s post-disco R&B that appears on the first disc
^Deusner, Stephen M. (3 October 2014). "Prince: Art Official Age". Pitchfork Media. Retrieved 25 October 2014. Opener “Art Official Cage” cribs directly from Daft Punk’s more arena-ready moments, building a post-disco banger on some Nile Rodgers-style rhythm guitar.
^Weisbard, Eric; Marks, Craig (2006). Spin Alternative Record Guide. Vintage Books. ISBN978-0-6797-5574-6. James wrote, produced, and performed on Wild and Peaceful, which positively reeked of post-disco strings and syndrums.
^Nilsen, Per (2004). Dance Music Sex Romance: Prince: The First Decade. SAF Publishing Ltd. p. 87. ISBN0-946719-64-0.
^Kellman, Andy. "Sharon Redd – Sharon Redd". AllMusic. All Media Network. Retrieved 25 October 2014. Her self-titled debut balances post-disco club music with the extension of '70s soul that many referred to as urban during the '80s.
^ abLindsay, Matthew (13 June 2013). "Lucky Star: Madonna's Debut Album, 30 Years On". The Quietus. Retrieved 25 October 2014. Madonna's first album (...) sits happily alongside the post disco crème de la crème: the same year's Evelyn 'Champagne' King album Get Loose
^Wright, Jade (26 April 2008). "Beatles For Sale (1965)". Liverpool Echo. Retrieved 17 December 2014. David Bowie's 15th album was a stylish, synthesised post-disco dance record, equally informed by classic soul and the emerging subgenre of new wave.
^Blum, Joe (March 1987). "The Pointer Sisters – Hot Together". High Fidelity. 37 (3): 211. ISSN0018-1455. With Break Out, The Pointer Sisters brought their steamy postdisco glitz to perfection.
^Huey, Steve. "Donna Summer – Artist Biography". AllMusic. All Media Network. Retrieved 25 October 2014. With producer Michael Omartian, Summer moved back into post-disco dance music and urban R&B with 1983's She Works Hard for the Money
^Patrin, Nate (27 March 2009). "The Juan MacLean: The Future Will Come". Pitchfork Media. Retrieved 25 October 2014. Like most quality DFA full-lengths, this album has post-disco dance-pop aesthetics intersecting and merging in ways that transcend cheap retro; too much of it leaves you wondering if it could've gone even further with a bit more breathing room.
^Birchmeier, Jason. "DJ Spinna – Artist Biography". AllMusic. All Media Network. Retrieved 25 October 2014. The Boogie Back, which focused on late-'70s and early-'80s post-disco.
^ abYoung, Alex (1 April 2011). "Holy Ghost! – Holy Ghost!". Consequence of Sound. Retrieved 25 October 2014. With the release of their first proper self-titled full length, they [Holy Ghost!] contribute to growing post-disco fads with tracks that are chock full of soulful harmonies, backed with an unrestrained supply of drum machines, vintage keyboards, and bubbling synthesizers.
^Kellman, Andy. "Aurra – Anthology ". AllMusic. All Media Network. Retrieved 17 December 2014. Stylistically, the bulk of this material can be classified as post-disco and pre-house.
^ abcLester, Paul (5 July 2013). "Jessy Lanza (No 1,547)". The Guardian. Retrieved 27 October 2014. Keep Moving is just perfect, like Aaliyah being haunted by the ghost of Sharon Redd, Sharon Brown or Vicky D – one of those postdisco girls – on the Prelude label in 1982.
^ abBogdanov, Vladimir, ed. (2003). All Music Guide to Soul: The Definitive Guide to R&B and Soul. Backbeat Books. p. 709. ISBN978-0-87930-744-8. Unlimited Touch (...) weren't disco, and they weren't exactly straight-up R&B; like their Prelude labelmates D Train, Unlimited Touch combined the two forms into what is often referred to as post-disco.
^Rosen, Jody (31 January 2006). "How "Black" Is Michael?". Slate. Retrieved 17 December 2014. If Michael were smart he might make a similar move now, returning to his classic postdisco sound—lord knows Justin Timberlake has had success putting his own Off the Wallisms on the charts.
^Bergstrom, John (6 September 2011). "Grace Jones: Hurricane / Dub". PopMatters. Retrieved 25 October 2014. Her initial post-disco albums with reggae producers Sly & Robbie are the high points, with the Trevor Horn-helmed Slave to the Rhythm (1985) also of note.
^Andrews, Marc; Isaac, Claire; Nichols, David (2011). Pop Life: Inside Smash Hits Australia 1984 - 2007. Affirm Press. p. 46. ISBN978-0-9871-3267-3. [Neil] Tennant popped off one day to interview an up and coming post-disco club kid, yup, Madonna.
^Bush, John. "Morgan Geist – Artist Biography". AllMusic. All Media Network. Retrieved 26 October 2014. In 1999, Geist and fellow producer Darshan Jesrani initiated a series of excellent post-disco singles as Metro Area
^Deming, Mark. "George Michael – Artist Biography". AllMusic. All Media Network. Retrieved 26 October 2014. A talented songwriter and performer with a distinctive, soft voice whose post-disco dance-pop made him a superstar in the 1980s and '90s.
^Agovino, Michael J. (26 February 2014). "The Record Label That Saved Jazz". Esquire. Retrieved 17 December 2014. Since 2012, the label has been headed by the unlikely but somehow perfect Don Was, of the post-disco outfit Was (Not Was), famous for the immortal anthem "Walk the Dinosaur."
^Johnson, Connie (23 January 1994). "In Brief". Los Angeles Times. Retrieved 27 October 2014.
^Larkin, Colin (1994). The Guinness Who’s Who Of Rap, Dance & Techno. Guinness Publishing. p. 251. ISBN978-0-8511-2788-0. John 'Jellybean' Benitez, a native of the Bronx and renowned Manhattan club DJ, made his mark in the early 80s as one of the post-disco dance scene's most favoured remixers/producers.